Over the next few weeks our work will be defining and pursuing a project that will represent and discuss the impact of creative social practices in the open space of democracy. We will also be reading and discussing your work with theorists and practitioners who have thought about these questions, including Doris Sommer and Pablo Helguera, to refine the method we are using to conduct our intellectual work.
On Tuesday of this week we need to get to work on outlining our work and setting up the relationship between individual and collective responsibilities. And by Thursday (or Friday) we want to have in place a concept and an outline for completing our work.
Our reading in Sommer and Helguera provides a stimulating context for what you decide you are going to do. Your efforts, as I have explained on a number of occasions, is to bring to light the practice of democratic culture. A focus on the “work of art” in the world should not trip you up, as we are moving to find examples of what Sommer calls Schiller’s “daring proposition” that “creativity and aesthetic judgment are foundations for democracy” (9). Over the next few weeks we will be apprentices to this idea that Sommers connects to Fredrich Schiller’s Letters on the Aesthetic Education of Man (1794).
Among the reasons we are reading Sommer is that she is really clear about the contribution of the kind of critical work we are practicing as students of culture. She quotes Dewey, in fact, the memorable last words from a book we sampled, Art as Experience,
We lay hold of the full import of art only as we go through in our own vital processes the processes the artist went through in producing the work. It is the critic’s privilege to share in the promotion of this active process. His condemnation is that he so often arrests it
The other thing we are doing, of course, is American Studies. This work is examining subjects and problems that normally belong to other disciplines. Helguera elegantly, and for me convincingly, explains how art as social practice involves community engagement, dialogue, and conversation. Examples of this kind of practice involve pedagogy (Paulo Friere, in this case), performance and performance studies, sociology, ethnography, literary studies, cultural studies, women’s studies, linguistics, art and art history, political science, and the public humanities.
The work of criticism depends on thinking–creative, critical, however you want to describe it. For Sommer, critical thinking “is both a condition of and a complement to art making-world making in Dewey’s pragmatic and democratizing sense of art as experience-that sparks more exploration and more experience” (10). This is helpful information. It is one way around the debilitating arrest of thought that leaves us where we are. It is a reminder that all of us are creative artists and citizens, if we choose to be, in that creative democracy Dewey imagined, and that we continue to struggle to enact every day.