David Cooper reviews Yuriko Saito’s recent Everyday Aesthetics in the February 20 issue of the TLS . He suggests that “Saito exposes to main dimensions of the embedded character of everyday aesthetic reactions”: “First, they are highly context-dependent, in a way that . . . . Continue Reading »
Gothic architecture, Augustus Pugin argued, operated on the principles that “there should be no features about a building which are not necessary for convenience, construction, or propriety” and that “all ornament should consist of enrichment of the essential construction of the . . . . Continue Reading »
In his history of iconoclasm ( The Forbidden Image ), Alain Besancon describes some of the artistic features of Russian iconography: “Nature is stylized in such a way that trees, rocks, and houses defy gravity. The buildings are not represented within a unified space: each floats in its own . . . . Continue Reading »
In 1859, Baron George-Eugene Haussmann, Prefect of the Seine, began overhauling Paris. The ultimate result was a masterpiece of urban rationality - straight streets, buildings of the same height, squares, a mappable city. On the way to clarity, though, the city was “rendered illegible,” . . . . Continue Reading »
I have some reservations about what Philip Bess means by “the sacred” and “response to the sacred,” but his applications to architecture are very intriguing ( Till We Have Build Jerusalem ; ISI, 2006). When people encounter “the sacred,” he says, they respond . . . . Continue Reading »
In a paper on the chiastic structure of Midsummer Night’s Dream , a student, Jason Helsel, suggests that two scenes with the mechanicals “serve as a link or portal between the city and the forest.” Nicely put; the path from the city of law and justice to the magical world of the . . . . Continue Reading »
Taruskin also gives a new summary of the artistic theory behind many of the lamentations of classical music’s collapse, which he traces from Mendelssohn through Kant to Schopenhaur and Adorno: “The main tenet of the creed is the defense of the autonomy of the human subject as manifested . . . . Continue Reading »
Painter Wassily Kadinsky complained about the materialism of modern life: “Only just now awakening after years of materialism, our soul is infected with the despair born of unbelief, of lack of purpose and aim. The nightmare of materialism, which turned life into an evil, senseless game, is . . . . Continue Reading »
Robert Weldon Whalen, Sacred Spring: God and the Birth of Modernism in Fin de Siecle Vienna . Grand Rapids: Eerdmans, 2007. Hardback, 339 pp. $25.00. Sacred Spring is part travelogue, part intellectual history, part art and music criticism. Whalen’s thesis is that Viennese modernism, the . . . . Continue Reading »
Perhaps a history of modern aesthetic sensibilities could be written as a history of water. Consider: The shimmering liquity of some Romantic music (eg, Tchaikovsky), the muted submergence of Debussey, Monet’s obsession with the play of light on water. Or maybe romanticism as inspired by a . . . . Continue Reading »
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