Power and Freedom by Jed Perl: a review

book titled power and freedom It seems that it could be a lesson on political libertarianism and government, or a discussion on the philosophical relationship between the two concepts. Good book Perls is not, because the subtitle is “defense of the arts. “

The book has two categories. An artistic project, regardless of genre (visual art, music, poetry, sculpture, architecture, novel) involves a balance between the authority of imitation of a genre and its materials, and the individual autonomy and agency that the artist brings to the creation of an artistic artifact. The art project is about ‘making’, not thinking. The latter, of course, is decisive, but only if it leads to the creation of an object. Perhaps Leonardo Da Vinci thought about that Last Suppermeaning and composition for years, but it was in vain if he hadn’t picked up his brush and his palette and actually painted the fresco. Every composition that Mozart wrote had to come out of the tank of his mind, but it had to be realized by writing every note, expression, rhythm, and dynamism on a piece of paper to come into the world as a point.

Every poem begins with an idea, but it must be forged, built word for word, sentence by phrase, in order for it to take shape. Creative work is always a process that occurs over time. Even if it was imaginary entirelyIt can only be achieved with and through time. The new object created is an entry in the history of the art form itself. No composer could live beyond this date. Finally, and perhaps somewhat controversially, art is independent of politics. It’s his own world, and he lives by his own rules. For Perle, the artistic thing should stay away from political concerns. Although he didn’t quite make it blatant, I think that in order not to be seen as political, it is clear that he believes that the arts should not be enslaved to support any political goal, as is now the case in academia, for example. Indeed, in many institutions today, it is believed that all arts should be in support of Black Lives Matter and directed toward the goal of ending “systemic racism,” promoting sustainability, or somehow reversing “climate change.”

Pearl wrote this book even though he believed all his life, like truth, beauty, and goodness, that art needs no justification. He posited that art is important to all cultures, has always belonged primarily to human experience, and that it has always been central to mankind’s understanding of itself, its desire for the pursuit of transcendence, pleasure, delight, and meaning.

Perls notes that artists must give shape to their experiences. However, they do so in a metaphysical and aesthetic context. The artist’s world is his inner world of thought, and the application of the rigors of her discipline, having spent those ten thousand hours of practice and devotion to the craft, but also all learned in the past of her specialty. But no artist can experience the entire past in his field. As Hemingway said, “All art is done only by the individual … The individual, the great artist when he comes, uses all that has been discovered or known about his art up to that point … he immediately takes what the common man for life needs to know and then transcends the artist.” Great is what has been done or known and makes something of its own.” Whether the artist admits it or not – and Boulez at the beginning of his career did not, for example – “The uniqueness of an artistic endeavor … is set in history. This history is everyone’s history.”

The arts take us out of the everyday world of work. They give us new insights into our own situation. For this reason, being related to history, it also tells us about our current place in its development as it chronicles the journey of mankind through time. The arts are the product of the artist’s current status and will therefore be in history by definition. The world of art is separate and separate from the ordinary parts of the world and its nature. This is the reason why paintings are “framed” to separate them from other paintings and the wall itself, and why we go to concert halls and museum galleries to hear or see truly high-quality creative works of art. We notice it through Kant’s “disinterested interest,” which separates our everyday interests from our ability to truly immerse ourselves in observation. Art allows us to transcend our daily experiences, to feel something completely new and different, perhaps to find that feeling of being lost in an artistic experience that puts us in another world. The experience will be very interesting and give us what everyone craves: meaning in our lives.

Perle makes the case for both simultaneous strands of thought (history and the other world) by bringing in the writings of artists and philosophers. We hear from the poet Paul Valéry, who wonders whether and how creative experience can be transmitted to someone other than an artist, and from Hannah Arendt, who was the focal point of Between the past and the future is that “power does not end here in particular persons or things but in an ancient tradition espoused by the living.” Here, the concept of freedom enters into the discussion. Pearl agrees with Isaiah Berlin that “only when artists feel free enough to accommodate certain styles and purposes of art can they begin to assert their own freedom, and that ‘freedom can only be achieved after accepting certain limitations.’” Schoenberg believed that his new order and the limitations of his component approach of twelve tones will ensure the supremacy of German music for at least another hundred years.Abstract Expressionist painters, while rejecting figurative representation, were on their way back to the origins of painting by returning to its basic materials, color and gesture, while still (mostly They reside in the formal constraints of canvas. Perle also notes, as with the development of Mossart’s piano concerto, that while the composer played freely with the forms in his earlier pieces, he felt free in later works to emphasize the clarity of the older form, almost as a tribute to the past. The artistic goal “only succeeds. When the artists or performers in question are driven by an imaginary determinism…that at all times and places creative work involves conflict, debate, or a dialogue between power and freedom (emphasis added)”.

The artist of the twentieth century found the widest range of approaches to solving the mystery of power and freedom, finding “different moods, from the serious, the solemn and the Saturnian to the skeptical or even the cynical.” The artist can also be bitter, sarcastic and indifferent, and a favorite of the postmodern period, satirical. Pearl weaver Annie Albers calls to sum it up: “Infinity only leads to formlessness, dissolution into nowhere…Great freedom can be a hindrance because of the bewildering choices it leaves us, while limitations when approached with an open mind can be a hindrance.” stimulate the imagination to make the best use of it and perhaps to overcome it.”

Adam Smith taught us a lot about the nature of free markets in Wealth of Nations. in moral sentiments Put those markets in the context of other factors that make up a well-functioning society. One such factor, which stands on a par with economics or politics, is the arts. Because only they can quench the thirst for human transcendence and meaning. Pearl, in Power and Liberty: A Defense of the Artsmakes the argument for it, and more.

Daniel Asia

Daniel Asya was an eclectic and unique composer from the start. He has enjoyed the usual fellowships from Meet the Composer, British Fulbright Prize, Guggeneheim MacDowell and Tanglewood Fellowship, ASCAP and BMI Awards, Copeland Fund Scholarships, and many other grants. He was recently honored with an Academy of Music Award from the American Academy of Arts and Letters.

As a writer and critic, his articles have appeared in Academic Questions, The New Criterion, Huffington Post, Athenaeum Review, and New Music Connoisseur. He is the author of Notes on Music, Culture and Politics, recently published by Cambridge Publishing, and editor of The Future (High Culture) in America (also CSP). He is Professor of Music at the Fred Fox School of Music at the University of Arizona, and president of the Center for American Culture and Ideas. www.danielasia.net

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