Thought-Factory.net Philosophical Conversations Public Opinion philosophy.com Junk for code

Mandy Martin, Puritjarra 2, 2005. For further information on MANDY MARTIN, refer here: http://www.mandy-martin.com/
If there are diverse kinds of knowledge and ways of knowing place, then we need to learn to value the different ways each of us sees a single place that is significant, but differently so, for each perspective.
RECENT ENTRIES
SEARCH
ARCHIVES
Library
Thinkers/Critics/etc
WEBLOGS
Australian Weblogs
Critical commentary
Visual blogs
CULTURE
ART
PHOTOGRAPHY
DESIGN/STREET ART
ARCHITECTURE/CITY
Film
MUSIC
Sexuality
FOOD & WiNE
Other
www.thought-factory.net
looking for something firm in a world of chaotic flux

Torrens Island Power Station « Previous | |Next »
December 16, 2008

Power stations, especially coal fired ones, are in the news these days because of climate change caused by greenhouse gas emissions produced by the power stations. So is Mr 5%. The coal mining companies and coal based energy companies rule.


Torrens Island Power Station , originally uploaded by poodly.

This photo of a gas-fired power station near Port Adelaide in South Australia is not about climate change. It is more conventional in that it highlights the negative effects on the environment (degradation of the landscape) due to industrialization from the perspective of Romanticism.

In this form of economic growth the environment is often seen as wasteland, if it lacks resources that can be exploited by industry through technology to make a profit. The only value is that of utlity and nature can be laid to waste if profits can be made and the majority benefit through jobs and increased GDP. Romanticism protests this market utilitarianism and the effects of industrialization on the environment.

The conventional view of Romanticism is this:

Romanticism introduced a new outlook on life that embraced emotion before rationality ..... Romanticism was a reactionary period of history when its seeds became planted in poetry, artwork and literature. The Romantics turned to the poet before the scientist to harbor their convictions (they found that the orderly, mechanistic universe that the Science thrived under was too narrow-minded, systematic and downright heartless in erms of feeling or emotional thought)...since most poets thrived on the emotional and irrational abstract that they were writing about, there was no specific category that this mode of thinking could fall into.

Romanticism, on this account, is seen as standing against the progress of liberal modernity rather than a critique of progress from within modernity. On the latter account the critique is from the perspective of human beings relationship to the natural world at the very time when the natural world was disappearing in Europe. The degradation of the landscape was central to the aesthetic concerns of the era.

Romanticism, on this alternative interpretation, was a response to the growing industrialization of Europe,as well as a reaction against the Neo-Classical style, and a revolt against traditional landed social order. They were critical of "the machine age", the mechanization of all aspects of life in industrial society, the effects of technological development on society and people, and the idea of progress in a liberal-capitalist order. It was held that industrialization separated (alienated) human beings from nature and that art and literature were a mode of expression for the loss of nature (paradise lost) and the yearning for a better relationship to nature than that of naked exploitation.

Romanticism resurfaced in the 1970s with the New Left (self-expressive freedom), the counter culture (return to nature and rejecting urbanization), the philosophical critiques of science (scientism) and technology, the rejection of modernism and environmentalism.

| Posted by Gary Sauer-Thompson at 7:35 AM | | Comments (5)
Comments

Comments

European Romanticism is seen historically as a reaction to the Enlightenment, the industrial revolution and the French Revolution.

Romanticism has a muted presence in settler Australia because colonial society was premised on the view that industry and technology would bring prosperity to the nation through a national economy. Industrial development and conquering nature was celebrated, with the resistance in the form of the beauty of nature marginalized.

During the nineteenth century Romantic ideas had a presence in the form of the power of the individual genius to shape the surrounding world. The democratic movement extended this idea of the individual genius to the common folk which was coupled to rediscovering God in nature (the church of nature), being at home in the world, and the value of individual experience (and intuition) of self-reliant individuals.

The divergent interpretations of romantic philosophy and mood (eg., conservative, liberal) expressed in19th century Australia derived from the differences in how the emerging colonial economy affected people in different regions and with their different social interests and ways of handling social change.

Let''s not forget the New Topographers of the 70's as well.

s2art,
agreed. I'm probably working in an Australian variant of that tradition.

I haven't figured out the relationship between romanticism and the 1970's New Topographic movement in the US. On the surface their depiction of urban and suburban realities rejected romanticism. The style was detached and cool, and supposedly without emotion or beauty --in opposition to the work of an Ansel Adams.

Robert Adams, for instance, took stance of apparent neutrality, refraining from any obvious judgements of the subject matter and he understand his images as documents. Latter--early 1980s he wrote a book defending traditional values --beauty. That took me by surprise since his work was not about beauty, other than in a formal sense.

So traditional values for me would be those of Romanticism: the promise of the aesthetic as a realm of experience separate from the instrumental thinking of economic rationality.This is what I would defend.

The New Topographics was something put together by an art curator----by William Jenkins at the International Museum of Photography. It was primarily about a group of contemporary American photographers in the 1970s; but---importantly--it included Bernd and Hilla Becher from Germany that rejected the gooey and sentimental subjectivist photographic aesthetic in favour of photography's machine-age aesthetic.

They photographed from a straightforward point of view in flat lighting conditions in black and white from a typological' perspective.Their concern was with the design and structure of industrial architecture----a series of photographs of winding towers and cooling towers, of silos, lime kilns and blast furnaces, of coal bunkers and gravel plants---that are isolated from their context and freed from all social and historical associations. So we read the industrial objects as autonomous aesthetic objects or 'sculpture.'

Their modernist work is now interpreted by art historians in terms of formal rigour, them as international pioneers of conceptual art and archaeologists of the industrial age, and their teaching having a huge influence on the following generation of photographers in Germany----Andreas Gursky, Thomas Ruff, Candida Höfer and Thomas Struth.

Gary
the historical relationship between Romanticism and New Topgraphics has been sketched Blake Stimson at The Tate in this paper on the Bechers.

He says that the social isolation of the artist had been a by-product of the Industrial Revolution, as typical and pernicious as slums, mechanisation and unemployment. Artists of the industrializing world in the 1920s and 1930s believed that by taking up photography as a medium, industry as a theme, and science as a method they were abandoning the bohemian ghettos and would, once again, occupy positions at the centre of social life by working as designers and propagandists for the emerging political class.

At the heart of this transformed self-consciousness was the assumption that the world was being remade through mass production and mass politics and artists, as the engineers and labourers of visual form, were to be key players developing the mass culture that would drive both fronts of modernisation.

Stimson says that unlike their artist-cum-engineer-cum-worker predecessors, the Bechers’ sensibility relies on melancholy rather than innovation or allegiance to make its point: tied to the loss of an idealised past, their work gains its emotional power, its expressive force as art, from the extent to which it conveys that sense of loss to the beholder.

The monuments to technological, social and political modernisation, have aged and are now empty of all but memory of the reform ambition of a new social industrial order they once housed.

What we have in the 1950s and 1960s is suburbia.