Week 2 Readings

ell.

1I. 1

I N T RO D UC TI O N

e ll. niPng Paradigm$, Orc. king lhe Cuhu."l Tn n",

In'''.

We ca''''01 bur cOH~c'iD". 17M1 i, 0'" ad)'. We mun bu d alW'1. It1td be ilolau. We t4!J Ihal N irrg frmi, bein8 irrdiutdr.tal. &ymsd Q cerl"iHfxJin l, which wt 1M"" .tQd>ed, it " suicide.

V. H. Lawrence

II ;, no' ;mpracl;wl 10 COH3i11e, ''';OMIy ... changi"S 'he ",/e, of thllI lJIne whe" Ih. game i, elM,I)' k illi"R )'0" .

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Thi! book is" 5ust"I",d mcdleatlon on huw we mlRlu restore 10 our culnrre ill len, e or ~ Ii~ eneli! , pc+ tisrn, Ihe next piece of ~;tal In(Ormalion, MOliI o( what i.

written her<: i~ a record of my own psychic journey and ref\«l s the chansCll in my Ihinkitl8 ai i\ has etmTgcd from Ihe <;uHcelive bclids and opiniON lhar are « mrnlly cmrcnchcd 1R l>II r IKl'cicly. Sin« rhe di$ClIlmi arc d~l y persona! U ,:"cll as aCllhetic andtoeial. rhc book ..101:1 n<X ~l comfortably lOW any 01 1M a tegoM rhl I rc normally u.d 10 d lui!y I rt books. Ii a 1tnrll'U to alp lI' the wl>o~c beins;-no' JUI! ~~

iss,,"

intd l«t bul Ihe emoriona l. plycbolOS'col. ("(tunl and spIn lui pam of uS as well. Allhough il d'lal1cng" . many of our u iomaric U$umpriolU ah<M art, the boo k w,l1 , 1 hope. be rdevant for pwple in other disciplines who are concerned abolll lhc fueure of /'I Llr pb nci. I sec ., as a collective project,

giving voice lO what mAlly peep!e alrcad1 believe nnd led ; i dc n~ are expressed and woven toget her tha t arc ver1 mudt " ill the .ir," seeking their proper anlculauon In the commull;ry, TIle dlscussicne 01 art are focused ~ rou n d (me eSlelu ial thcme< what ,lues Il ,ne~n to be u " Sl, cces~ fu\ " ~ rr ist W<}rkiut; in rhe world mday? Much of what follow~ is
sciOllSly defi nes re~li l y for most people. whose view of t~ WQrld docs nOf normall, tratlKtnd the limltl imtJoOscd by rhis cultural condilioninll. Fot thil r""..m. it il important to come 10 grip5 wilh Ollr culturl l model, in order 10 understsnd bow ~.. it affects t~ WIY we Ihink and deltnninet what we wa·nt. Man, of the dif6cultics al'll (Xlfl Aicu we elfpericncoc ",. pet. rooat in mis r~rd are relaltd to lhe (ntmcwork o f beliefs and m ndards of behav;Of" provided by our cullure 10 selVe ~s l u,dclina for individual lives. We tend 10 J'I allern ouru l,VCI and our world v~ after our cuhure. rnking "" self; "'dent certain beliefs, values and bellaviorl ; thus. if OUr model 01 cukure is faulty or disordered, rtlen we ullrtl:lve. are dll · ordered in precisely the same way. Since culturnl reudhiouirIS stronjtly infi 'lenecs Individual behavior ~ nd tbough t, 10 begin to move toward a differelll frnmewilrk of ~ II IIrTlll t i ons ( 11M w(l' lld chn"HC the Imlis of OIlT experience il extremely difficnh. ls there nny wur. then. not 10 let the dominant p' rlI digm in which we currently exist rien ne who we nrc? And 00 whleh level, then, the personal or Ihc cuhotal, can the problem be resolved? This was the situation uncovered by my b it book. H lu Modernism fYl/ledr, bUI 1101 really rcsolvcd-a widely abared di~chl lllment over the comS,ul· live and oppressivc COnSUmf'Mll ic fnlmtWOrk in which we do our worlt, and from which, i t WOIlld secm. lhe,c iI no ~pc;' .,My aim in Ihi. book illo HO beyond that fratncWOlk. Ai a cultuf'C, we S«m 10 be aJlPloadlin g a ocnain awan'noHt.. 1 things most change. and nol iust IUperliciaUy. Rather. the rrK)&1 b:uic Il$$umptiolll ullderlying modern JOCw!)' alC in nux; and, as these ag umptions shifl, Iht need fot a new philosophical franlnVork is being felt by ml llYpeople. tn atB,,;ng 10' Ihe l>CCelS ity 01moving beyond the whote world . ;ew or an epoch, Ih,s book lookl to the possibiliTy I h~ t indiv iduals cnu reject cermln prevailing cultural Mtitudes and embrace new myth5. Tbe question is 00 10nBer how did we get here, nnd why? but, wht rc cnn we p<>l! ihty go, alHt htlwl We live it\ a .ociety lhn! hus dr ~ il icL\ lIr n ~rroweJ our ~C ll lil i¥ily to moral end ' pirinlnl iUllel; the ptohlcl11 we Ieee is how to deal with ~ belief 5truelUre that hai blocked both piychult>{:.

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;e2' and . pl r/fUal d~¥dop',,~n'. If IMr<: It 3 new . gemb , • ne w ""1Ol1 now nne.Wng w llh in our sociefy, ho w miidll one: help 1'111 " imo ~ Ilhlll book rrprarnlJ my Own , nmlpl fa loo k , t whal cb.ngn ..., I\t.'Cc" 'ry o r dl:$;f1Ihlc, how we

miglll achieve them, and wh. l lhe rule of , rl and a!tisti might be in acccleratlng this 1" 0<:« 1. 111( new q uu tinlls tha t UC: being raise.t arc 110 longer issues of style or ~'Ontcnl , but iSSlle! (!f socinl alH! " nvi· "''''I1 <: l1 lnl responsibility, . nd (If multiculturnlism, or "pn'. lId" cultures, r' fher than a dormo nnt 1l101l{l<:ullufaIiSIl1. The lubi""r of nr uhicultumlism Ii nut renlly to uch. d 01\ in this book, bU I is uplo.!.'d by l,lIC)' Lipp ard in ber newly publil hed M I;u J Blen;"g.: New Mul fk ullural Amm cil. whereas I hne mOle" fO limit my- ~ 10 social and ct1 vi· mnmc:m.1 iuues. In January 1990, I p" li(:!p. tW in a on." day i"Yit'liorlal forum in New York , o rganiJ.Cd by rhe Rock · deller Fou ndation, lot I~ purpmc of dikU u ing a posslble MW fundins progra m for euviron"","lal anOOfny. The m h·

",tm..

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lut olltlci~l l"Ul'nlllibilily is 'MsinS ;n our lII:,t11ttie models., Illd lhe chalknll'll of Ihe fUIUIC wm be 10 Ira nKald IN: disconnoetedHt$II Imi ICpl ralion o f lhe I C;Jlhct;c from tM l.Ori~1 thaI existed wilhin rnodcm il m. IJntil lhe pftfClll lime, mJla lning aloof hal alwa~ been a po~lible al lern ~ tlVe, but it i, qu ickly becoming a dsngerotlS appro~ dt to our ear-e m dif/kuhlu. Modem iJm ebove ~ II exalte d the complete autcnomy "f ere, end the ge~ t ll rc of st vt rin!! bonds wh ir Ilx:iety. Thlt , 0 Yt rclgn 6pcd alr leu . nd a p~ r tneSI was ' ~ lllhollzed by the IOlnamic e~ i l e 01 {he artist, nnd w:u In-cd ou t In modes of rt bellioll, wit!wJ rlwa l and an' tagonism. Ta lk abo ut ha rmon y, o r fi n ing in, WlU anathema to the alienlled self. Amln from CUltavc Flaubert 10 Francis Ilatort vroclaimed their alienation fmm and antipa lhy roward JOt1cty. -Ufe " J() hu rribk ,· Fb uMr t wrote, "Ihal Ol\t ('I n "", llIll, hCl r it by avoiding. it. At>d thl t ca n be done by liVing in lilt world of I r!. - When he W I ' sevt:ntetn, the painler Fran· til Bacon rtroll nl' . he rClnem be" loo kin g at a dog shil o n lhe pavement and lu ddenly re ~ 1I7.i11 g, "There if is- thiS is whal Iile i! l i kt . ~ Fo r Jean·Pall l Si rtr e, the baslc trulh of the humn n l ituatioll wa3 lt! eO llti Il8r llt~ , man's !Cnr.e thM ht d("" not belong-il not lI eetl s~ ry-to the universe. Slnccllfe was II bitl"ry, muningless I ud wltllllut int rinsic value, Sartr e advi&c:d tha I We m U' 1 .U loam 10 live withOUI hope. The linllilh critic Cyril Con nolly wrote these legct>dl ry rommenm ~lr il d Oling rime in Ihe p rdenl of IN: Well. From now 011 an I n il r wilt be iudll'lld only by the IctOIlan« o f h1. JoO!;llIdc ~ nd tht q uality of his d"'pair. ~ Colin Wilson, in TIlt New Exi" Ir",ialit m. refers tu all this a, the "fulility hypo thesis" of life-the noth ingncu , estrangemenl ~nd alienalio n lhll have formed a consid erable part of the picture we hA ~ of Ollr~d vt •. Tod ny, remahllnj{ ailluf hns dallgcro ul illlplica· tlcns. We arc nil together in the .n me 8 10b~ 1 umph irhc,' lcr. There arc no lonller any . idelines. Tht poyehic nnd IOti al . lr lleturCll in which we live h"'e beco me rec profo undly ' " amierologica l, unhealrhy and dclu uerive. Thefe is a "etd fo r ""'" forms emplwuing our cssenliallntcrwnr«tedncSJ n dlcr than oo r 5ql aratentlS, forms n o kinl tile feelins of belonging

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10 ~ b ll:cr whole ram er lhan expren ing the i'nl~ l ed . olit n . ~tcd Jell. 11,1.' old nssumpfiom about I nu clear cgo separatIII lllt~rl ~ off from everything else ere inu casingly difficult fO Slum" In the face of OU r changed clrcumslOnCeJ. Ex alted -;eJo individu3Jism.....fur e~Jlttl(!!c. is hardly I ert atiYUUllWJ the nced. of the IanI.'I at this time which demand com lell iiiilscm nive erme c interaction I III In • 1\ 1YI III um, fre<' om . n l ei X Ie" On are real m crn, I n; wa r s. 1"0 I If in IVI uahllic I rtiSI " lU think in

war.

th IS I _',_a II c rU lI Y/.' I~I m ! I e 'n:aet! lowa.a eeswenn n eoUcedvc ruhu I:t..lb..im. I'('u o na esue or se -exprCUIOll is likel y to aprear irTelc. unt, .Of even prClUm~lIO\!', BUI I bchevc dicle il • new, evolvmg rclA!lQllIhtp lwo:c:n [lCl'Ional creativity and ,oci.r

rCl llonsibility, II' old mOllcrolsl palleT". of alienatinn and confrof1flti(m give way to new.ones of mUl ll ~lism lind the development
cnvrrcnmer n.

In h.er book Tlte Aquaria" Omspiracy, Ma rilyn 1'~rgll$On desceibes how many people, in sphere. of lire '$ diverse al psychology, eco no mics, politiQ , science and medicine, Ilave been n:5ponding to tl\e imper;l1iv<;s of tile new ", r~di~ by ex nm ini~~ the sha red 8anges can Illke place, the Wo rldwl tcll repo rl n id without • II'1Insfo'maliOn of ind ividual prio rili", and Va I U~--II1 ' t e. •

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riali.Jnl simply canno e surswe the tra llsil;oll to a Illstaina blt world. In lhi, Kn~ the new pa.-digm il definitely mo rt lhan juS! a conceptual dull ~ n gC i il requ lrCI thai We personally leave behind (erl l in rhiugt Ihat "'ave been central pam of our individ ual .nd cultur. l K lf-definiliOlU. _ Thh boo k, rhe n.fs about rc!raming. The need for a reframing of lhe modem wo rld·.,iew and IlJ assumptions In o rder to fo real l the next Mep for !IOdtly hal been r<::cog· "i ~ed in ",an y pro fessiona l Il'h e r~s; within the or, wo rld, however, it hIS, as f t t, no e'labilihed correlative. The neceaI;ly fo r . rt co tra Mfo rm its goa ls .nd bewme ecccentable in lhe planetary whole iii illeo mpl !ible with ael thetic alt ilUdes slill predicated On the late-nw dern ist assumption llllli art has no " ul oflll" m le 10 play in lhe larger Iphn c ollhingt. BUI Ih~ rQ~t.i Uhal-llla n y.artiloU.t1llYo' ronctive Iheir rolel wjilUi diliere llt Sell" of " ~e lhlncur-;erlt 'a-u lileik - .nodd s IIllC1ton, even I u . .!!i!.iIimno gm;;;;th;;'~ the· 0!l...9!_ ,~£2'!!p~I~h a !..!!.~~y ~i!l g "T1ee ",. the tlSk of lhis bQ9k III eneou r3Jtni'The emetItCl)$...ol . mo re plrlici!el ~. inl<::nctl'tt lramewo rlt for I rtr· and OIii.tIlHtt:!¥ .....:!!f!:!i1~.e ~ 1;l1 l11 pI UP o rtm- Ih; tfi""" tion~ whie 'ke I . rt a' a I laHu d pu rsui! void of puelieal.i ml lll ~ ~ [ he philo$Oph iea of tIle Ciftesian ern ca rried us away from a SC/lle of wholenns by focusing only o n ind ivid: lIal experience . Uhi mald y this individualisric f<>CUI n~ .­ rowed o ur aesthetle l>C tlpecrives as wen, due 10 irs I1tI llimeracrivc, tlOnrelatiollal and no nparticll'alo ry llrienta· lion. M Oil a'Iill. " ill ICe .rt al In s rena in whirl> to P"l'$~ ;ndivldlllll freedo m nnd ell-preni on. Under mod ern ism lhis often meant freedom f,olll cOlllmtUllty, freedo m from o bli. g. tion to the wnrld and freedom from relaledne». The emersing new pa.-digrn rcf!tl:1S I will to l'arllei/"lIe socially: a u nITa l aspece of new pa radigm thi nking involve' a .iguifi· cant shifl from 011/«1' 10 rt l..tion,hip,. It is whal lhc: ph ilO!. ophe t David Michi e! Levin delcr ibc! aI ~ flle rooling of vision in the gro und of OUt needs; the need lor openllftl, lhe need fo r C()l1 taet, the need for whok nelt.- WhetCiIi the acslhetic pc:rspecti¥e o riented U! 10 the m ~ kinll of o bjl'Cts, the ecclog-:..

sa

1OCi.lll

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unseulieg. Son le' an istl hut lake., of(enu at whal [ wrile beeau~e il donn 'l llppe:\r 10 validale what they arc doing; but a r aTadigrn shift ca n'l occur wilho nl ccesequeeees to the way we Stt and do thi nBl... tlore lormidahle dfo' l 01 trying 10 connruce a new visIon and put it into prsce ice, 11 is nol ~ rr of ou r legaq 10 view olluclvn as IN>wt llul ngt nll; of ch ~ nge; ho wever, we are being co nfronted with the necessily of lrandormin8 c ur 0111 modes ol llnde' l ta nding if We In! to su rvive the prfdicamenf5 tl1at are our ooll«li"" fM t righl no w. To cre ate loday is 10 ceeate wilh n:spon, ibiHly. " I believe il il belle' 10 calmly adm il, ~ I\lbNt Camus wrote Ilrophetl<"2l1y in 1960, ~ tha lthe period of the revered mmtr, of the artist Wilh a ea mellia in hi. bUll unhole, of the arm chair genius is Oyer ,·Ote way 10 prep are: the gro und fur a new .,n n. dis m is 10 make ehauges in on e's o wn life, Although Iny exampl." he.e Me far I,(lm u haUSlive (~ rliru lar l y in Ihc kool\(j ha lf of lhe book), they reprnelll a Imall sam ple of many people wh u arc belJi nning to rcieel lhe l ub;w i"" indi·

of Ul udcrnily A",I to wlJrk in ,In e ~ I';l11d ~d co mext thu glvC$ u ille tosodal and en . iron memal b clOrs, and who .~ tryins to u prC$$ in their WQfk S01t\C l eRk of 1CT"1~,!O lhe whole. It would seero Ih. 1 a . inllle philullI~ eollu.. dietionl In the pru em scene and oonside rinll , npposit. po ;n" of view, , Tu itnn wuh, 1&lln ll A'Il,;e the case (or !xlIi> . Ides, lWO radically diffelCll I palhway. of lho ughl. wilhom plttinS Onc: side againll thc ulher, in order 10 riD '" Ihe whole pitlu re. Even lho ugh my o wn Idenulk ation il l trtmglr with one directio n, I believe th ~ l lhe most fnl ltf,,1 dc. elupmc nu lIrc likely 10 lake place where lhesc opposing linn of thought mt'C1, 'rhc alllllmenll • ,h.1I pUI forwa .d do nor pruomt · poli tionl ~ 10 ~ held RI muth ali Sland poi" ll from which o ne may challenge onc's o wn hd iefs: my . im il III enlill the render's partit ipalioll in reehinklngthe ' iruellile of values he Or she: hu in place at lhis time., (or they are the VC1'y nSC\'1ce of bolh IN>liriC$ and In. Th e.<e ideas ara no! a lully reali1.cal is ab le 10 lnrucerod l~ moderniSt opposition lxi'occn the aC'lthelk and the l (Kia!. AI with my previOlI' boo k. there nrc mllny qll(;te. and 110 footno tes, In o rder 10 maintain the llow of nnr\a live and cornmentary. and ill lhe interelil 01 lVC'ter livelineu and aciiicibiliry. lbe form of the lu t is not linear bUl eydical, r rogrClislng mo'e like a $piral thal circles around und ktep' jllininc up with iuclf ~ gn i n nt new levels each rime. 1JVhM I have written h..v bc:al hl$pire:d ami ('mldled by lhe contri butions o f 11I3ny contemp orary authors in It" . eral dilfCftnllphern, and Ishou1<.l likc 10 fo rmally adr.nllwl. edge my d=hl here lO all lhMe indlvidu.b who have d ,a nllCd my wny of ieclng tho: world, and whose iden I have ~cmbroidercd ~ with 10 unreservedly. T he need for "reen chanl ing- o ur whole cuhure was lint poin led OUI by cullu . al hi'loNan Mum s \\erman in hi' grou nd· breaking boo k, Tbol

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;<.,,1~;ve eormccts art to illl integralive .ok hi lh. I~ rll.r whol. and ,II. web 0/ relationships in which mil t ~ i.15. A lIew nnphuis fnlls o n oommuni\7 and (h. ellvirnnmem n lher than On individ ua l • • Ilk-nll'.nl and . cwmpliJh",cnt. ",.. <.alogiC<J1 ~rsp.cfiyc does no! replaa: the aesthetic, hUI glves a dcc~ r account of whal MI il do i rl ~ , rd ormllioling ill mean-

ing and purpost beyond the ~liery l )'Sf.m, in oro.r to redress the lad: Qf concern, within the aesthetic model, lo r ,..LIet 01 COlll.XI or .od.1 ," poll. illil;,y. Redefining art and culture in lerms implied b ~ the new pnrndigm hnl bet'l my 1ll()OI persil Tent interett lor the I~" few ~n. The iou t I shall M puni ng forward arc

not Ilett$$a rity all thnt new, or especially orillinalr o me, bur they do ,lema nd a qu alitative cha nge In the way we think

abolll art, and Ihe prwp cc, of til". changes en» be yery

vld~ ~ li ll1\

HUNcm..mlleHl of Ihe World. Puticula rly I ab o wish TO single OUI the boou 01 David M ichu/ Levin, profcqor of phi-

k-phy 1 \ Nonhwalem University in llIinoiJ, whose wriliul> about the o penins 01 vision an ~ the cultivation of the listening sdf, as principle' fo r n new'an d mo re feminine "l OOt of

llciliS based 011 il1 terdepe",.!cllcc .1nd the ;tltCrtwi nlng of sell ",," o ther, has been deeply p, ov(KIllivc. Eq ually impo rtant

are the Sfound. hrt aking booh of Marion Woodman, a Jungian anll)'fl In private pnle:tic:e in Tcronro, whO$ol' exploradon of tM. ps ychological impl (t of p:llri.uth y aml r«oo· cepuoahzing of lhe fem inine principle h. ve, . 10 ng Wilh the

work 01 OIlier wrhers such aI Rinne E.isler, Carol Ci11 iR II\ .nd Cntlu! rine Keller, s.c rio\l. ly intl"el1 ced til e W \H1 C of this boo k, nud hclptd my o wn vicw 01 the creative potential inhere!>l in pu m. rsh ip . $ . new model fbr the practice bf U I 10 emerge:. I Ila~ I lto fo und a rt li n ideas bf psycholo&isll D,nid f-e;nlle;n ."d Slinky Krippner rtga rding rile dynamo iell ollnl ns!onning peno nal and .:ulllll al mylhs u tr emely usefulto the pru<:e15 of rd raming cu r ClIlfure. Lastl y, the Ilced [o r II new cull\l rnl cod ing mo re tcsonnnt wilh lhe emergi ng eco logical aile hal been urgently called (or by ecopllilosop"ers l homa~ Ikrry, Henryk SkolimoW$ki and Joanna Ma cy, a coli fhis book frin m answer. All these rd erencn . al well as counllWl othc:f1., art fO be: found in tM biblioSrIphy U file end of 1M book. The inclusion of 10 ma ny odm voices in the text ~avn a much rich er la pestry of ideal lhan I rouM ever have prod uced alnn e. W" crcver posslhlc , I h~ vc o l ~o let .1Il im speak (m the mselves, and ] ' m grateful to the Illany friendl who sha red IM ir inlention", and vision s with me. 1 could have indudo:d 11I:I" y more artisu, bUl l have tr ied 10Iimir n,y d!.,;ces 10 specific and hopefu lly wcll-eho uu enmplcs, rarMr dun present ing I n eXlensi ve co mpendium 01 all lhal is 80inll On. 'lbere is also leu ptr$Onxl ;,,(or,nation aOOm ind ivid ual art iots and their c.ut
ro

wkw of art in place. Sintt my rta li,y iJ ne e the same lllI anyont tlle 'l, and slece IOOA of me ua mplcs hn e been d>ocen o ut of my ow n a pcrienc:e rather than as an objt'<:live ob5ervtr l urvey;ng t he field, no OOdy c!ie'. choices arc likely 10 he lhe mm e as mine. I hnve chosen onty malerlnllhat wnl penoneAlly resonan t lo r mc, lhAt hd ped 10 build certain them es nnd 10 l)f()vi,je the Ih rt:lds 10 lie the various iSSUeIl IOll"ther.:lherc arc bou nd 10 be diusreementJ., bm I hope: ihe message and intenl;o n of tM book will no r beobscu red by endlm debat '" lIboul who h) 1 bttn ind uded and who has n't . The collt<:tive ta~k of Mr('enehanlins " c ur whole cuh ur(' is, aI I ~t:'C it. one of the croci.ltaslt, o f Our time, alid I sho" ld like to ollc r what I have writt ell", Ol1e " lo rc c<J Olrlbutlon to s celkctlve pru ietl, a vision thut I p"rcci'e I' , ha..,d by mally olhen. If it is attu rate 10 trace many of ou r presen t d ilemmas 10 what ha s heCll called ,he "d isenchanlmenl of the worid, ~ rhtt1 the toIurion, pnsumlbly, must somehow involn: a process lh) l breaka rhe spell and circle 0 / ro ulines huHf IIp by mode rn cultu re and begin, Ihe trR n,ilio n into B different ltream o[ e ~ l)C r ie llee. " Is A rcndelv(lu, between world an d sou l possible," l1$ kl Catherine Keller, " precisely wher e there rd gllS a mu ltiply inSlilulio naliud ]lOlilk 0 / disconllC(lion? In fM Weslern ma instream , wo rld has been Icraped OIlf of ilOIl l as ~urely as I0Il1 has been gre und OUI 01 wortd .~ Dualistic meraph ysiea, Keller ~Ia tes, I1CV\'t mmpktcly captured the 1!IC'lInd-tkalh energies of soul. Rcenchanlmcnl , a, I under-•. $ t ~nd it, menn! stepp ina beyond the modern traditio ns of mech.n ism, pos iti,i' Il!, emp iricism, rat lon nlil;Tll, matejjali,n1, St'culu il ll\ and If;ltnlism--r hc "'''o le o hietli fy ill!; (on· sc:iotlSllC$S of the F.nl ishten mcnl-< u a WlI Ylhal allows fo r) relurn 01 IOU!. Reench~ nrment imp lies ~ release Iro m the ~ afRit:tion of Djh ilism~ ",hich D.wid M ich cll.e..in h.u cal led ....OIlr cuiture'l CIIntcr of d>t *Trk·· ea 0 re ers I() t al dtange ,n, lie genenllloc'sl,n
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ScOIl I~ck demonstra res in Thtl Dirrtr~t Drum, we C~llll Of $;I.ve our d d ru wilhour ",vinll o ur l OU t. , We callnm hcal lM ~ we have mack o f the wo rld willIG!"! uOOrrtotn lllOtn c kind c ( lIjlirilUal "". Iin&- Ik fnl' proceedina to lackl, lh. · . rp1ll1om 1~ M how ever, it might Ix: useful to J» UR fo t •

moment sud <~ln~idcr wh. , your COt1a:p l uf • "SUCCUd liI _an'SllJ· Whal qu alities dotl i ll. hl vd WhM In M"Of "l!!ncc" in the world/ Ii the imogc that forms In your mind nne Ihnl you """ believe in? ls there nny1hins about illhMYOII would like to ch ~ nge l

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TH E POST· Av ANT ·G"nOl! I:! l1d H"mc Art, Hovee Cult"re, Rcft rsunrd Acdon

-.. II J«ms10

'1Ui' I~ '

1M " '41 qrlf',tiOlf I hllt 011 . Al!h.r, ,."" /lOWII ~t~ it'J minI 10 lurve th e res ilienc, 10 redefine iUt-lf find tah 0((

....

again,

ThCHmu Mcf:vil/
AI times 1",," 1,,11)' is prefera ble 10 /Hi"d l, ,, fUM/ioning. .

In,,.., Holw I wif/ Q(/

III

if whul ' do mQh , Qdifference. W illiam f am el

""

I thin k the ()pet~ tive question u>llay Is, how ll~· lui wOllld a rou{roniMiolUl1 w l!UlT, an a vant·S"r
"

the worl d lind Iholl'Co r le do nil! really care abom each orb -

c.IBII

er's welfilrc, The world 0' on oppressive and bruta l place ill which people survive o nly M eoeh o(he. ', e ~ pcnle has hr.c n (he lelnnoilv of Soe Cae's Ort fo r IIl Ally years , Her p ~ itlli llgs

7

M AKI N G AIl 1' AS I I' T H F. W OR I. H M AT T F. RF. D

Mooels of Parln. nhi l)

h. ve been eomp. red l. vor3hly wilh Goy. 's wnr p. ;nlingl olld r icasw', Guemicil by • number 01 crilics, who indudolxm B, ltlOOm in 1 ~6S , while h, W Jl I dd,r:ssing the Or,pniution fo, Alro· Amma l11 Unil,!; home!tli wom en hanl ing OUt ..nd miscra ble in Penn Sllllion; I black body ind i(fCfm d y IIKICd inlO a la nita llon truck whh Ih, rtll of Ihe garb.ge. A mo re recem feria , entid'd Poriopolis-a hus< body of work mOOm· pusing ~"ryrhing lrom paiming. on paper ro broadsidcscxflO"l'l thc ruthlfts. uncrolo&ictl pl""Cl ictl ol the mtal-p:lCking industry an d flClo ry Ilrm ins. in which the hlll:l '" f, d with lheir o wn eJtcrcla m i ~cd wltll eoecrere dust. The exhibition ft

T{lIM a " u f,,1pe,son has a/ways appeared 10 me to 1M some,IJi"Jf pa" iwla,I'! horrible, Charles """dt /lI;n

The alomit i"dillid ,lI,Jim , of fHllriard ' '! dest'uyl mucn of ,ht fabric of Ih, hUmII" ro". ..,,,,,it,!, S"dJ " d"m~d tonllll,,"i1'l is j"clIpdblt of undmlaHdiNg the "ttds ofiss a WOl mcmlu,J, "mtn len of " O" II"_Hwo rld,

me

Michael Zimmnmlftl

·rbt lIuumplioIl of luillg an iNdiliidual i$ 0.... r,ta l l'.S! limitll lmH.

W e ~peud , 101 of .ri me, in eOTllem por.ry Wesl' ern ci"ilil9 lio u, de31ins with Ihe fed int thal we a,,, aIm", in

"iriou,

- ..

" -~

= = .....iiii......

"

J

~ the rU lli, 01 twO yt~rJ' fil'\i1lmltJ observation hl . laughterhou$I;s and !nu t-packing pb nll acl'OSl the coum ry, and ind udel an irnpll'l5iyc amount of faClUal do<:umemalion. Wh ile I wAf te3dlilll in Ridl mond in 1917. Poilu Stili, was lhown I I Virgini. Com monwealth University', Andcncm Gallery. My student. visited Iht d, o"", and one or them, Dcn~ Gifflld, summed up the uneasinCill thaI IonIc people fell on ~i l1l; lhe p ~ i1Hings. ul lelt her show with ~ strong Im['Ten ion of the ill. 0/ the world ," Giffnrrl wrot e, "a nd o verwhelmed and frustra ted by the cUMmity 0/ the , ituauon, but no d U$C' 10 any idel nn how 10 help. If anythinll. her I II creared such despondenCy that it almN! IUS!lC'lred the fUlilit)' of any positive draM•.- A lot of frulfl'1l1ion and r.~ is btln\! vented in Coc:'s work, but the p.lIint illJ;lliCCrn underialingly 10 foau: onl y 011 wh. l', wronS' A great g ramt The {juestlnn for me at this time is whether arrlsn can be a poutive force in trans for ming the paradigm 01 alienation. Acro rding to art historian Roben Rosenblum (writing In a 1987 Cltalogue, Arl "gllmn M DSJ , - Oy now we aK ,II di.sc:ndl anted mough to know that no work of art, howev.: r much It may fonif)' me spirit or nour ish the eye and mind, hal the slighfCS( power fO save I life.-I cite fhi. qu<Xe bealUK I ' hink if dram~ tiz.es the primary n su mpflOll . bout ar t in our lime-thut it Is ""I)' art, and therdore p<:I~r1es, in the re~1 world. The assumption is one I "h" " ld like ll> put 10 the le' l ill this book. From within the pa' adigm of atieMtiOIl, it hu ht::t-n di fficult for individuals 10 f~1 r"'fIOn, ible for eendi,ions in fM: world over which fhey fu l'he, have no cont rol. Bill .. we begin to move toward . new ecolosy of oonlcious · tteJi, and the world becomes understood a•• place of inler. a('{ ion and inleroonnection, the challenge will be 10 break thrnllr,h the Can e.i, ,, iHu. Iol1l that have j;enerated the Impression of SCP" ll tion ~ l\d deta chment. n ola tionship il the h y in,igh t ol eCfllollY. In the modern world, we tend to lhin k

'"

of arc uclu.ively in lerms of a ¥isu~ 1 parDdigm: lll00t,n D~

Ihetle is pari 01 Dwhole cultural proi«t of obfectl6cation tha ' channels pc:rapuon Imo modes th~ t art denched and abstr;l(,{, 10<"0 1111 u. to remaln in a moda li t~ WM:n: ou ~gl l.C is that of l he dw ched obstrtr r. The anwt is I UPpowl to be emot ionaU~ dilla need from the event be is p<>rrra ~ing. according to O rtella y G OSSCl, in his Ismous n5 ay o( I n S, ~The Dehumauh etion of Art.ri Art evokes aesthetic, not real, emotions. The OIII"oker consciousness il a basic assumption here. Ortega presents the example 01 a dying man whose bedside i$ auended by hb wife, hi, dnc' or and D painter. He desnlb es the " Dinter's a" itllde as One of indifference: the painter ~)'$ a\lennon only ec ligh's and shsdow and chromatic nl uC1: -To aetuall~ wo rr~ abom the dying man,Ortega comments, Mis noI lhe 00J\fX1I1 of .esthetla. ~ - In painting and sculprure, me design is the esaenual tbing.· wrote Imml nuel Kanl. II invites allenlion 10tI,e ' llrb « qualities of pigment and tcKtu re. 11,e trut h of these eommenrs reverherMe' in John Rcwnld's account of Menor, described in 'l'Ilt Hist ory o{ lmpreulolllsm, Al the height of his grief, Monet could not hol p painting 111£ wife a ll her dm hhed; to his horror, he found hin'self drawn by his painter'. instinct -t he blue, yellow aoo IlKy tonali,;" CUt b~ dealh ,· Witbin tradiriollalleJlhetics, II is only the image mal counts. Lived realily is repn:SiCd hy me disembodied.qt and transformed in,o spc:aacle. Aoxording to I)avid Michael Levin, th iuMuctlon of being '0 picture ha, been dU r:lCler· i ~tic of aesthetics and is a pathology in the ¥cry ,har.1ctCr o f our .ision. The chn l l ~'I l:!e 1 111 jlo~c d by u vln's book 1'he Opel/bIll of ViJim, i~ a call lor n r~d; cany diff~rc nt kind of" vision [re m (Inc based un the diJc:mboc!icd qe.-in a sense, il la Ihis dt.Uenge Ih~ { I have .. led to ta ke Ill' in this book, In o,der to m anl e the social ill. that we see, ltvin d~ i ms we will ti,",t need {O dlange OUr ¥i$ion. HislOrie:lHy ~ model we have in place is inheriled I,om the RenalSAntc , whkh created the spcclator who is outs ide the p1eture and 5epft' Gte from what he 5Ct'1. The vi, ion we need 10 develop i~ nOf one lha! ub..,rvc, and r~ port1 , th~1 objectifiel and el\ frn tl1e~ , blu one rcicHilCd from these N"ilri n8 tendencies ned rooted lnstead

'0

"

in ~ rCl poll livcnen tha t Il hi Ul ~ ldy c ~ prcssCi it,dl in action. " 1511 bmi!, ~ levin writes, " tlu e wilen (vision] . . . il made concrete and situational, '" tradition. ' f(l.ma lin n and . N t,nctneiS are ovcn:OITlll. ~ In other words.. vision ,hat is truly cng.~ged with lhe world i, not pu rdy rognitivt . o r purdy aC5. hclk , bill is opened up 10 rhe body M a who le and muS!

;n ne forrh in social pf'actk o:s thai "take

10

hun" ..mal is

seen.

·Visio n is a Klcil.l praaice: he R;l' ", "and needs

10 ~ ur>dcrstood as Illch," Implicit in tile ..-ioI<:nCl:, povcny and o p preuion dqli<:tW in Sue Coe'l paimin5'l is a n il !O Mal, bUI it il a a ll mal Kantian Cartniln an n~cr

.""thcia

answer. FOT Ih." we n«d an . n Ihn In llSl:tnds ,to_

dil lano=t\ fo rmality of aesthetie. and dlrel to rcapo rnl to the

criel of 1m. world.

Du ring the willie. of 1981-88, an I:$rimu ed KV-

erlly lholl5:l00 pt'rwns WIn hOlllOek$l in New York Cit)'. with no f'CTlTIanc1U ' helter and no u (e place In go. " Epidem ics. housing, healt h-the C(lnceOlS of ur ban 1'C'0001~ow do 'Ne' ~nd Our I>I'IIll>c:tif praclio:e in ~blion 10 these conceoul- aslu Ihe l'oli1lh arl in Krzy'l7.l<)f Wod ittko, who no w livtt in New Yo rk. Wudiezko is k nown InOidy fo r hi. prOl«ljon~ of pho· lOgrar hic i m a ~es o n buildinss and pnbl!c monu mentl, b\ll it WM his Ho",el~JS Vel!id~ l'roi~CI, exhlbhed at I city·o wned ' g ~ lJery space cnlled the Clock tow cr I" down lnwn Manha tran d llring Jaml ary 1988, rhoi lIigni6eanlly caught Ill Yatte ntion. Wndk,.Ko attempted 10 de~il\1l n vehicle, based o n the shopping carr, rh~ r co uld be u~ed fo r, trnnS~lOfl and noragc, mi d Illigh r even ser ve as n rcmllor nry lhcl ter for peop le wh o ore com pelled to live a nom adic life in rhe "rban environment. Speda l eHlension, on tile carr allow it to eHpand Into a vari. ety of usef,,1 POSilion s; yo u eln crawl inside iI, fit up , lie down, an d sro re per"'nal beion ginlll' "" well as lip 10 five humlrcd ""ti les and callS, which enn be redenne
pmtnlyl'C' cart S!ll00 in the eenler of the roo m looking like an aggreJlSivc miMile. Taped eo n ve~ations berween rhe enill S and people lalking aoo ut the ca ,ts played conlinuoudy Ibrou glto ul the exhibitio n. Ir Is Impo rt1\01 10 Wodi t t ko lhat Ihe pl"Of>O$Cd design nOl be pUI fo rwa,d as a finished prod uel bur as a Slarling po iI'I 101' further coHabaralion between Ihe designers and po«:otial UKrI . It il 001 Wod im o'l imenlio n Ihal Ihe vehid~ be ma" produced, It a way of invo luntarily iflllituliOha1izin&ho mdCllJ1n1 . Inllead, rhey are designed to mccl cmc~q nnw . (So far none hne been manu F.c· _ rured.) - l.ea rning from this p~ nieu la r Kfou p It~ fcavtngenl modi fied my project enomlOul ly,· Wod ialc o !Old me. . 'fhcy responded to my initi. 1 drawinp-w~ d...igned accordin; to lhei , o«or nnl to be eHclllded fro m social life. hllr cad of , luIIlt illg lhe hemeless ou t of v i ~w, it ;' Ci!;l11C1I1 thei r visihility ftnd legit imizes their o therwise nurecogulxcd SlAW' AI memben of the urb an c" m m u n il ~ . Tile moblllry of the cart i. inlpo rtanr. Scovel" gers need to pus;' around he'" , y load, uf glan, melRI and plastic thnt they collece fo r redemp tio n, in o rder 10 survive. ' If Ihey sleep, they aim h nve to protect wher they have eel-.. leered lrom vandnls and !"lUee ha n l l ment. It beco mes voluable capital. One of lhe le:\l lIra of the can, besides rrans porlnlion and sheller, is fha l il compels us 10 ad<no wledge rhe hornelen as mo re man wra pped·up o bjeers in lhe streer Ihal wt ignor e and ste p over. Myo u (ao alwa)'l rceogniu new· comers in !'kw York ,ft Ia~' Wod kUro, Mbccalille lhey actually loo k at rhe ho meless. The u peric:no:d New Yor ker deflects I :l l

100

.

his ga1~ and is nOt affeclw. For Wodiqko, homd cu peop le symboliu what il really hRpproing in the: ~Iy in ICT~ of real-eatafC tah oYe,... and lim n oafl IhM "Ike them away like r:lll-nu n reeO~tlilillg fhenl AI I"'0plc who arc M

working and u rills II> IUrYlve. A doigned objea addresses their need, well.Because me middle dass il trained 10 KC 1M world in terms of desigoed obj«ls, they ~gin to roflsidcT 'what is this ob jecl1' and 'who i. ;, lor?' Thil s;vCl hope lor ro,nmunK::M;On, which is olf .im.·

In another ~ lreq of hi' work, WodiC"l k" proj ecls photograp hic images of the liomd cu onto the ouuide surfaces of blliidinRi and on public monu ments, as a way of forcing ackno wledsmenl of the con fradiaiOnl IUch monummll embody. The projeaiON are Qt,.Iyul fof dQlogue with The public aOOm a 'tain ~al co ndiTionl. [n Union Square Park, for in'la nce, The sta tue of Gfflrge Wal hinll,Ton, :II a ' eIlllt (If a pho tographic projection, il made to appe.1r ~ ! if his left .•rln is prcu ing down 011 a can of Whldcx. I ~ il .iflln 10 thB! Walh lngulIl'l paternalill ie gesarm holds up a lure 1$ trnnsforme into the han d..ignal ullotd by the unemp~ to JIOp call and dea n windshield$. Abnlhlm Liocoln'l Itatue il augm ented by • crutdl and a beggar'l cup, while l..,f. j'C'tre'l ex'ended .rm becomel a v"&,,,nfl, alking for coiM. A l imitar Hnmeleu Pro jection was created for Ihe Civil Wa r men'orial in IluSlon on N ew Yea.'s Day, 1989. SupcrimpOI1118 im" Eel of P(lVert y-mlcketi rcople on buildings and monumenu decollllruclO the offkial puhlic image of Ihe cily as , well-manalle
nll'

'"

mana artist John M ~ lpede, - il car ing. T hey need ,i luarionl Ihat would allo.... Ihem to part Kipale in life, IU contribute .nd focI :u IhouKh lhey . re r.n of IIOmClhi ng.~ Tired or m. king arr for rhe purpose 0 getting l"C' iews and building up hil rn ume, M. lpcdc Ielt New' York and went 10 Los Angeles where, In 1985, he beeemc the fmln der and a.ri!llc director of a t henler IImuP composed of n-eee pee'pie from Skid Row. - I didn't heve enoush respo nsibilities, emo, ion ~1 involvements, cona:rns . bout Olhel"$,- he saYI_ Sometimes ailed The l'hu. ter of the HomeICSl, l.APO (whidl lu nds fur the Los Angclo Poverty ~rtmem ) has , I~ady pur on m~ than a hund red sho ws., .nd Ihe comp.ny now Iraveil (requently o n Ihe road vi, iling other cilia, encouraging !'COple who are Imeresrcd in e~tab l i lhl ng l imii.. programs. [n order to sa in accell to l..Ol< AnEcl es'. homeJCI! ro mmunll)', Malpcdc WOrked.l . volumeer In a ~'p kit~, while taking . job alrhe office of Inner Cil)' Law in the hean of Skid Row. Wilh tbe help of vana from the California An s Cou ncil . nd lhe Nalion,l Endowment for the Art$, he hca me the law agenCY'1 fil"$t arlist_;n_rClliden<:e, and began to fo.m rhe the'tet group through weekly tnlent InnWS held on tlie streets ~ Ild in the ' nelters among Skit! Row residents, who vott for the best performn nce. His work .1 Ike free l. w clinK helping welfare applicantS secure bencliu; gave hlnl a sped.! enlr& to the neeee people, . nd he w:u . ble to IUde on 1M d ink'i long-standing good will with the. comm unity in willning their trnlt. - We do . ction suill . saini llhe welfire dep. rtment, " he told me, "on behnl ( of l'ro ple who, (or instan ce, do n't haY' the proper ldcntlflcaticn 10 gr.t welfare. MallY of our CRSe~ hnve been WUtl by direct test imony Irom tM homeless. My job has been 10 go arou nd and gel those Sl' tt:rnentJ_ I Ihink of it a bit like an an form-nal Iloric:s from , msybe, • hundred 01' 10 pe0ple.ThC5C i tones form the ecee (I ( LAPD', lM: rfor' m ~ II ~, sillCe there is IICV" a I'r~ ~ r rn ngcd Kript, only a series of monolo gues, often raw and chnmic, ,o ll1 ~ d l nel wild ,1'ld -' obsesuve, ill which indivIdual, unfurl the fabric of Iile ' on Skid Row. - Nothing is wrill en dow n; Mnlpe
'"

• We develop ~ $l= ariu whkh tlIcryOI"lC gets \0 kr>(>w, It cooks II goes 31<)l'I g, like sp~~~ri sauce. Some of oor people un', even ,..",<1, but even for those who ean, it ,lu]rifi.. things. This way people nrc always addmg stuff, and some of .CcIWS change,· :IJ

,h.

Gra to mhers, li ke how In nrgue, fo r u:nmplc. In the bcginn'''11 people didn't k nuw huw 10 K I:I,t 10 nrher al all_ which refleeeed the = ,lit y 01 Skid Row , where IhinS' h 3~n on to p of ""eh other. nOt;n all orgnnilcrl way ,-

nrn

I" thi' unreconsrruoedand volatil esiluation, whm

cmcl'll"J i, nOl alway. cx p~cd . On a given wo rkshop nighl, there ma y be lou d argllmtnls ~ bout who is the lxil l n isl {a good lltinR, attord inR ta n~1 in SOnle members' altilily to functin n ~nd to interact Wilh ' nd c'lre alHJut mit er people, . , , I was tlmwn here to wor k,n he snYI , "because fhe "'gelley of the Situation endthe emotionl it fi rc:s provided tile co ndi. tions 1 wanl~d for n'aking ut,-

104

M alptde "'imklf appean in so me per formanees., "., weari ng a will ami a pink-a ndoQrange hoUKdms, p1ayinll tlte pan of Robc:rr O o u£h•• "crony· blad< rran....esl ile: Some. limes o ther \leUI'll' pl ay Melped c, or ~ ach other, It 1s a bit wild and an, r. hie (or sn me mnes but o ther" are deeply imprcn ed wilh the I,ro«ed ings. For rhen, the tum ulertoCe is wh at m~kCl it 10 po werful. 1 inquired ul Malpcde if I.e I cted o utmgeollsly to crea te: a eo nrul for oth ers to letl free to C ~ I''''~~ thems elves. " No \ At ~II ," he ,e pli.d. "Rubert , the o utr ageous tra ns~ clli r e , was nctuAlly o ne of o ur 11IemMri, bUT be mad e a 101 0/ tmI1ble fo r cwryone, and evemllaUy he l ot $enl ro jan, So I too k O¥er his pa" , On Skid Row ",erybo dy is oo tra lleous-Ihey don ·l need encouragcment ,The nulqueness of LAPD Is that lt i ~ no t IlO li r i c ~f o r " iuue ·oricntro" tl.eBler, It is Adirtct U II• • ienee 0/ whll it mea ru 10 be a ho meless person. And., 15o ne critie wrote in /I,tr0Tl'm, - Ihe ch:lnocu.s aren't piliful, and IOmetimCi lhey uell'r vcry Rice, TI,ey imrl1o bilillf: any do-geo de- impulle In th. , lId icnee. I" fact, LAPD make, ~ liberal ,eSl'.lpcde. He doc$n', see rhis IS ~ "'ind.-net, sinu h' wltm the grou p's prim ities ~ re, The a rrlt'lll show, f(lr inStall« , is nll ~ bnut l.tro y "SlIn· shine" Mills, ~ group mel1lber who got throw n Ollt of n fOlrrth· floor window end nearly d ied ; LAPD is wo rking em gell lnll him I plla.lo lilY , Many people wh o sta rred ou t lost, an d even dchlSional, have fo und pIa"", 10 live, and IlfeS! f~l i ngly 10 hnw Ihe wor ksho p saved their live", " Befo re I w.s in R rut," Ildtes Olle m C[l\~r, DouHlu Perl Y, " I wns alwaYI by 'nysclf, I dida't w~nt to wor k; I was eon fUKd, Joining the 1h.e31rr fl' OOP b,ollgh, me back In rnlil)'."

105

Vi,ion rhot lUpondi to the eric's 01tile wo rld .ml ls truly enll"ged with wh l it JeCI is 001 the U me al the dis.cmbod ied eye Ihat ol»ervc:s I nd report" that obieetifit'll and enf" IllCl, 'llte a bility 10 en ter into I no lher'l emulions, or to shaee ano ther', plight , 10 ma ke lhdr condi tionl o ur l'lWrl, ehuaCferil es art in the pa rme rship mo de. You can not exacd y d efine it I I se ll·e xpreuio n__;, I, mo re like ['('Iuionol dyllimics, Once relaf lOl1lh ip is giVen greater p riority, a. t en,badies mo re l livcneu a nd co ltaharo'io n, a dhlle nl lOIl excluded from the l olitlry, en endally logneentrie dl"ou., el o f modern ity, l'a rt nership de ma nds I willingntss to COl,ce;ve o f an in mor e living lemu. "Compassion is the root ing o f visio n in fhe wo rld, a nd in fhe whole o f bei ng'- sta te. Da vid Micha el Levin. It is a wa y of f«i ng ethers as pa n o f o ur. selves. Whe " a rt is rooted In .C$po l1l ive bean , ruhe' lhan the disemb odied eye, it may evCll come 10 be seen, not • • the solita .y p rocess if haf been since the Rellail$an ee, bllf II

In.:

JO"'e1hi~8 W/I

do with o'~rs.

At lntermediare School $2 In Ihe Soulh B.onx, w~ New Yo rk u t ist l i m Rollins has faught fur many yearl, t"ere ' re many in ner cifYleenallers w" o havc been c1 aSlilied 11.1 en1O(ionaily handiCll pj!ed a nd k.lmi ng dlssbled. It w.:u with • sm.ll band 01 these ,tudentl, who a n: now known as K.O.s., or " ki'!:s o f , urvi val, ~ . hl l RolU'ls in 1982 bes;r.n " if Art I nd Knowledge work, hop, which 1111 l ince becom e nol only I n ln nov ~ ti ve mood for lea rn inll, bm . 1$0 fnr creal ing a rt based on plrrrlt rsh ip. Uke niosr Irr leoc"erl, Rollin! hi d lJ.ce n lea chi ng I nd m.klng ~ rt at lite snme time. 8m, di.,.,il ficd wll" Ihe Ihn it~ lit1 n s of thl l, he decided to fuse lhl' lWO praclices and begin m.king Rtt willI t he kids . " lIeel ",e many o f th em were dyslex ic,· he u ys, "I wOllld .ead to them, nOI IhO&C e mbl..a"i ng prime,., but books like f'"nlrCJuu;~ , Dicken s' H"rll Times, Kofh'l Amerilr" and Dlme'slnrnHO. The kids "",n t cruy for them. 1 wOtJ I
106

Ihe &IiUti ng poim, the InspitltioMlt ri~r, fl>l''' Uniqlle "'lies o f roll • bor etlv e paindngs. Ro llins a nd rhc dnll woul d ," LId I"e book togethe r to tty 10 gel .. sense 01ho w I"e'lo ry mighl .e late 10 lheir own ('(H'ee n" Ind IIrlllWc:s. The SCf/, ld Ltl. U' , for ;nlll nce, bro ugbt tip ISltIe1 of Il\lih .",1 "hame, ' nd bow peo pie p UI negntl ve lahd ' nn o ne ~ I\Ol h e •. In the SoUlh Bronx, low·inco me bb d cs and Hiaplnil;s I n: consta ntly bci~ labeled II n ndc rprivileged o. d lu dum og...d by propl... in power. " It's no t u nllk... thnt ' II ' Heerer l'.ynl1e hns 10 l ew 0 11 her dress,· sa~, RollillS, "which she lransloml' from a $I il)lnl o f ..... me inlO I symbol of p ride. The kKls got inlo th.tthey sla rted loo king If different typc:f.ces 10 represent the

'A'." Eaeh painting ls launched through a slmila. PI'Qlelil, w;lh I period o f b rl;mlo rmlnll io. an image o. sym bol Ihaf can beu be used 10 commnnlc nt... tbe rol e ""CLllllng o f the boo k. The il, its p.!:es mre emefully tot n fro m one copy and p U led in sequence c nto the 5urf lce of lhe anvilS, th.ere 10 becom... Ihe lit...ral (as we l1 ;1.1 m~t~ pho .ie) grou nd o l lhe piclure . Fo r TIM R ~rI Radge or 0l" "'8e, Ihe symbo l I" al emerged w. s • wOllnd . S'eph...n C•• ne sel his llOvel du .ing Ih e Civil W;l. r; the SIOry concerns a new recsuh's psychologleal experien ce ()f comb at, ~nd his ye ~ rnh lS (or a w(llllld- A reJ badge of cou rage Ih. 1 wo uld ¥isibly Signify hil heroi c pUliS< from youlh 10 m ~nhood. AI t"e k>ds lalk ower the -.. mea ning 01 t"e symbol , Rollins sho wl I"em p . i n';nt;~ ~y GrUnewa ld mnd Ilhn w grallhs of exploding , tar. fro m N!I5I1.· The encrgy builds , and wh at If.rted Ollf as ~sbcs begins; to tl ke on I C05mic di men5iOll u nlil, 6nlll y, a ", ho le gl13XYo f .slul pres... neCf, r<:>elllbilng romeu o r ot hcr celestial bodies , a re l.a IlSI)<),led cruo the cmnvlts, as eaeh individual creates hls . o r he r symbolic "red bltdtle~ in pa;nl, lIand ing fOf all Ihat one has survived . ~ l l iked Ihe idea of wound fo"nl placed III o ver the 'lmdy' of Ih... tex t, say~ Rol lin~, II painting 01Jto ldefl ho'n.<, derlyed flo m • iC<'ne in KJ,fka's Am..,;Ira, is prob.,bly the hal known painl;ng ~ ma,1e by Rollins and the K.O.s. A . ... nlon 01il is in Ihe Sa:tld,i Celleencu in l.ondon. It refers 10 I n episode In the bnok in which . n ;mmigra lll boy eooleS iOln I room w.......e everyone H

,,,

I

;s dressed nil ~",I blow ing on beautiful horn,. In the p~intin g llher. n'IU~ Ily ,h iflt o" dille ren! versions of ill, c ~ c h hor n is 5"1<.1 , bUI l o me arc tincwy and pJamlikc, whileothers have a Il1(lr. formal design. Co ilN and wddcd f
,'f.

a.nvaJ, rltd . inlcrkxk ing .hapn seem to mimic the mu ;ng rilU~ l:l of in.scrll alld flo wers ill a eonrened minlllin8' ·SOlt~

" f ul li ke drawing lleomClrk, ~, eonuneats One of lhe kids, "others li k,- 1:1111 and _tuff_ that ', why whe" you I' m the ln IOgelhe. they luok 10 good .• M.olli n~ makes ;1 clear that his intc~'l iI nor ;n C$t:lbli.lhin& a pl lnting learn, hut in reaching M W kids and

hdrillg them rc:ali7.c Iheir potential. liis goal is fa IISc some of thelr prOMtSI" Slm! hil own multiculmm] art school in the South IjruIl X. l'resentl"g what he docs II a" nhCll1Mi ve ro the 1iinW~ ·tra.ckcd ~tlisl , Rollins ope~al<:S 011 I)l ~ny fronts at 0>1«, Jome mlervl~WI I nd communIty wo rk as well ai big public shows . "I'm I hg wav~r, · hi, nys, ~ Wh~t we do i, no t valuable unlrs s ol h~r prople lUll do ing It in their rom' munhies, in I~i r o wn way... . I::verything we do is to build so nl c t h in ~ d l c-i l im 'l goillE into J ~~\,..,,i l for ou r loft. n 'me phH [)J(lphu Ma urict Merlu u·PnfllY argues, in I n elSo'\y entitled ~Cb:a nne's Doubt, ~ Ih. 1 it i$ no t eno ugh for phi)osopbn5-(N', I 'oJItOU1d add, artisl5--fo ctea te or exPresf an ide;!.; they must .ltu awaken the C'llptrim«s tlu.f wiUma ke their idea IIk c ro ot in the ronlriO\ISllCSs of uthers. Wilh thil in mi,'d, It ollil1 s and t he kid, now trav el exteusiveij ,
10.

see Ihem5elves as aCli ve pgems, chO(ll inlla nd impl. menting projects t h ~t glve peop l. all e:Vf . detcmdod onto t1M: bt-ach to ronver$oC WIth tM pt:rfQrmers. Ago;n 0" Mother's Doy, this li!" e.in 19 ~ 6 , oll(llher proCfultHl wal orchell r>led by I.ocy; lh" \lm. .. ~ hUl1nrt
""

-.

-..

older wOmen, all d..ssed ill bb dc, entered tile huge, gil" " enclosed Cry$IBl Ccun of Philip Johnson'l IDS Center in dow ntown Minneapolis. Once again they I~ [ in groups 0/

tam

four. thill ime al tablescovered in black, to discuss with their acmmplishmmtl and disappointment$, their hop'" and feMI. Aprerecordedsound track, 00115i" ing of ~ n eudlncollage of the Yoicel of seventy·five women ' Ilhe l~bl c., pro. leered the participants' reflections loudly ~lIsh f Q be hu rd by the IlJdicllce ofle'iclal rhouund, who were looking down from the balconies. The audience it important for Lacy, not Ot oo

so much in terms of number, but in the degree of their

engagement and communication. Al the tlI bles, the women rearranged their hinds in unison and IJowly folded back the black tablecloths, revealing Mirilm Schapiro'. red and yel low seoIM1riC pau crm bcni:3th. Th e p,n rl'll nS"d rno~e­ rnents of th ~ r h ~ mls, the slow unfolding of lhe d Oths 100 the colorful delignl symbolically suggested the I'to<:US of

qu'!lml klnll. When the rilu ~ l wu o~ e r, members of Ihe audie ace WCIll invitw 10 present the pcrrorlTll'n wilh haoo-p.i mcd I(:l r~e~ , placing them on Ihe WOnlCn'. shoulden , al if commemor;u lns I kind of public in ~es ti tu lll. Lacy hu dedi" IW The Cryltal Qwill to her mother. ~The goall in tlly work,~ me U y", " s !'f delinite:ly . . . to empower pani d ,J;lllls, to rai. e eonsciou. nen about certain . hlred eondition. o f bei ug Ie rnale." If older women in particulu are to move into the public sphere nOld enjoy n:lalionships beyond the: nuclear family, they oeed 10 denlop communication skills and lolidarity with olher women. Tnmsfnrnling lhe experience of cxd ulion . nd alien.tion (rom lociety inlo une 01crn tive empowerment in the eommunily rcctuircs an CJl periencc wilh recipNXIIIi,ten;ng. "The eultivation ol li$twlng," wriles l.cvlll in Tbc USlen ing !kIf, "il imperative if our Stem of domination. It i. impcrDlive, If I n hln o rla JIy new kind of >el f il ever In cmerae from lhe IllIdl rional duailim. . . . Our lisrcning needs In learn I'«qI livc1ll:\S, responliVCllClll, aud care. Our listening needl to return 10 the imertwining of lell ",'Id other,lubittt I ud obi~t. for il is then: that the roots 01comrnu nicarlveJ\.CU take hold aoo thrive. ~ 110

The Crysflll Qllill project ln~olvcd collaboration> with severnl service n&enclct, luch as tbe MinllCiOt. Board 0/ Aging, and educational Insthu ticns int~r"led In promoting authcnricimagn o folder women al a~liff parricip~ntl in the public sphere. Rut mOIl of the Ictu al work wal d'lOe by vclumeere nnd lOnny of the' women I'~ni cil' 0led witllollt rehenrsnl or prepnralion. For Lacy, the "11la:css ~ 01 the work il measured by ....llcIher <11" not Ille procell o f nelworking amons the women continues once the perform. nee itself II fi nished. III Miunelot., ten of the women w ent 0 11 to fou nd In organiz.ation dedica ted to chillenging IlerCOtypc:s 1)( cldee women; !hey now offer sratewidetraining pmgnms for women in eommunhy-crlenred leadership Ikill s. The rt\elSa~e they ore disseminating il thMolder women are cnmingof a~ and OCCUpyi ng a moil: promincnl place in the world. " I think IOmerimes lOciery fOlltU !hat older women hi ve a 1m of knQw ledge, can be help ul-we'u not being brrll,shl , out well on Iel evlslou at all," commenll One of the wumen on Susan Stone'l audiolape. · We' re no lon~r lilrin@. home in the roc:king ehair and k nirrin~ like you thInk of grandl.nas ;n the old d. yJ-owhen the work W I S done, they would 1"5t Ilt in the rucking ch.ir and knll awny. We grandmas aren't doing lhal . ny more,· SlatesallOlher. "llhink 1 101 of lCO ihlY comes from the fnct thllnobod, ISks you anything. Nobody nsks you \0 speak, Pretty loon , ~ IOYs Sf. ['nul wri ter Mendel Le Sue" r, ·you lose your memory. I luffer • lot lrom people onl tillcoing to n>c . ~ l.isreninll is . quell ion of ~h . r.cte r, . ecord ins to Levin. lts development II a prnctice of the self. When Cali. fornia aniS! Jonathan Borofsky . nd his collaboralor Galy Glanman traveled in 1985 and 1986 10 three di££erent prisens in C, lifomla 10 make their video-docnmcnmry Pris· Otl e,s, they did not go . s network reporte' , intendius 10 observe and describe the eonditiolll IMy found. They went .11 listen 10 prifOntl"S In order 10 try and underlland Illeir plight, 10 lhey eould know for lhenllelv", whnt il men ns to lose your freedom and live your life llJoCk ed up in a celll~n r ' box. "I'l:nonally I'\~ always had a running empathy lor '111'~ . one less 10fl\lOlie rhan myte1f," Borofsky told me, "for pro-

'"

-..

.. pic 1r:1 11poeo oc.111se it is desilltled 10 btu k you dowll . ather than 10 hd p you. Whn l you let wilh Ihe prisoners, I ccording to Borofsky, II thl t they've never b«n show n ~ ben et wl y. " I u lle my art at a tool," he 11)'1, " to work OUt whl t'IBOing On in my life. I'm working willI nn inner pulitics horo, " n,1 what's Bo illg on In these prisonshns til be worked ,J ill in Ill y life 1'1{}••• • Wb t (a ll I lellnl from thQ. pl.'ll l'ld What don it mean 10 be fted Why do people end up in ptisons ?" O~r cillhty pern. nr of ",II f;l'inliullJ h ve b«n vic. lims of et.ild I buse. Nin.ty ~n;:em of tho criminals in Death Row were children in the foster care IYStem. Neal ly nil f()b. beries in UtI Angeles are d mg related. TI,e prop le who end up ill priso"s oro ulu aI)Y. I>t(}ple who dnn'l feel good ahOUI them,e!vn . ~ When I Ilhnwed thil film at Yale," I\orn ll ky I tal"", " d'e 1' ''datU Slid it Will i b~th of fruh air, They

II I

.

u id, . 11 we do is talk nbollt win! is modern nlld whAt i, p()~tmQd e rn . Th is shows nil n" i' l dD;ng ,omethinll ill h" mO il terml. H Ol'd~l lIy " " chillg is u~n, but o" trent modell a,e limiled DOO Illos lly people play the game within itl lilnita. · t iolU• ••• 5«'retly mOSl people know the best atl;. l. in Ihe pill h ~ ve ben! those who &0 "!:l inn the grain, who smck Iheir tied OUI. BUI now il'l nbout i u""in l and how 10 plly the I;lI me ill Ihi, ~ nn l1 d ~ lI y crunched atmosphe re. l'.ve'l yo" aile! I are c ~ lIglH ;n thn t s y~t" I1l . " urlninly iI" true thnl w. are caughTin the sys· tom along with everyone eb o, but we nle I lso pl rt of ill unfolding. There is nc doubl in nlYmiOO thai the seMinl of underslanding and respect Thnl h.. OCQIrtcd through the DIl of Wod lnko, Malpcde, Rollinl, I ~cy and Borof.ky &oct: rome w ~y h' countctacring lhe social p1ychop.11hy depictcd in Sue Ct:>e', pnltllinSl, Etnl'.1l hic m t is lik. " window on the d'. Rmbroken sOlll of our soci. ty; i" Int oralive acTIOll helps 10 eorrecr me imp. ired fecl ing ,funcriOtl, the plISive noninter. venlion of 5{lCCIaCl11ar mocles of ClHUCiol.lsn. .... - Beware, my bot.Iy aOO my fOII1," w' ltes Ihe poet Aimt Chaire, " lkwl re aoove , 11 of crossing ynur " rm, 1 end Uliuming the ' terile' ntlil Ll e!e of Ihe specm ror. I bec.usc life is nU l a ,p . cwele." RighI 1l0W, 011' 11.l l1urC n ill r.rolltoto, llOlly di«'". {l nnchiKd col1C('l' tiotls of the &aci. 1 ro e and polhica l functiOll of I rt ; I nd it will continue 10 do so I I long IS we emoti ve of CUhHre il""lf li mply ra an I rena ror individu.Ls 10 .ch~ tht i' own profellional cnd.. l 'ho ld r·krvin/t thesis generated by CtIl'itl lil ltl a"d its u ploh nt;v. , dominator rnodeb is tim tho general w e l f~ rt is besr served by !eparale lndlvidunls motiv ated by I'ro~ t, in a competitive envtrcnme m. But self. K,vingl1elS, it turn' our, is lhe , rent enemy of conununity, RabeN l\ell~h and M . Scott p«k, alonll with mlny other wrilOrs., have been poiming ooT Ihat unless ~?itl liiOl . , ~ whole can become genuinely com mUnity·minded, il and the world {rom which it profi lSate unlikely to $\lrv iv ~u ltJ " rcc~.L~d1~ck"ltlmlft.liJlff~re" tti.l w"'~l\lha~,wo l tv e

in~.m,w.bich 0ur"n.ed,{ot.CRItUlIu.mly.hlll;i!lIClf·bewnle eri ~.ut.w...have,a"dwice.",W8,can keql
.. .

..

~nd. ~.w.F..(~,n_~," k~~ ~p.'~i.,;dfo m~~Ji'«i"!w.l ~PiPn. • ro-take"llfr-lf'ep's IIceeSIIil rfl6' JI;'li1fIf~i l';Jf:l M'M'O rue ln fhe ClIpi,~lilit world, ha..~ never had an el{perience of t 'll~ co m111UO;ty. 'W~mlin!"Tretl,oSlof prOfdsIOllalilm,1whicll... kecW ll~· bounlellleg
CI.8 R 8

B E YO N D T HE It ECT A N G l ll , OUT O F T J-! J;- ' " F RAM!!

co mpd ling 10 mc abo Ul lhese I nilll it thcir abil-

ity to r~nd 10 [he eria: of the world aJ "rtuU. proving lh. l being an utilI . nd working (or loci.1 change do nOl

An

aJ

CompaJliona' f Action

have to be at od ds.

.

,?, t~~in n

acsthetics h" prcliuppoKd a .oolitl.,. .

'!Oll led Illb!edWl'~, bU!.when: Ihtre il dynJ.mic p. u id " . -

lion, forms arc 1l0!

IllS'

Y'Sll. l-fhey lead"$ Levin

"'Ii 10 a

rd. lk,)n . 1experience wilh !islening. TIley lead to t h~ fo'r m~­ tlon of itl~nt i tie~ Brolllldw in the oommUnit;l livc te~ li~alioll of OUt inrcrsubj«.liviry, whidl lransctneis tM ego-Iogia l, ~Ked self 0/ 11K CarteSIan ~fld Kant ian lra dilK.ns. "111" dialoctic w ,,=,ri ~es Levin in 111c U s/c";,,, Sd r, · de~c",mum lho nar<:j~­ ~tSllC structu re of the . e1f, redecmi" B for sub joctivilY ilS primord ial iOCi ali!y, its inherence in tM reciprocit ies of a iOcial wo,ld_ 'mora l community.' " I! would seem lhat rh e eapacily to 'nove beyond the old arNIlII·life, subj«t-obica: ooJ~ ril iu i, precisely where lhe Ironne r of • pOIl ·Ca rnsi~n fra mework is !O be found. Community il the starting point for new modes uf relatednesl, in which the paradigm of 10011conscience repbcC$ lhat of d.le individual BCll!UI. l. .b"pall,nvr ,hovClimade' lllI!m m . ~cilIofw. rN .. a;ml rlW.l.lgjW~, ~umetJ llwtlbau had ;t,fU.~ a I,l!.mll!Cr..{~l.p..ua~tl;'1N(: have.h~d.llrt .. A\ln\itute {solllcth,n&- to Ihlng,onolbt..waU,\ ;'-an d1we"l1 avtkbadian''II S ~ ~N.~ l hc.~Jf, • 16it"o\h'i~io:Th~Pa·it't":;hlCh· ipe:l kl m;tliC.\lliWet\O"Rcono«ttdl¥lQnd d~bliahci bonds ~rt lhat ca~Q:rrkliQllAlI.iptk.trb~J!I; aIIIalllts H illn,an ~aYI, che

r"~ilJ,ffthaP.wO"rld/lillp... ,lIlp l !" flO/.o my

b,tli,fIl1WM.,..' 1)/1 filiiJ i1 itl/ofWd rlr1·" y ' ,

iJl:IllLKi~f,lltUOf( ,

-.. . _. ..

l~l\I1hem.'lW i l l~no' .b Cllioull(kinlmW WJ IIlIlllr..bc ~\l li fu l ub ~'Wl"'~a.UltY.iJlPuani fcal:lIion' of,~llhMo\lI'J des~~~C(ln""rTl", -

'"

'"

B ull' hil l If ytlU "~ i~ying thi. Ul l uPP05ed to be IIOmcrhi" lI 'new,' sorne bill: change that' happening in ou r cuh ure--wc'~c alway. had the mission.ry tradition of pro. pic who wish 10 englOBe the world'.... ffning and help bring abullt rd ic!' Whu {hot. am,,, are doing hal ill meriu in te,m. of lOci. 1 Iherapy and all thu, but il wouldn't have '{up ped Mid'lcbngdo oc Maza n from wlw th~ wm: doing. and II won't.top any Vt U an il[ now,"

Thil belligerent rom mmt WII hurled II me by a

wr ite, I ' I n .mll'. fflI"U I in lIIillOi" where I had jUl t read lhe previoui chapter 10 a lI:rou p of the other rc. idcnn. The wriler', , u n lit. rominUC'e modernil ' vision, Ind ccrumly n<:>I how II h~ bern embodied. In modem 5OriCly, I rtilll loe e t M m~lves I . quin· lef$Cfltial Ire<: I Scnrs. PUrf\1ins thei r own endl . Ou r cuhu l'Il myth. SUPPOIl w>nomie i dvanttmmt and the hmrd-edgnl individu al~t writ lal'le, rather th an Sl:rvice, can ng altitudes and partieipltion . Though errtl in individual. lire exp loring and ;mplemn u ins morc cn mmlln. 1 valuel , olhen have nO! .hlfle
'"

gesting a IIeW I pprlllch, the persotl may tdllllC! nnllief)' in Olhel$. Thil auxiny may be turn ed agains. the iUIIQ'o' ator in the form of a l\gc'r. ~ When ehal1ellsM by a counrermyth, I n individu al's pn vailins myth will Orl~l CTlrrCTId, iuelf mor(' ikeply, sina: there II usually a Slro ng emotiona l inVCltrnCTIt in Ihe COmmon UlumpriOlls of tM CU rTCTlt .oocu l paradigm , hcca usc ir lkfinu one'l world and oneself. T o risk abandon· ing imaga we have held as absolute is l>CVer easy. At:roI'l!ing to Wa t O».r Ptycllologil ti Sunlcy K' ippner Ind David Feinstein, the existing myttu)login o( _•. our peeseru Olh u.e Ire leading u. 10 dC$lnlClion. We arc ..11 being called upcn m f>.urleipalc in revising and updari n~ the ideol and 1I5I.Unptious d.ar we follow. Siner our socicl)' (klines su«en as mOfley and po wer, onenra rions rllM rede fi tle perso" al fulfillment on nonl11 aleris listic premises S" right to rhe heart of our culture's " mythic crisis." f or a long lime now, lhe culruenl coding nl mnde rll Welle rn civilizatioll nal ce ntered in notions of dominance and mastery: the dominance (ll hum~n l over I1 Mll re, of lII asculine over feminine, of rhe wealthy and pllwer!l,l over the poor, and 01 Welt ern over non-WUtern cllhures. These same goa ll of do minance and l11al lery, which Ire crudal ro ou r socielY '. Ill>tion OIIlICceU. have elso become rhe formula for global d«rruclion-il;s a logic rhat perva des every experience in comc mpomry cuiture . Nor is art some nd llary phenomenon, stlu ll8ling 10 overcome th.. fo«:t'l of innTlltn<'O lal ~alOll-it Is hurily i01 pliClIM in th il ideolOCY. We can nO Iooger ;gnoni OU IOwn parTicipation in rhis pro=Il. The mllit u!lOl> al lirtm Un:lI and practices of 1M art wortd ani mode led on t he I IIllC ronfisuration s of puwer and pl'l)fi t th ~1 keepl he ball of pa"iuchal high capitalism rollill8 I nd maintain the d()ll'linant wf)rld view _._ of this soc iety in place. • • Th c An lndullry hll be«>mc nOI only I very crfCClivc protector of th . lla m. <1" 0, hut 1110 I n active- cd,,· tt;blltor to the dcformlllil erfecls of s whole e\ll tllr~( pethclogy. The mechanlnn doun 't require Ihal MI do much, jUl t reprndllcc the econom ic will·to·p ower of the rlnl\, ln~r Ol ly.· lem. "rl i, widely coeceded rbmrh e henvy enslnc. of the art world turn and lllrn withOllt any nf their 1111155l ve energy.

'"

~omic and publicitaire, trllld.!.ins illlo eruti." en er&Y ,~ wrilC:S Aflhllr D.nlo, in . n CUlly e- lled " Narratives of the End o f Arl." Nevertheless, the "lran5action" men t~l!ly 1$ highly skeptical of Anyone who fries fa bregk our 0/ Irs credo of success.. In our presetll mind-set, I,'s hard 10 conceive of art from ,he penpeai.,e of service, or as wmedling dult bn'f commcnlur.te only with itd f. If)'OO stArt reiecring the cultlln l ideals of «anomic iU«CSS and comped tin Itriving, or Jla'l challengin. tltete Insrained pe'C1: ptions of how we understand our place in the world, you rh rente n to break the barrie., Ihn keep us locked in denial. At Itake il ou, perIODal lden' iry al defined by Ihe ~.ricu taT .,iew of life ' hal Ollr cuhure h.. made n.il.ble 10 us. M~ people are aware thar thc: fYilem iln', wolking, Ihn it is time ro move 011 . nd to rC'Visc: the destruc· tlve myth• •ha. are guiding U$. We have been programmed Into a belief serueture that Is losing it . feasibility ., Asocial form, but we can' t recover without being open 10 ,ransfo,""" ion. RtcO'telY is Ih~ willingnea 10 make t s)'llem, shiff. You mif't"co lIy mis Innsfonnarion has become the moral impcn l1ve of our time. What ere the implications of sllch a d1.n~ in conldoc lnelS , fhen, for an1 One thing il cleRr: to be able to IU ou r own practice as actively conlrlbudng 10 til e molt seriow problems of nur culture requires t change 01 heart. Wilh. OIIt smOUI effom to reaueu our relationship to rho: present ffllrMworit and ill prKriccs, new patternl won't take holel Vmed interC$tl will U$lre tht t ~ are maintained ai before. Unril we produce an . hemal;Yf: model, nothing signifi, anl will alter, 1/ we want thlngl to change, we wl1l need to evolve new "ground , ule, Mfor rhe future l h~ l no longer bell the muk of Ihe «lnlumeri$1 imper:!livCl of this cullure, where art has become somerhinl to fill gtll Cl'ies with, a prelCllt for purring oneself 011 display tltal .,inu.lly implicli me deletion of all Olher roncern, . [n truth, it i'n't euy to change, bcca\lSt our whole wclely i, eddiceed, Anne Wi lion SehRef delerlbes illl "precen addlrt ion," to diln lnguish it from ,ubSlance addi" ion. Proceu addiclions are unhnllhYlind desrruaive: waysof being

\ 18

in the world. Capiratilm and Iree cnrerprite have so Inllu·

eeced ttle psychological ncc:ds Qftll of UI in dtillooecy rftrough their mYlhologiel of compedtive Inrlividu.li, m and economic' mlvin8 that mall people believe Ihey are following lndilpur'• . . ble rulel for Ihe way things are. Since the promise of Ihe Iddiaj.,e Iystem Is thaI it i, possible to ha~e everything we want .nd need al long as _ a«cpt and conform to the IJ'I' tml, ~ keep !tumng the i)'Ilem to Itke ta fe of Ill. An thtl il lOfally the product of rhe way of mlnking of thlli KlClery is unlikely to reorient It in any way, Our only hope i, 10 can' Itruct a very different sere of Integr.tlnl mylhology. In Seplember 1987, Dominique Mucaoo, who nowHvu in Santa Fe, began an art projca ihe (lI11s The Greal Oeansing of the Rio Grande Ri~r. Once t month, ritually 011 dte u me da y ta ch mantlt, .rmed with larbage bags dcneted by rhe clly, she, . nd a few friendi who sometimel t ' company her, meet to clean pollu tion out of the river. Pa't of her work involves keeplnl a dillY, of which the foUowing are Klme ex llacl:l, No•. 19, 1911. My friend ),h'1ret drops me off II Dell' do promptly 1.1 9,00 I,m. BmoU iC of lhe: Inow r WI ' not Iu'e Af lhe .:ondil lOIlS I would find but did flOl doubt I .« ond lhl l

r would

In my dly. I . find a ' lOrlc warmed by lhe motnlllI lUn which ml ka I . •. _. ptTfCCl'~ for my bqinni"l pllY'l'••• •• Ya, lie< .... ha. 1,m doln.tI. WIY of ptoyiAJ,: 1"111

Plc:klnl up t eln t rom the rivrr And then IflOrh ... On Ind on II', like a devofee Doi", COIlnrlni rou rln.

No¥. H . V,litorl lOop by my door I nd loak It I 8t'f1u PofobJectl laid down QO I m ip of /I hrle. "Wlu t il lhlll" they u k. "The'e I re iOrtIe Af the lrrUlIIel I ba.. coUe<:red from rM river." "Yoo faulMJ Ihis li,de p rl'uhoes?- • Yes," I «ply, -CftI1lM twO SS bills.. . . .\\

,

'"

I r( ~ lIy r."jily u lking .hom the rlyer, 41 if .~ were my

lrlend.

J 4m RI.d I . m w. lki"ll uo....I, ... ~.\l. o II I llowo me to eI ,d , great " pk t ure••• h ', '1M ,h. , I co" 0"'" rh", n oUllnd put !bel" in I frame ..h." I (It'! hom., bIll ;t is ,h. t Ibey 4'. $loch ll rons 11"'1" Iba, ,bty "" jdd y ~11 rhelerfel' of In)' miud. Thc-y a•• .,..lled ·~ul-imp.inIJ.

h, my nyc. "O(:llbul. ry. Ike. 2. Why in ,II ...Iip<- Is Wl tn ruch I QNt'd Iymbol ~ How mudl lonsn io it ;oin~ wIl ke ... 10 J.ee .ht noubl. o f OUr w" c~l How mln y _ olr. d fish Iloaring on tho Rhine Ri"". '" I How mi n, kind. ol tOI ;" wute d\l ~ 1 Whf" "." wr Jo/01 1O nU" OUr nl.ll. dy of XPU I!tnt1I .,01111<11 MoMof ,"" 81uI

d.,.

wr find 10 brok,,", but nen to, It.. two 1M 'Of pd tc 14 houn of wo, k "' C pu, in rh' l Ho w ml ny ,;"'" did 1 wonlle. looul .hc per. JOn. who hurl 1M b«. hc>t,I", down ,he ro.,h, in ,h. I'Pfl" p;lrt of the: ri".. Of, J. tc, on.l,om Of ulllk. rM bridges, Ifyinl to Im' Kine Wh'l wont I",,, ,M. Il(,;on. l. II ,h.t mI n iJ j"he.e..ll, lilt ,h" ,h..e II M lh. ~b~ '0 dt> Clh... Ihon ~," OIhinll hnl ll'$ inm 'M . iv... ~ II I pu r. ond ,impl~ fun? Mot'" 19,

1"1

"iol.""

J ''"', lI"l . w. ~ fm m you .1. .. h, ,he middle uf ,ne nigh , I feel you on n,y bock In tn ~ ,h",o" in "' y heurt. , . , We t1e~ ide to c1 eon ' he dtunpill8 MCO and ,e , OUI III wmk. T his i•• mnt. del ic.t. opeeauon Ih.n pkk. i"8 up ". C\l n .n d th'lI another ." h ', l olled rsbhit litten, e.a te. fil k d with ro l1;n&I"'i! Km. r. d all o~ r , aod mOl• . So me o f i' i. ~ne,u l!ed ill th~ i~, 1 0 m . oj It h.. he"" burnt. Aa """0 as wo 11, .1 .Ii••lnll. Ihe off.n.i v~ Imell 01 ,b. dec.yinS f. ull hill Ul I nd the "h.. loUl he dow".W. le• . • , who! 1m.... bUI we' 8tf 10 It I<> to ..... k. Jul~ 1'1. TOOl, 1 .... lir.t ,I.. t, in fltt, il il lhe fin l lime I 1m lruly . Ione i.. Ih. riv.... . . . 1 Went 10 ,Ioc block whor• • bl ck in November, l nol onl~ U W'M l uf.

-rll....

".

{trillA of the ri•• r but .110 the d." h o( Ihe .i. er. JU Ol 01

I ro uld no long•• Wl lk OIl lri lMd ri~fb. u k. wilhou,

.mi"i oou,~thi"g d"mt if, r _ Id 0 0 IOj'B.' b. ,h• •~ ",id\O)ut lro"' poIio S my witum ins kuc 10m. form Ih.. peopl. could oh. re. Th' 1d, ~ l '''ll~ m~ """"ric.." •. , l 'dy 20. Two mo•• hll~ b'l!:' I cou ld ". rdIy ct •.,. ' " 1M tin.. I don'l COlIn, . .. ~mo~ . •. I don', 'Mounce' my "I rt for the . I llh - in lJoe ~pen eilher. I

don ' l ... pou my lind< nor m, Ii..... fn, the newdet<er of $ent.d. 11 It he.. u.. I . m .. ~in/l ,...., wh. t I I ", doin8 1. on , h' l r n...l 10 prodUct """",hinSI Nov. lO, t ...III11Y tlv...·j""'n.1 m~ " rivlric , ," ., . 1.11100."...,.1. word fOt Ih. ftd ln&i ,h., ,ny " ri....,. ' n", II1j(I" olletl bring up in mel Would -.a~,ios· rleseribe Il' er" bo nerl ll", do I ••• Il~ " SI I 1h~~ be. n lalklns 0 1m ahnm reeling poin, 1.O,ln.... 11 , ~~ 1tI ~ M xl ' IC/,' Would ,0K' . ffeCl II.. woy tlf "'~ wur kl Wo" lrl i' ,,,• •• m" mOre "f on .Cl ivlll th' n I .ml Would i, "'tl k< Ill. Inur" 01"" In th. communily Room who, I! I.t Ihal I ~ m 'loi nH i" Ihe d Ylrl

In 1917 M a . cel D uc ham ll exhib ited " urinal and celled il Arl, although at the tim. there wA5n't ' Il Yroneer t yet I" pJAl.'l: tn ex pla in such All " CI o f tmlllgrcul oll. Tt"by M01.tOud'5 project I. equ Ally .,r. rt ling btc"lIi~ ;t Isn't based on . tu msron;o" of I h~ ' e'llhot;. CO
1. llCdA eall. il the " path with 0 hnrl.- Wc IIn c to li ltl~ . experience with making ;ln OIl this basil lha t ....., I re nOl likely It> fed I t cas. with it. In facl. we aCliw ly l vo id It in OUt

modcs of dCl. dled a bl lra e! Ihink ing. "'11 is dc ~ nilcly nor .rt in Ihl! fut l. ne. b....d on m ro nic hy~tl ivit)' a nd jock. e~ing for poIin o n. 1lmporta nee. It il '101 jUlt I u ri. tion on

III

...

lh old system, but reflects a comp letely diflc rcnt, tn ore " fcmluine" llpproach to the world. WilD. Mn ca ud', pro jeci fo rce. III 10 l ee I. tke pow n o pn Rl; ns in OUr cogni tive ~ nd im t;1I11Ion al lll ucllIres. " None of us is fully awake to ho w much tbe maKUlinc pu r. suit of powu. production, pm!igc and ':l«ompli,hmClu' imP
lives,· R.obe" j ohnsOIl writes in We. Wilhin plulu chy, we an: trained ro mpec! only what is tn. sterrtll, upcruivc and Impos ing. M nnud isn't compe ting in the par.b r.:ha laystcm at all, hutllancb t rue to M. o wn fmllnine namre. By returnIng lo the river every mon th on the ume dlle !O resume her lad: once again• .tIe makes tnt ritu.l proau inlo a .cdcm!'" \i.,. 1(1 Qf kuling. A writer-friend of minc I«S Ma%l'lud '.

ptoi«'!

IS

a vari. tion on 1M

a ~cn r

myth of I,i" who was

quee n of F.flYpt. The. huma n debris w la thefS I re the diJ. membered pn u of the murdered Osiris (l~rN se bri nS ~ won
tzz

If lhc dv el proiect dQl:' not ~ l into lhe "meta-

n~ rr~l iv~ " of an hi ~tory, it mU i t be: n id tbm t even wlrhlnrhe

mainstream, the 'noo. rni$1 idea of a progre» ive art hillory ha",d on , tylislic dominance has already broken down . !" tlmr Danto 1I, " el , in nn essay entitled " Rnd Aesthetic T in>es in the U.S.A.,· rhar rhe whole philoso phy of mo dern ~esthelics il UOlde r prClsure of rcdefinirinn. T r:ldilion al mylhs RIch ~s the maSl erp i«c, the indi vidual genius, the museum and the ganery are being dccoOlslr uClCd by feminisls an
·,eem

.1

12J

-.

Woodman c~ ll. "a n aWMcne, . of Ii. illg III the wor ld soul," •h.. "ld IlIIt be ,," nf,,'ed Willi po lilic:al issue! like lhe Eqll~l

RiRhts Arncndment, or other feminist agelldal. Nor are '"' talking here about female lubjea maner in an, or IlICrtlslng m1l5Cu m ClCp05urc for women. M.ad... . , we are u lking aboul Ihe reemergence of ttnain nqkcccd afcMt ypal alpects of the human psydle. enabling mo re Fem inine wa YI 0 / being to

tit rcinmlffi in the gme..! p:lydloIog:\c;I.1 pUtnnl of loOdety. As fo r what.Uo f Ihi. impliQ fo r an, the injur'lC'lion Ii., u~ ng Da mn's summary desai Pfioll, " ' 0 bes;n;1 no no:xploifarivc hit.IOf)' in whim art is IOIIlcrhi"ll 1"11 to im"\td~lc hu man emls, rather ehan 50mclhing dcsliM'd for the brillia nt rollc:dion, the d rama liled auction room, the SltldUary o f the

mU5Ct"n, th" graphic lomh of the ClCpcllSlve en book," EXPQsinl; the I n ~ b ili ly of p rucnl in.li mtionn l mod els to bring ~ bol n rransfc rmatjcn bas been the lil id value 01 the aggreu ive gro Llnd-clcarllil\ of decousteu cnon , Allan M cCo llum 's rlas/ar S" rrogaMI , fo r tuuuoce, e re a . h rewd eomll1c lIlMy 011 wh at U\;CU rS wh en a guidin g fn llh btoeomes ha n kru pt ; tbe y e)/empllfy, pe rhaflli beller tha l'l a ny oth er deCOII!lruct;ve w<J rk, the pa rad igma tic iner tia o f a.llhetic COdCSlh M ha ve become JU II ;mo th. r pelrified formula for a n image·drivm su eiety o f spectacle. W ith the Surrosares, w. ha ve come full circle, to the u to 's um point of Kmr Schwil' teMl's sralement a r a n early stage o f the modern ist ptnject: "The picru.e is a self-con laillCd wo rk o f art, It ~ fen 10 1I00h· in5 0 uIside of itself. Nor a m a colUi'lent worlr o f art r<:fer to a nylh ing OIlt s'd. o f 'nelf withou l loIin&itt ltes 10 art ." lIy rep ra entin& the art obitci in ils mndal nitrenee ali commodity and spectacle, McCollum il simply l.ying ba rt the fur>etio n ;1 fulfilll in relal ion 10 the eu llUlt al la tge, When a n, as Pele r H ~ lley pUtS it. ~hal been rcconrn' «ned acco rd ing to the p rOCCl sct nf bo urgeoi s consciousne", Mlhe m inll lhu everybod y rea lly Ialkl ahuu t is ho w to lIet I sho w. This is rhe sha do wy juncture wher e leitllCli~ mclds wirh C<:QllO mi"" II the main met.phor fo r Asingle value 1 ~ "t C Il1 In which tilt a rtist , without any Othe r ",ei,,1 role lO pln~ , seeks to gain the ~ llC ll t i"n 'Q / conc ceo n, cura to rs and crltlce. A e ri. i. uf p" '1,ose is a t Slake here, nud as Il.1ud riliard

12<

luccinctly pllli h, "the bo il il gro wing OUI o f courrol." " We Me no longer in a seue of growth,M he writI:J in M'n ,CAnor. exic Ruilll," " we in a stale o f u cen . Wr arc living In a sodcty o f excrescence, meaning tha I which in«sunrly d,="clwithout bring measu ruble againJl its o wn objectives," Through overprOOucliofI and cxeClIJ , m e sySiem o¥(rutends Itsclf, Iccum u13 I"" 5praw'" slid es infO h)1l'C'fl rop h y, eblieerUCI In own pu rJlOK$.lca vCl bthlnd ;11 o wn goals and eccelenl'" in a ¥aeu um . M cCollu m a plll' es il alt b rilliantly , In a single Gestal l: the inlCNIfi.cn lion o f Ille ne. lhet lc P I'OCCl S in a void . Prod uction nnd Ihell u \'Crp rnd uaion aOO u ha ul tion o f creativity 111 till' u ml' time. Our who le culru tc', COOPlil lou into lhe gro wth eco nomy 1Illd the coda o f collaun' plioll. The e"" telft of oo·C()n tu t . "They're nOI even paim lngs," McCo llum
a"

0'"

Lev,",

'$

125

lhing wilhln it. At rills point, 'We ,"l1y noed to worlr out, in Qllr o rdinary undemanding 01 art , ill unco ntdo u' par dcipation In whal ~ i n term . the -colleClive historical petbolOIy· o f our vi'ion-the o Merving, spect ator COnKWll$nCQ, in whid! mc ..... biect elO llS independently 01 the objccn around it. The new tthiQ of participation, it would ietm, dema ndl a "'dieally differen t moda illy of engagcm~ nt. Tht: Carte$ian gau (the r1iJClnbodicd cyc) has bccfl 10 integral to aC$Chctia, and tc the wor ld view of tcchnoloflkit modcmi$m-it condition ' the dJ araettr of o ur Involvemenl with Ihings.so muo:h--Inat it is nard 10 im.line il would ever be rtplaced . The bottom line i. th l t McCollum'l - falre· pa lnlings pass moee u~Jy II - rai l- . rl tha n Male.ud', pro;«t of pick ing up me ga rbage, bee. 1lJC McCollum etlll retain. a relat ionship, .1tt>Otlgh a negltive o ne, with the tra dition of Ca rl"lan aesthetics, which tel ll on the SUOtcel-objcct duali.m. Th inlring .boo t ho w acsthcriCl i, implica ted in pun ar· chll model of consciou,ness, I h~ppmed to piclr up • copy of VOgN' malu ine, in whk h lbe cririe Oetllen l Greenbe rg WII irll erviewcd by Dodie JU.lIn jian on the pivot. l role 0 1 Cubism in the develo pmen t of modern .rl. - All major painting ill ou r Ilme,MGreenbe rg 'm ttS, · major pa inn"&> mind Y1l1.l-hu .wmllarcd Cubi, m.. one way or annther.... Thil i, the reeced, I do n't lay down the la..., I only go by the, record." He eon nn u~' :

. nd Mott.. rwdl l nd Con ti"" mty h. d rlwir Cub.il m b.y lIr.n, ' $ il were: O y!fo
-..

0 01

Ductu.mp . , . nO\ler dilCCmed what II Wat . bout, I lh;nk IIr laW rh f_ of it, lhat'. IlL . .. Mondrll n . . . I r>f il fairly early GlKOmetl; before the war WII libcrlltd by Cub. illll. Lipehln Will I ClIbiI.I $w lpttIT. 1don', think Br.neuli w i l. T'heIl of coune there wu Julia Goodl.. .. . Ind David Smith, who I think \repl l". burgconinS t... d;tion of alM.tracr IClllpwre toInllo better even thi n Pics5lO. Ilene r ' ....n Gonul~~ . , . Pohod L1limilaltd Cubism by 0IIIl0Iil. He lIC't'lII' m;lok . ny bonn l bout Whll he 0..«1 10 Cul>lsm, . .. A!l tM Ab,,,aC\ Ellpr.,. IIonlll ..riln had conlact with C~liWn, Iwflich ....\ I kir>d ol foundl .1on ItIT tMm ... Iho«'l l n IWI", no.. I lfUI inraln, Ii Cul>lrm In p.l nl~" lik. Newman I nd Rothko. or COli"" Gorky ar>d de J(OOIllng Ind Klint

M uch m6r~ I, Involved here Ihan jllSt 1I~5the!le h.inpUtting. Gen der idrology is usua lly' a lillie more ItIblle and tedteeee chan mil, bu t what an immacul . te ex.mplc ro come 10 hand, JUIl I I I am writing th i,. [t commllnie'U<"I perleccl y how much mnd~ t n acsfhetlCl h... been colored. struelU red I nd conlrol led by a kind of coml"lhi¥e nwcuHnityand I don', jill! mu n in lhe K nit ,hat, . t lcUl lor Grcmberg, I rt h[l lory Item, to consi't entire ly of male walruses. The .....hole idea olttepp inB into a major lcagllC linca~ bucd on compc tilive ranking, like me duoniclcs 01 baseball -gmts.,"lhe lopdos-undmlOl order of thingr-projem • mlseuline [mal e, It repre'ent, an arehelypal modf for a k l~ of individuality rt ntdUted in m e pl tri.llrehtol myth of the i\ldpncnll.l Divil'le King. Under Ike Diville Kln" 1 rule, whltcvtr doet: nOl eecord with thil ril ld Iy, tem nf o rder I, discou nted. Mo re than I nyone else, il '001 1 Green berg who defined the concept of . proarouln art hlsto,.." dorninutd by, and .",...et'lble 10 , - b Wl " of "ylistie dom lnlnce and , ucce51~h ~ kind, of "slyle wa ra" that Dante ' '''U eltS have now co me to ~ , . end . It '0011 Gleenbcrg, above _II, ,.,ho preeeeed lhe · purityof moder n .CIl'hcrica--ml
'"

'"

-..

th ~ in fl u~n~ of combative, mos.cu lini1.ed nl uC1. Greenberll's evalualion of all those .rtisis is not inaCt:ur31e--r.he development of moa u crifict relational valu=s to intellect and product. Modem aesthetics, certainly as Greeebcrg eeeceived it, has been a static, cognhlve end ea ~o r, proceeding occording to itl own "laws," Wilhout nny reeiprol"31 relationship 10 an obscrver, or Inr that maue r, to ll/c. It has led to a kind 01 an of felishislic ohjecls, Ihal :In: &Cven: the patriu-m y, the power behind om IO<-;al addictionl, has til be transformed, AI WOO<.lm~n SlYS, there ha. to be a counterbala nce 10 ~t1 tha t fren~y , I n,bidon, competuion Mnd ma teri~ l isn" I, new s 10 bo: said Ihol hOlh men and women become trapped in PU WC1" driVel; whtll WOmen $I:C rhemselves from lhe: perl pccri,«, (I f pltriarchy, they ~'1l n often be worse r uri archl th ~1l men. I recently etteeded ~ sympo. ium in Indianapolis lhal examirwd Ihe rule 01 worn.., ;n fhe 1m and lhe problems ron telnpomry Wonlen enCOlinter in defi nil1ll tm-msclvn lIS " n im . One of th ~ . p..ke", AIoc:al . nlll norn ed Ellie Si. kind, lold ~ 11 amo,.il'Il Slory (which I later lUketl her fo' perminion to fnd u
'"

WI. Grice HartillAn, an Abstract E1< pressiol,isr pa'nler, well It1I lned in I eullural he~hl5C thll valu« only Whll one dOC1, not wh.r one is. Harti&lln I'qllicd thlt CVClllhou llh lihe thoughl it was never 100 late to create, when . he w"' Sllkilld'l nge (thlrty-.i x), she had already heell , hnWll all ove r Ihe world, wilh anini such I. de K<>OQ lng, Pol1no;k, Kline end Rothko. Her graduate Students, Ihe said, were an, Ippropriately, in their rnidrwentles, and she did no other ru ching, Honrgan lhought of Siskind'. i d ~ n tifiegtinn as "n,ore in the re"lm of whal you wish }'(lU had done inslu.d of your ,..alily-whar you did." She wished her wel1 , but added: " Ycars lhol an: Illtl arc irrerrievnblc-rhar is rbe henrlb, e.kins deeistcn that . hn to be mnck " Siskind ossulcd the g.~spinl! audience thai, althoush dIe had saved the letter for Iwenty yca", wauin8 fur the moment l() reveal it, ~he hl,l nor ~l1 (tw<:d its "men ' t!ally dn m ~l\i l1 g cuntent to dil"t)1I r~g e her lrom ~O ll ( i nlli n g to mnke art suc('uduUy. ute, in Han igan'. view, WgSck arly a fi nite qUlntity that one " used up" rather than a procesl of growth. 8y p. rri ~rchal S1and ~ros, identifYiJ c-eared lhrough accomplishment, fame ~l1d mnk. J\ldged by tbe"" c/o i,ieall, Siskind had nClt broken into the club. Het lack 0 achieve' Il1Cllt and acd aim at age thin y" ix was. ' ign 10 Harrigan 01 personal inadequacy thaIquire. Implypm her out of tbe "["lICC ~ of the hnrd driven. Women nrtislI of Hartignn's Ilencrui"n SOU~1l liberation throllllh the emulation of men; Ih( y mrely chlUenllcd 1M basic K ript. In her COllnnmt. to !l\( , Siskind observed: On. ""n Undelltl nd Ih, " •

_.ft

con';...

OIlt 01 lhe

19$05 mlalll not 101: OIbrr ah"""'l;vcs than that a WO"",,'

It tl,r m ll~t cult II> Ihink Ihal Gu<e WlI unow'''' of fcmlniMpofi ricl. !l1I1!'!Hher lh' l , I", w., uking • 1>Olltion.. , . ThOl ' I .10 not thi nk ir is unfair 10 UI<: her own wurdl ll> " ,. r. creri>e plI1ril n:hal thi_kinS·

' 29

It i. cruci.l IU u ndersl~nd thai there ii • K riolls diffcrtll(t;

between

· fc minin~

iuun nd the cultural l ero" C'1' of the mmnint principle. l.inda Sdlicnc: Leonard pillS it well In. ~ Woundt d Wo",,,,,: - When women hope 10 a. hiew lht vicrories of men by beinS like them. the: uniqueness or Ihe ftmininc il l uhllr undel vailled, for thu e i, an undcrlyinll assumpTion 'hat the m~"u !i rM' il more powed lll." Imitating the meeculine dev"lue, the feminine h~ implicitly Accepting the masculine nl s ll ~ . Il) r ,

project will depend on our integration of tl>cse pl rtkipu ive, cmparhic 1M rda t ion~ 1 nlO
If tneom ical·!llllnll'nemal rcnsc n h ~ s Oil. m en fot

-,

ml ny centuries in thc lenko o( 11K m~ uu li" t, call we eno:mr.~~ I r,ldiCllly difft tt11t tmdCllCY~ Levin asks In Tin O/'C'!;II801 Vii i" " . " II may he lime, i»ychologically spcl k-

"

.

ing, {or UI to grouM our vilion in the principle of the (ffllj. "me .rdlctypC. . . . ~ pzc: of tbcQrnicJ.l·iMll\lmenla' reason needs \0 be rcinteg "lt~ with a vision of wh
ul feding, ~ ...ilio n of life. ~ The imb~l ~n<;( bec"' cen the male" li"" "nd the feminine m" n be corr e<:led even in our "" yl nl channeling fll: rcepcio n and attention, guals and n lt"'I . " In ch inkinK chrough 5\\eh plmi bilities," he ~dd5 , " "'e Ihol1 lind tllm 011, Vili
. .. I JI

"

WEEK 3