By Anthony O'Hear
The fourteen essays during this e-book advance a notion of human tradition, that's humane and traditionalist. Focusing quite on notions of attractiveness and the cultured, it sees inside our tradition intimations of the transcendent, and in essays the character of faith is at once addressed. a few essays additionally discover the relation among politics and tradition.
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Extra resources for The Landscape of Humanity: Art, Culture and Society (St Andrews Studies in Philosophy and Public Affairs)
They have been deconstructed, destroyed. In reality there is no more reference to forms. It has all been done. The extreme limits of these possibilities have been reached. It has destroyed itself … all that are left are pieces, playing with pieces … one is in a kind of post-history that is without meaning …16 It is impossible not be struck by the historicism underlying these reflections, the belief that because of our historical situation all that is left to us is irony and fractured images. And certainly this is the way post-modernist architects and artists treat past styles in their own work.
Aesthetically, Jencks would deploy his historicist analysis of the modern age to disparage the un-ironic classicism of architects such as Quinlan Terry and Robert Adam. 15 Erecting principles of design on supposed characteristics of the modern age, such as change or choice, is historicism, pure and simple, as objectionable in its own way as an approach to aesthetic and architectural problems as Pevsner’s dogmatic and monolithic modernism. Jencks’ view of post-modernism can be briefly stated. Because we live in a world of incessant choosing, there can be no such thing as orthodoxy in any field, and certainly not in art or architecture.
22 By contrast, historical ‘spirits of ages’ are always either ex post facto rationalization or bogus prophesying. There is, then, in a developed tradition of art or architecture, a body of practical knowledge which enables workers within that tradition to communicate to an audience schooled by and within the tradition, enabling them to respond to its works and to find at times comfort and consolation in them precisely where the works show sensitivity to what the audience has come to regard as the familiar, the fitting and the human.