This video features Bernard Stiegler discussing the purpose of art in the 21st century. He challenges the notion that art is no longer relevant, arguing that the very concept of "art" is a relatively recent one and that its purpose has evolved significantly alongside technological and societal changes. Stiegler explores the historical role of art, its connection to industry and technology, and its crucial role in addressing contemporary social and existential issues.
The concept of "art" is recent: The speaker argues that the modern concept of art, as a distinct field of inquiry with its own criteria and autonomy, is a relatively recent development, emerging primarily in the 19th century. Prior to this, artistic creation was integrated into broader societal and religious practices.
Art's historical function was sumptuary: Historically, art served a "sumptuary" function, meaning it existed for its own sake, representing the sacred or that which is beyond the utilitarian. This is exemplified by the elaborate decoration of tools in pre-industrial societies.
Industrialization and the "death of God": The Industrial Revolution brought about a shift, leading to the de-individualization of the worker and a loss of the artisan's unique mark on their creations. This coincided with the decline of religious belief ("the death of God"), leading to the emergence of the modern artist as an independent creator signing their own work.
Art's role in the modern age: In the modern age, dominated by mass production and consumerism, art's purpose becomes more complex. It confronts the alienation and "mal-être" (dis-ease) created by industrial society, while also facing the danger of being commodified and losing its critical function.
The need for a new aesthetic revolution: Stiegler emphasizes the urgent need for a new aesthetic revolution that addresses the alienation and violence generated by mass consumerism and industrialization. This revolution requires rethinking the relationship between aesthetics, technology, and politics, fostering a renewed sense of individual and collective identity.
Here are the answers based solely on the provided transcript:
What specific examples does Bernard Stiegler use to illustrate the historical evolution of the concept of art?
Stiegler uses several examples: He mentions Lascaux cave paintings as an early form of artistic expression, contrasting it with the art commissioned by royalty (e.g., works created for princes, referencing Mozart and other artists who refined the "ear" and "eye" of their patrons). He highlights the emergence of the independent artist in the 19th century, using Cézanne as a prime example, who created art for themselves, not for patrons. He also mentions Manet and Delacroix as artists who represent a transition period. The development of the concept of "art" is linked to the rise of the independent artist, contrasting with the previous integration of art into broader societal and religious frameworks.
How does Stiegler define technology, and how does his definition relate to his argument about the changing role of art?
Stiegler defines technology as "the technique that is produced industrially on formal models issuing from science." This is crucial to his argument because it distinguishes industrially-produced objects from those created by artisans. Pre-industrial artistic creation involved leaving a mark of the artisan's individual skill and unique touch. The industrial production process, however, de-individualizes the worker, leading to the creation of standardized, mass-produced objects. This shift profoundly impacts art’s role and function. The artisan's individual expression is lost, replaced by a new, industrial aesthetic.
What is Stiegler's critique of the "industries culturelles" (cultural industries)?
Stiegler criticizes the "industries culturelles" for their role in commodifying art, manipulating public taste ("producing taste," not reflecting it), and creating a system that separates producers and consumers. This separation leads to the alienation of both parties; consumers are deprived of their ability to critically engage with art and determine their own tastes, while the artists' work becomes increasingly driven by market forces rather than intrinsic artistic value. This process erodes critical thinking and individual expression. He uses the example of Hollywood and advertising to illustrate how the industrialization of culture influences consumer behavior and promotes mass consumption. The example of film stars like Humphrey Bogart being paid by cigarette companies also points to this commodification of culture.
What are the two dangers Stiegler identifies in the contemporary context, and how are they related to the purpose of art?
Stiegler identifies two main dangers: a "spiritualist regression," characterized by religious extremism and fundamentalism (using the example of Bin Laden and his invocation of biblical imagery), and a "technoscientific aestheticism," where art becomes overly focused on and subservient to technological advancements and industrial processes. Both dangers threaten individual and collective well-being, as they represent ways in which the critical function of art is suppressed or distorted. The first risks a return to dogmatic thought, while the second risks the total absorption of creativity into the logic of mass production and consumption, leading to a further loss of individual agency and expression. He emphasizes that a response to these dangers must involve a re-evaluation of art's role in society, demanding a profound rethinking of aesthetics, technology, and politics.
Based on the provided transcript, a suitable thesis statement could be: Bernard Stiegler argues that the purpose of art has fundamentally shifted in the modern age, transitioning from a sumptuary function in pre-industrial societies to a crucial role in confronting the alienation and existential anxieties generated by technological advancements and mass consumerism, necessitating a radical rethinking of aesthetics, technology, and politics.
Antithesis: While acknowledging the critical role art plays in addressing the anxieties of modern life, a counterargument could be that Stiegler overstates the extent of art's decline and the inherent dangers of technological advancement and consumerism. Art continues to flourish in diverse forms, and technological progress, while presenting challenges, also provides new avenues for artistic expression and engagement. The commodification of art is not inherently destructive, as market forces can also stimulate innovation and wider accessibility. Furthermore, a return to pre-industrial models of art production is neither feasible nor desirable in the context of a globalized and technologically advanced world.
Synthesis: A synthesis could acknowledge the validity of both Stiegler's concerns and the counterarguments. While the commodification and industrialization of art pose significant challenges – such as alienation and the erosion of critical thinking – they also create opportunities for new forms of expression and engagement. The goal should not be a return to pre-industrial models but rather a critical engagement with the technological and economic forces shaping contemporary art, while actively working towards a more equitable and meaningful relationship between art, technology, and society. This involves fostering critical thinking, promoting diverse artistic practices, and ensuring that art's emancipatory potential is not suppressed by market forces or technological determinism. The key is finding a balance between acknowledging the risks of a technologically advanced world and harnessing its potential to empower artistic creation and individual expression.
