made the art for the sufferer and the witness

One keeps on making the classic romantic folly of celebrating the misunderstood, mad artist who stands up against sanity, proportion and balance in artistic endeavours.

The result is often that instead of creating benchmarks of counter-judgment from within literary and artistic endeavors and movements, one ends up valorising external conceptual and philosophical attributes in trying to chart the power and sublimity in works of forms of art that can take on the reigning arbitrations on art at a particular moment of time. Anger could be another pariah, though, unlike the other two, Kant had a crafty way of sneaking anger into aesthetics without making that outré and subversive. This later romantic re-appropriation of the very idea of the sublime in art was necessary because the magisterial judgemental horizons of Immanuel Kant would bristle and not allow certain key emotional categories to be part of the domain of the aesthetic: disgust and ridiculousness being two prime examples. The ironic redefinition of the romantic self then would turn out to be the personal “art coefficient” which is in an arithmetical relationship between the “…unexpressed but intended and the unintentionally expressed.” For, both these categories – human and progress – are external to art and life, they would believe. The marginal artist not only distinguished himself thus from the bourgeoisie but also placed himself at a slight angle to the righteous idea of human progress per se.

Naturally, art turns more to be a matter of discontinuity and hesitation on the part of the sufferer rather than about language, reification or craft. Combined with this taste, the irrational power of the unconscious is supposed to affirm the liberating potential of everyone except the “bourgeois,” a conviction that the secrets of the most exceptional creative talent has to be sought in neurosis and nonsense, the most common fate of common man. One of the romantic roots of anti-art, says the Belgian art critic Thierry de Duve, the idea of the alienated artist, stands and accounts for a paradoxical sensus communis, which runs against the bourgeois common sense – the bohemian, the lumpen, the socially deviant. Supreme Court virtually reproduced Centre’s arguments to uphold PMLA, allege 17 Opposition parties.A new book on 12 experiments that changed the world sidelines the role of beautiful physics theory.‘India’s growth is insufficient for the kind of jobs it needs,’ says Raghuram Rajan.Why the global community must pay attention to China killing prisoners to harvest their organs.Smriti Irani’s family invested in firm possibly linked to controversial Goa café: The Indian Express.CWG 2022, Lawn Bowls explained: What is the objective and how are points scored?.Nupur Sharma case: Journalist Navika Kumar moves Supreme Court to quash FIRs against her.Malegaon blast: Bike allegedly linked to MP Pragya Thakur had traces of explosives, says expert.Why Hindutva cadres in Karnataka are angry with the BJP after a youth leader’s murder.‘Memsahibs’: How British women negotiated food and fear (and love and life) in colonial India.

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Made the art for the sufferer and the witness