There is an irony in the notion that what masks as “culture” actually manages, although reluctantly, to include as elemental the best part of humanity. The outward appearance of “culture” has evolved through the assumption and ultimate discarding of variously narrow nationalist identities – the European theatre was masked at one time or another variously as predominantly German, then conquered by Russian, with a constancy of the Franco-Italian influence, all mixed with a Latin influence fostered by Spain and South America. As in everything, politics played a major role in the separation and hierarchical resolution of the “Happy family of Nations,” as various conflicts and cold wars led to the devouring of one another over a mere half century. But even with this chaotic and often tragic unrest, again and again wearily and reluctantly, humanity tried to put its best bold mask, wearing upon its countenance the sometime sad remnants of the cultures involved, often at the expense of the vast fertile diversity which formally characterized the creative whole of Europe and the west. Inevitably, culture became treated as a currency bringing wealth to many merchants, but few artists, undermining the very diversity which strengthened the motivic force behind its evolution and advancement.
So now decadence and things outside of art took over “culture”. Again, all reluctantly dressed up, what remained of the old memory became the new facemask of “culture.” But the fathers and grandfathers of art expected that progress would influence art. And behold, the glory of progress of the people is accelerating. Thanks to powerful technologies, and unprecedented tools of manipulation any number of people wearing masks of culture was not necessary because everyone has their own mask now, decorated by the culture thrust upon them by government. The modern era in my opinion has become more than Post-modern, post romantic, post classical – it is now Post-Human. Personhood is replaced by a bastardized Post High – tech isotope radiating.
Thoughts into the Internet cosmos of confusion without family, kin, or country. And like all endeavors linked to the worship of currency, like Facebook and the like, the results are Fiercely greedy, and the interventional influence on taste (masked as free will driving evolution) is ravenous and devoid of the soulful thoughts or creative desires of humanity in many cases. James Joyce once said that, ”Cruelty is weakness”, and I would add to that, “Cruelty is abuse pretending to be weakness.”
The problem is that the threat now comes from everywhere via the internet, and with so many sources, people react by pretending to be strong, as animal reflexively poise themselves in self-defense. And this is the cruel joke played by Progress on the still rather Primal mankind – that what was supposed to unite people often isolates them. And culture has become fragmented, influenced by the strong, and the mindful soul of man, his physiognomy of culture in the sense that we knew it before all of this Progress took hold of man by the neck – that is relegated to museums, and even those are sometimes dustbins managed by openly practicing propaganda artists rather than fonts of creativity truthfully portraying the past.
AI and indiscriminate fusions of art and non – art and currency are being let to set the culture, and in reality it prevents real evolutionary progress, which art must have to remain alive and relevant to the soul of man. So there is an Awesome challenge – humanity must choose wisely, letting the past be a tutorial, but also letting technology work for mankind, rather than be its only prophet. And from Where will the next big step come ?
About the Capacity of the soul.
In the world of music, including Bach, Beethoven, Chopin, and Schumann, we reject the notion of “simple mind and humanity” as to encompass all in a simplistic categorization of Serious music – or the popular terming of European music “the passionate star master with feelings.” It is very regrettable that even Bach could not have happened without doubt the “new Russian man” he had waited for in his dreams.