Difference between revisions of "Anarchy 51/Art and Social Responsibility"
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| − | <div style="text-align:justify;">{{tab}}{{qq|''Whereas urban so­ci­et­ies pro­duce bar­baric sub­sti­tutes for art, the re­jects of such so­ci­et­ies, be­cause they ap­proach the com­mun­ity-pat­tern, are still able to cre­ate work which has a human sig­nif­ic­ance. The prim­it­ives have se­ceded or been ejected from the struc­ture of so­ci­ety and its rel­at­ive secur­ity, into {{w|ghet­toes|Ghetto|Ghetto}}, {{w|bar­racks|Barracks|Barracks}}, {{w|huts|Hut|Hut}}, {{w|casual<!-- 'causal' in original --> wards|Workhouse|Workhouse}}, and there they have set up a way of life of their own, sub­ject to risks and con­straints which make them the in­dis­put­able vic­tims of their en­vir­on­ment, and the con­straint is one which a sym­path­et­ic in­tel­lec­tual'' can only share if he shares the cir­cum­stances which cre­ated it. ''The {{w|Blues}} or the'' {{w|cante hondo|Cante_jondo|Cante jondo}} ''are the pro­duct of the con­tact be­tween this grind­stone of ad­vers­ity and a trad­i­tion which is either there al­ready or ready to hand in a few months'': ''the trad­i­tion of the Blues came into ex­ist­ence in a matter of years, its form dic­tated by the cir­cum­stances under which it was sung, and its mus­ical pat­tern by the avail­abil­ity of in­stru­ments'' | + | <div style="text-align:justify;">{{tab}}{{qq|''Whereas urban so­ci­et­ies pro­duce bar­baric sub­sti­tutes for art, the re­jects of such so­ci­et­ies, be­cause they ap­proach the com­mun­ity-pat­tern, are still able to cre­ate work which has a human sig­nif­ic­ance. The prim­it­ives have se­ceded or been ejected from the struc­ture of so­ci­ety and its rel­at­ive secur­ity, into {{w|ghet­toes|Ghetto|Ghetto}}, {{w|bar­racks|Barracks|Barracks}}, {{w|huts|Hut|Hut}}, {{w|casual<!-- 'causal' in original --> wards|Workhouse|Workhouse}}, and there they have set up a way of life of their own, sub­ject to risks and con­straints which make them the in­dis­put­able vic­tims of their en­vir­on­ment, and the con­straint is one which a sym­path­et­ic in­tel­lec­tual'' can only share if he shares the cir­cum­stances which cre­ated it. ''The {{w|Blues}} or the'' {{w|cante hondo|Cante_jondo|Cante jondo}} ''are the pro­duct of the con­tact be­tween this grind­stone of ad­vers­ity and a trad­i­tion which is either there al­ready or ready to hand in a few months'': ''the trad­i­tion of the Blues came into ex­ist­ence in a matter of years, its form dic­tated by the cir­cum­stances under which it was sung, and its mus­ical pat­tern by the avail­abil­ity of in­stru­ments''{{e|r}}}} |
{{sc|[[Author:Alex Comfort|alex comfort]]}}: ''{{l|Art and So­cial Re­spons­ibil­ity|https://theanarchistlibrary.org/library/alex-comfort-art-and-social-responsibility|Full text at the Anarchist Library}}'' 1946. | {{sc|[[Author:Alex Comfort|alex comfort]]}}: ''{{l|Art and So­cial Re­spons­ibil­ity|https://theanarchistlibrary.org/library/alex-comfort-art-and-social-responsibility|Full text at the Anarchist Library}}'' 1946. | ||
Latest revision as of 12:07, 30 September 2021
140
“Whereas urban societies produce barbaric substitutes for art, the rejects of such societies, because they approach the community-pattern, are still able to create work which has a human significance. The primitives have seceded or been ejected from the structure of society and its relative security, into ghettoes, barracks, huts, casual wards, and there they have set up a way of life of their own, subject to risks and constraints which make them the indisputable victims of their environment, and the constraint is one which a sympathetic intellectual can only share if he shares the circumstances which created it. The Blues or the cante hondo are the product of the contact between this grindstone of adversity and a tradition which is either there already or ready to hand in a few months: the tradition of the Blues came into existence in a matter of years, its form dictated by the circumstances under which it was sung, and its musical pattern by the availability of instruments . . .”
alex comfort: Art and Social Responsibility 1946.
