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8/20/2019 KAVOLIS, Vytautas. on the Crisis of Creativity in Contemporary Art http://slidepdf.com/reader/full/kavolis-vytautas-on-the-crisis-of-creativity-in-contemporary-art 1/4 1  1 >- To  a social scientist who might at te m pt to approach th e  current cr isis in the art s by relating it to th e  nature of the contemporary soc ie ty, the i nitial clue is that no s in gle style or group of styles has emerged that could be regarded as the essential and relat ively end uring expression of the various fantasy d i spos i tions shaped by the con tempo rary soc i ety. * ) A possible reason for the l ack of  a dominant stylistic sy stem today is that , while older modes of  visu al perception have b roken down, no de finite new manner of perception, however pluralistic, has yet developed in the advanced industrial societies. Instead, a negative co nd ition which I will call perceptu l disorientation -a ppears to have become prevalent among art-using people. The quick variability of styles suggests that, ins te ad of having our ow n  modes of perception , we  must still do with laboratory exercises in  percept i on even when we can, however i nfrequent ly , agree on ul t imate values). Per ceptual d i sor i entatio n gives priority to experimental novelty ov er the perfection of  an artistic statement. Since it is imposs i ble, in th e absence of definite modes of percept io n, even to fe e l intuitively w ha t  artistic statements should be like, it is  impossible also to jud ge how well they ar e expressed. Hence, ten dencies to reject crite ria  of quality in art cr i ticism, poss ib ly a reduced capacity to appreciate differences in quality. Per ceptual d iso rientation leaves only ph ysical sensation unquest io ned. One  possible ex planation of  perceptual d i sorientation m ig ht be to view it is as a consequence of identity d iff usion an uncertainty about t he nat ure of one s o wn per sonal i ty . Id ent i ty d i ffus i on has tended to occur in other periods of psycho· cultural d i scontinu ity th a is, i n per i ods of rapid change and societal crisis, suc h as the late Ro man Emp i re, the century preced i ng the Reformat io n, and th e age of Romanticism. But, judging from the ev idence of vi sual art  from those period s, definite perceptual st ru ct ures appear to have remain ed available then, s th ey are not to day. 2 5  
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KAVOLIS, Vytautas. on the Crisis of Creativity in Contemporary Art

Aug 07, 2018

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Page 1: KAVOLIS, Vytautas. on the Crisis of Creativity in Contemporary Art

8/20/2019 KAVOLIS, Vytautas. on the Crisis of Creativity in Contemporary Art

http://slidepdf.com/reader/full/kavolis-vytautas-on-the-crisis-of-creativity-in-contemporary-art 1/4

1

 1 >

-

To

  a social scientist

who might at

tempt

to

ap

proach

the

  current cr

is is in the

arts

by relat ing

 

it to the

  n

ature

o

f

t

he

contempo

rary

soc ie ty,

th

i

nitial

c lue  

is

 

that

no s in

gle style or group

of st

y les

has emerged

 

that

could  be

regarded 

as  the

essent ia

l and relat iv

e ly

end

uring

e

xpression of the

var ious 

fantasy

d

ispos itions 

shaped by the

con tempo

rary

society. * )

A

  possib le re

ason

for t

he  

lack

of

 a dominan

t

stylistic

  sys

tem today i

s

that

, whi le

 

older

m

odes

of

 v isu

a l percept io n

  have b roken

 

d

own, no def

inite new m

anner of

percept ion, 

however p lu

ral ist ic, has 

yet

developed 

in

the

advan

ced industr

ial

societies. Instead, a negative

cond it ion

which I

w

il l

call perceptu l disori

entation

-a

ppears

t

o

have be

come preva l

ent

amon

g ar

t -us ing peop

le.

The quick variability

  of

sty les sugge

sts

that, in s te

ad

of

havin

g our own 

modes

of

perce

pt ion, we

 

must

still d

o

with

labor

atory 

exercises in  

perception

even

when we c

an, however

  i n f requently

,

agree on   ul t

imate va

lues). Perceptual

d isorientatio

n gives 

priority

to

e

xper imenta l 

novel ty ov

e r

the

per fe

ct ion

of

 an

a

rtistic

statement.

Since  it

is imposs

ible, in

th

absence

of de

finite modes

 

of

percept

ion, even

to

fe e l

intuitively what

 artistic

 

statements

 

shou ld

  be like, it is

  impossib le 

a lso

to

judg

e

ho

w  w

ell they are

  expressed. 

Hence,

tend

encies

to

re

ject

crite

ria  of q

uality in

 

art

cr iticism,

possib ly a reduced 

capacity

to  

appre

ciate dif feren

ces in

q

uality.

Perc

eptual

d

isorientation

lea

ves

on

ly

phy

sical sensa t

ion unques tio

ned.

One 

possib le ex

planat ion of 

perceptual

d isorient

ation m

i

g

ht b

e

to

v

iew it is as

  a

co

nsequence o

f

identity

dif f

usion

an

uncertainty about

t he nature of

one s o

wn

pers

onal ity . Ident

i

ty

d iffus io

n has tended

to  

o

ccur in other

per iods of

psycho·

cultural d iscont in u ity that 

is, in periods

of r

apid change

  and societa

l cr is is, suc

h

as

 

the

la te Rom

an Emp i re,  the

century

 

p

reced ing

t

he Reform

at ion

, and

th

e ag

e

of

Romantici

sm. B

ut, judgin

from the

 

evi

dence

o

f v is

ual

art

  from  those

  per iod

s ,

de

finite perce

ptual

st

ru c tu

res appear  to

have remain

ed avai lable 

then, s they

are not tod

ay.

2 5 

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