Monthly Archives: June 2014

Pop Art Movement. David Hockney. A Bigger Splash 1967.

bigger_splash_67

The Pop art movement began in England in the 1950s, it spread to the USA in the 1960s, the era fizzled out in the early 1970s. The work produced was popular with the general public due to its strong visual impact and vibrant colour, the images gave instant meaning as the compositions were simple, the subject matter was more down to earth than the abstract expressionism of the 1950s which the public in general did not appreciate or understand, Abstract expressionism in post WW11 America – which also had been in Germany as early as 1946 – did not have wide public appreciation with its anti-figurative aesthetic found in schools like the Bauhaus and in Futurism, a sense of self denial pervaded the work so unlike Pop art. Pop art was seen as ‘a post war expression of a world totally occupied with the pursuit of materialism.’ The austerity of the war years was coming to an end, artists were making a commentary on contemporary society and culture, it attracted dozens of artists who joined the movement.
Pop artists believed that everything is inter-dependent and therefore sought to make those connections in their art work, did they succeeded in integrating society and its culture in the ‘swinging’ sixties? In addition it was a reaction against the status quo, in many ways its aims were similar to the earlier Dada movement which arose from Surrealism with artists like Magritte and Duchamp. Among British pop artists were Eduado Paolozzi, Patrick Caulfield, Peter Blake and David Hockney, their work was less kitschy, more romantic and nostalgic than that of the American artists, they formed the Independent Group. Some artists were making anti-art statements but most had a positive attitude and wished to create new forms of expression, which they did very successfully by taking images from Westerns, science fiction and comic books which the public enjoyed. Art critics were apt to scorn Pop art as having a ‘low brow focus’, it did shatter the divide between commercial arts and the fine arts, it had returned to representational visual communicaton, mass media printing techniques were employed to great effect in particular by Andy Warhol.

As an example of the work produced at this time I have chosen David Hockney’s ‘A Bigger Splash’ so named because it is a larger canvas than an earlier Splash painting, he used the newly invented acrylic paint having painted previously with oils such as in the painting with oils on board of ‘We 2 Boys Clinging Together’ inspired by a Walt Whitman poem. Hockney was living in California at the time where he was teaching and where he was to spend nearly thirty years on and off, it is one of a series of swimming pool paintings and is probably one of his best known works of the 1960s, painted in 1967. We see a flat realistic style, I think the inspiration for the pool was taken from a photograph, the geometric shapes are vertical and horizontal with the exception of the diagonals of the diving board, does it jar the balance, it would have been on purpose? I am reminded a little of Edward Hopper’s ‘Nighthawks’ with the building largely consisting of large plate glass windows. Hockney said in an interview I listened to, recorded at the Royal Academy, that the splash alone had taken him a week to paint with a fine brush, the sky is blue, the pool cool and shimmering, we cannot see the body of the swimmer who has dived deep into the water. The work gives the impression that there is not a thing worrying the painter, not a cloud is on the metaphorical horizon! In fact all was not well for part of the time, one of Hockney’s assistants died of a drug overdose in his studio and Hockney was upset when the relationship with the American artist Peter Schlesinger came to an end although they remained friends, Schlesinger was also one of Hockney’s favourite models. His painting keeps a calm outlook in spite of these setbacks, no extreme of emotion is presented, a middle way found?

David Hockney was born in Bradford, Yorkshire in 1937, he is still painting in 2014 with the same energy. He is a skilled draughtsman, print maker and stage designer, like his father Kenneth he is a conscientious objector, during his time spent doing National Service he was a medical orderly. He trained at the Bradford School of Art and the Royal Academy, he was somewhat of a rebel, he would not write an essay for his graduation on the grounds that his paintings alone should qualify him sufficiently to obtain a degree, the degree was refused at first but later the RCA relented and awarded him a diploma. He exhibited work alongside Peter Blake at the Young Contemporaries. As well as living in California he lived in Paris between 1973 and 1975, he returned to England then moved back to California where he rented a house in Nichol’s Canyon which he later purchased, he still owns property in the USA, also in London and in Yorkshire where he has lived recently, his work is inspired by the Yorkshire landscape. While in America he met other Pop artists such a Andy Warhol, from 1968 onwards he painted friends, relatives, his parents and lovers, he is openly gay, he continues to be constantly interested in the way human vision works. Hockney said ‘the power is with the images’ he is said to regret that conceptual art is now preferred over images and that photography is used more often, saying ‘a camera cannot see what a human can see.’ His views may have been adapted because recent work has been aided by Ipad technology.

Image from wikipedia.

The MWS Podcast: Episode 26, Martine Batchelor on Ethics from a Buddhist perspective

In this episode Martine Batchelor, a Buddhist teacher and author talks about ethics from a Buddhist perspective and to what extent it differs from more rule based ethical positions. We also explore topics such as absolutism versus relativism, karma, ‘engaged’ Buddhism, the precept of non-harming, laying people off, prisons and her understanding of the Middle Way.


MWS Podcast 26: Martine Batchelor as audio only:
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Critical Thinking 15: The Texas Sharpshooter Fallacy

The Texas sharpshooter fallacy is one of the most amusing fallacies in Critical Thinking: perhaps because it is based on a story. The Texas sharpshooter is a man who practices shooting by putting bullet-holes in his barn wall: then, when there is a cluster of holes in the wall, he draws a target around them. To commit the Texas Sharpshooter Fallacy, then, is to fit your theory to a pre-existing pattern of coincidences.

This video is an advert for a book, but presents the fallacy rather well:

The cognitive bias that might lead us into the Texas Sharpshooter Fallacy is called the Clustering Illusion. If we see a cluster of something (bullet holes, cancer cases, high grades in exams, letters used in a text) we have a tendency to assume that this cluster must be significant. Of course, it might be, but then it might not be. I think the fallacy becomes a metaphysical assumption about a ‘truth’ in the world around us when we assume that the pattern must be there, rather than just holding it provisionally as a possibility. Usually we need to look at a lot more evidence and continue to see the same pattern before we can justifiably conclude that the theory that explains it.

The Middle Way is applicable here because we need to avoid either, on the one hand, jumping to absolute conclusions about the significance of patterns we encounter, or, on the other, assuming that everything is necessarily random and any theories used to explain any pattern must be false. It may be important to accept consistent patterns of evidence even if they don’t amount to a certainty: the evidence for global warming is one example of that. On the other hand, the patterns of evidence used by those who argued that 9/11 was a conspiracy set up by the US or Israeli governments (see Wikipedia article) could point to only much more limited evidence. For example that Israeli agents were discovered filming the 9/11 scene and not apparently being disturbed by it is a pattern that would be consistent with an Israeli plot, but only a very small part of a pattern for which all the other elements are missing. A great deal more has to be assumed to support any of the 9/11 conspiracy theories: plausibility within a limited sphere is not enough.

This fallacy links with a number of others: for example the similar ad hoc reasoning (also known as the ‘No True Scotsman’ Fallacy) where someone refuses to give up a theory that conflicts with evidence but keeps moving the goalposts instead, and post hoc reasoning that assumes that when one thing follows another the first must cause the second. Post hoc reasoning can be seen as a version of the Texas Sharpshooter, because a pattern of correlation is being identified that is assumed to be causally significant when it may be a matter of coincidence. See the Spurious Correlations website for some hilarious examples of this. The divorce rate in Maine correlates with the per capita consumption of cheese: are depressed Maine divorcees binging on cheese?

Exercise

How would you judge the following patterns? Are they evidence that could be used to support a theory, or just a small pattern of coincidences?Bermuda_Triangle_(clear)_svg

1. A number of bird droppings on the roof of your car appear to form a letter ‘F’.

2. A number of unsolved disappearances of ships and planes have occurred within the area of Atlantic known as the Bermuda Triangle. See Wikipedia.

3. During the Apollo 8 mission to the moon, astronaut Jim Lovell announced “Please be informed, there is a Santa Claus”..1918_spanish_flu_waves

4. The first peak of the Spanish Flu outbreak occurred at almost exactly the same time as the armistice of 11/11/18 ending the First World War (see graph).

 

5. Deaths by shark attack tend to peak and trough at the same time as ice cream sales.

The Trouble with Revisionism

Almost everything we do is in some way an attempt to improve on what went before. Even tidying up a room involves what we see as an improvement on its previous state. When we consider traditions of human thought and activity, too, each new development of a tradition tries to address a new condition of some kind and thus also remedy a defect: for example, the Reformation was a response to dogmatic limitations and perceived abuses in the Catholic church, and new artistic movements respond to what they see as the aesthetic limitations of the previous movements that inspired them.

In many ways, then, its not surprising that both individuals and groups gradually evolve new ways of doing things in response to past tradition or custom. What creates a problem, though, is when we essentialise that tradition and try to appropriate its whole moral weight to justify our current approach: believing that we have found the ultimately right solution, the true answer, or the ultimately correct interpretation of that tradition. When we do that, we’re not just contributing to a new development that we acknowledge to be different from what went before, but also imposing that development on the past. In effect, we’re projecting the present onto the past. Revisionism - Executed Yezhov removed from photo of StalinThis is an approach to things for which ‘revisionism’ seems to be a good label, though it’s most typically been used for those who more formally impose their preconceptions on the interpretation of history, such as holocaust deniers. This photo shows such revisionism in action in the Soviet Union: the executed commissar Yezhov removed from a photo featuring Stalin.

In a sense, we’re all revisionists to some degree, since this tendency to appropriate and essentialise the past is wrapped up in common fallacies and cognitive biases that we might all slip into. We’re especially likely to do this when considering our own past, for example underestimating the extent to which our mature experience differs from our youth and projecting the benefit of hindsight onto our judgements in the past. In working on my next book Middle Way Philosophy 4: The Integration of Belief, I’ve been thinking a lot about these cognitive biases around time recently. There are many concerned with the present and the future, or with non-specific times, as well as the past, so I won’t try to discuss them all, but just a couple that focus particularly on the past.

In terms of Critical Thinking, the fallacy of absolutising the past is equivalent to the Irrelevant Appeal to History or Irrelevant Appeal to Tradition. This is when someone assumes that because something was the case in the past that necessarily makes it true or justified now. Simple examples might be “We haven’t admitted women to the club in the hundred years of our existence – we can’t start now! It would undermine everything we stand for!” Or “When we go to the pub we always take turns to pay for a round of drinks. When it’s your round you have to pay – it’s as simple as that.”

A common cognitive bias that works on the same basis is the Sunk Cost Fallacy, which Daniel Kahneman writes about. When we’ve put a lot of time, effort, or money into something, even if it’s not achieving what we hoped, we are very reluctant to let go of it. Companies who have invested money in big projects that turn out to have big cost overruns and diminishing prospects of return will nevertheless often pursue them, sending “good money after bad”. The massively expensive Concorde project in the 1970’s is a classic example of governments also doing this. But as individuals we also have an identifiable tendency to fail to let go of things we’ve invested in: whether it’s houses, relationships, books or business ventures. The Sunk Cost Fallacy involves an absolutisation of what we have done in the past, so that we fail to compare it fairly to new evidence in the present. In effect, we also revise our understanding of the present so that it fits our unexamined assumptions about the value of events in the past.

I think the Sunk Cost Fallacy also figures in revisionist attitudes to religious, philosophical and moral traditions. It’s highly understandable, perhaps, that if you’ve sunk a large portion of your life into the culture, symbolism and social context of a particular religious tradition, for example, but then you encounter a lot of conflicts between the assumptions that dominate that tradition and the conditions that need to be addressed in the present, there is going to be a strong temptation to try to revise that tradition rather than to abandon it. Since that tradition provides a lot of our meaning – our vocabulary and a whole set of ways of symbolising and conceptualising – it’s clear that we cannot just abandon what that tradition means to us. We can acknowledge that, but at the same time I think we need to resist the revisionist impulse that is likely to accompany it. The use and gradual adaptation of meaning from past traditions doesn’t have to be accompanied by claims that we have a new, true, or correct interpretation of that tradition. Instead we should just try to admit that we have a new perspective, influenced by past traditions but basically an attempt to respond to new circumstances.

That, at any rate, is what I have been trying to do with Middle Way Philosophy. I acknowledge my debt to Buddhism, as well as Christianity and various other Western traditions of thought. However, I try not to slip into the claim that I have the correct or true interpretation of any of these traditions, or indeed the true message of their founders. For example, I have a view about the most useful interpretation of the Buddha’s Middle Way – one that I think Buddhists would be wise to adopt to gain the practical benefits of the Buddha’s insights. However, I don’t claim to know what the Buddha ‘really meant’ or to have my finger on ‘true Buddhism’. Instead, all beliefs need to be judged in terms of their practical adequacy to present circumstances.

This approach also accounts for the measure of disagreement I have had with three recent contributors to our podcasts: Stephen Batchelor, Don Cupitt and Mark Vernon. I wouldn’t want to exaggerate that degree of disagreement, as our roads lie together for many miles. and in each case I think that dialogue with the society and exploration of the relationship of their ideas to the Middle Way has been, and may continue to be, fruitful. However, it seems to me on the evidence available that Batchelor, Cupitt and Vernon each want to adopt revisionist views of the Buddha, Jesus and Plato respectively. I’m not saying that any of those revisionist views are necessarily wrong, but only that I think it’s a mistake to rely on a reassessment of a highly ambiguous and debatable past as a starting-point for developing an adequate response to present conditions. In each case, we may find elements of inspiration or insight in the ‘revised’ views – but please let’s try to let go of the belief that ‘what they really meant’ is in any sense a useful thing to try to establish. In the end, this attachment to ‘what they really meant’ seems to be largely an indicator of sunk costs on our part.

The MWS Podcast: Episode 25, Jonathan Rowson on the RSA Social Brain Centre

In this episode, Jonathan Rowson, a Scottish chess Grandmaster and director of the Social Brain Centre at the Royal Society of Arts, talks to us about the Social Brain project, it’s aims and objectives, some working assumptions that underpin its approach, its ongoing initiative on spirituality and how all this relates to his understanding of the Middle Way.


MWS Podcast 24: Jonathan Rowson as audio only:
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