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Notes -
Status in the progressive art scene
There’s a thread on Reddit about social progressive influences in the youth arts and music scene. (The link is an archive with all comments, no need for account.) It’s a glimpse into a social world from members who would otherwise not talk about it. This particular community is artistically and culturally aligned with progressive culture but politically more moderate or to the right. A lot of this you have probably heard before (quick to cancel, quick to signal), but I found the below selection to be informative:
The characterization of “palace intrigue” is insightful. Indie art, basement shows, etc are unpoliced places where the members have no religion, organized morality, or moral mentors. They are anarchic gatherings of young horny people who do not believe in higher authority or cling to a moral tradition. Status is rewarded with fame, sex, drugs, favors from the few trustfund members, and coveted but longshot employment opportunity at some shop / label / magazine / bar. Low status leads to utter and irrevocable ostracization. The stakes are, uh, big. So what happens is that authority and a code of conduct develops organically but very primitively through cliques and “palace gossip”, with the valuable positions at the top guarded tyrannically. Its Lord of the Flies except sometimes it smells worse.
I think the missing piece for understanding why the scene is so unhealthy is that members are imitating group exemplars. The imitation of group exemplars is a universal human habit, a relic of tribal days. These scenes first congregate on Twitter, tumblr, or instagram, and only then do they disperse to real life watering holes. (As one user put it: “music scenes were about capturing real life and putting it online; now it's putting online into real life.”) What they see on social media is that gossip and public accusation gets the most attention and name recognition, which is valuable for securing a place in the social hierarchy. The more signaling you do and the more explicit you do it, the more you gain attention. The increasing numerical value of likes or reblogs on social media tricks the users into believing that the number is an accurate sign of social value — and this consequently turns it into a real social value. You only need to persuade a small minority that the numbers indicate social value for the numbers to eventually become the dominant social value. Why? Because if 5% of social value is suddenly administered according to an online number, then this will be noticed and more people will pay attention to it, leading it to comprise 6%. And if 6% of social value, then … and so on. This will continue until participating online is a necessary requirement for obtaining the niche’s social value (how LinkedIn works). That original 5% is guaranteed because social media is addicting.
The reason it devolves into a base form of status signaling is that, well, everything is status signaling. But developed cultures long ago figured out ways to sublimate status signaling toward prosocial ends through the laying down of criteria and similarity with which to judge value. Were these guys Confucian, their ability to memorize prosocial axioms and follow certain rituals would give them value. If they were Muslims, their ability to mirror Muhammad in their life and live according to Allah’s decrees would give them value. (Interestingly, Muslims go one step further and ban all music except the whiny melodies which color the precepts of the Quran. This is certainly one way to ensure that your music scene doesn’t devolve into a monstrosity).
But why does the signaling competition devolve into Progressive shibboleths? Why not something else? I think the boring answer is that it started that way. If this alt scene were originally Confucian, then all new members would have adopted Confucianism. But it started progressive because no one with a strong traditional morality would dedicate their whole life to hosting licentious music. They cared more about school, they prioritized health, they had reservations about playing music bad for the soul. Meanwhile those without morality have no such concerns, and also use drugs as a lure for their power. There’s probably also an element of progressive shibboleths being boosted because the primitive wisdom that kids learn in early education is “everyone is the same, be nice”. So naturally, any devolution would go back to the shared morality which encites even the dumbest person. If everyone in school learned that the ultimate evil was being racist and mean, then that becomes the criteria for ostracisation. If you’re in a group of not very intelligent or moral art people, you can imagine the difference between accusing someone of being racist versus accusing someone of “a sophisticated ruse in which they themselves accuse others of being racist in order to elevate their standing”. The second one makes less sense when you are drunk or high, and it’s way too many words for me to read on Twitter at 2am. The first one contains the word “racist”, which I have been trained to bark at like a dog.
As mentioned in the thread, artists and musicians can’t say anything about the tyrannical hold of social progressivism because their career, reputation, and social network and under the purview of this process. When that occurs the shibboleths become an unconscious signal of membership, leading to a deep internalization in the heart of individual member. (Remember that normal people don’t think their beliefs through; like, writing about social and political values and engaging in discourse is an unusual thing. People want social value, not an optimally correct system in the grand scheme of things.)
One more thing to add. There’s a story in the Book of Daniel where two high status men threaten to blackmail a woman for sexual favors. She refuses to be blackmailed, so the high status men accuse her in front of the whole community of infidelity — something that would lead to her death. Our heroic prophet of the story, the young Daniel, takes on the role of Mr Bean. “Are you all so stupid that without examination or evidence you are going to condemn this woman?” He asks each one of the men alone under which tree the event transpired. One says a large canopied tree, but the other says a distinctly small tree. They have been caught in their lie, and the high status men are executed by the community.
This is the kind of story which humans once had as their foundational tales. Less “crime bad”, more “withhold judgment until wisdom, because corruption worse”. Kids would have learned this story instead of “racism bad”. And for artists, the story of Susanna was one of the most popular scenes in the history of Western art. Think how beneficial that is! You require your artists to draw Susanna, a beautiful semi-nude figure, and then you require him to draw the corrupt licentious high status figures, ready to blackmail her before being executed. It not only creates a good moral tale for children but it ensures that your artists don’t become regressives.
Who is the 'you' in this paragraph?
Isn't the popularity of Susanna bathing, as a subject of art, significantly attributable to artists themselves wanting to produce it? And isn't that desire also largely explicable by the fact that it's a very sexy scene? I'm not sure we need a big explanation for why painters were very enthusiastic about painting an attractive woman in the nude. It seems a popular theme in general.
The You was the Church, or if not, a wealthy religious aristocratic. The Past wasn’t so naive as to leave artists to their own devices. Eg
But again, what’s great about the scene is that the artist must identify with the men sneaking a look at Susanna in a story that completely rebuffs lust and perfidy. It trains the moral immune system of all involved, the artist especially. I like to think this is a semi-conscious “social technology” rather than an accident.
...does it? Does it really train any kind of 'moral immune system'?
It seems to me that it falls into the same category as, say, Lady Godiva and Peeping Tom, in that obviously the whole appeal of the story is the naked lady, and the moral is tacked on as an afterthought. The villainous elder is a convenient excuse for the artist to say that it's not really pornographic, even though that is obviously the appeal. There were ways depict a naked Susanna in ways that are not sensually or erotically appealing - but that is clearly not what happened in the case of Renaissance art. The beauty of the woman is quite clearly the point.
It's the pre-modern equivalent of, say, all those mid-century films about Nero or Caligulua, which delighted in titillating the viewer with detailed depictions of orgies and sex and murder, and then had the fig leaf of condemnation at the end where the hedonistic emperors are overthrown and virtue triumphs. But we all know what the real appeal is.
I would caution you not to take the fig leaf too seriously. I suggest that the quite-literally-naked eroticism of the Susanna story is central to its artistic appeal. The fact that there's a vague sort of moral cover for it (it's biblical! it condemns the behaviour!) is convenient, but to suggest that the entire theme is a subversion of libido seems quite breathtakingly naive, to me.
I notice also in your post a skepticism of '[leaving] artists to their own devices'. Even setting aside the way you reify 'The Past', I don't see any particular reason to think that commissioners of this art necessarily had high and virtuous motives. That's just a small handful of examples, and are we really so naive as to believe that bishops and nephews of popes in the Middle Ages of Renaissance were free of venal interests? It may be true that some artists are just horny and lack any concern for morality - but the same strikes me as true of nobles and church officials.
To be clear, I am not asserting that every single depiction of Susanna bathing is pornographic. On the contrary, I think that many of those depictions have artistic merit, and are often very well-composed and striking, or sometimes, as you say, subversive in their implications. But I assert that the enduring popularity of Susanna's bath as an artistic theme has something to do with its eroticism, in a way that goes beyond mere subversion.
Or more crassly: rich people from centuries in the past still liked to look at boobs.
Of course they looked at the bosom, and of course Susanna was painted with temptation in mind. But that is what makes it so intelligent, no? You identify either with Susanna, the virtuous woman about to be wrongfully propositioned, or you identify with the status exemplars, about to use their high status to impugn a virtuous woman. You want this kind of association seared in your mind, that when you consider lust you remember the near-tragedy of Susanna and the righteousness of God. Art wasn’t divorced from the religious culture at the time, so everyone knew the story of Susanna and Daniel. It’s not like today where it’s just a vague story you need to pull from the recesses of your mind. It would have been brought up half a dozen times a year in sermons, made a special lesson in school, made an allusion in high class conversations. You have Handel writing operas about it and Mozart riffing his character in Figaro off her. It’s casually mentioned in Shakespeare and 1001 Nights. It’s anachronistic to interpret the nude as just a nude.
And consider: some of the best of these paintings were commissioned by queens and bishops. And if you were a wealthy aristocrat with your own painter, you could just have him paint a nude that doesn’t have such a looming moral threat above it. For pure nudes, just request the Greek nymphs or something else, right? They would essentially be cursing themselves / giving themselves bad vibes by purposefully commissioning Susanna just for her nudity when there were hundreds of different ways to procure a nude scene. But I guess the modern person would excuse all this and say that the queen was a lesbian and the bishop was horny.
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