{"id":6610,"date":"2016-01-23T14:44:51","date_gmt":"2016-01-23T14:44:51","guid":{"rendered":"https:\/\/thedorseypost.com\/?p=6610"},"modified":"2016-01-22T18:53:06","modified_gmt":"2016-01-22T18:53:06","slug":"darwin-science-religion-art","status":"publish","type":"post","link":"https:\/\/thedorseypost.com\/?p=6610","title":{"rendered":"Darwin, science, religion, art, ice cream"},"content":{"rendered":"
\"WilliamsCollegeGopnik2\"<\/a>

Adam Gopnik<\/p><\/div>\n

Last month, Adam Gopnik,\u00a0a regular writer\u00a0for\u00a0The New Yorker<\/em>, drew an unusual connection between art criticism and religion in this conversation with Krista Tippett who hosts the\u00a0On Being<\/a><\/em>\u00a0podcast. Before he got to that, he offered interesting\u00a0thoughts on how he\u00a0can be a devoted Darwinist and still\u00a0take his Jewish faith seriously, as well as a husband who appreciates his wife’s Christianity. He named his children Darwin and Auden (after the poet,\u00a0who was a Christian.) I’ve been\u00a0bringing religion into this blog fairly often lately, against my better judgement, since it’s such a\u00a0politicized topic now. I think painting\u00a0and religious faith are close siblings. Schools of art, or fixed theories about what art needs to be, are maybe a bit more like\u00a0organized religions. I’ll leave it to\u00a0you, and maybe Kierkegaard, to\u00a0separate the good from the bad\u00a0in those last two sentences. (Jim Mott and I talk about this quite a bit, which reminds me that I still have to write about my\u00a0conversation with him.) I see a parallel between art and faith partly because of the way both try to point toward\u00a0the whole of human experience. Art does it with a quiet, indoor voice–at least the art I love. In contrast to organized religion, which seems to make a lot of noise now, genuine faith more often than not\u00a0withdraws into\u00a0silence.\u00a0Art and faith\u00a0attempt\u00a0to draw\u00a0attention to\u00a0the entirety of life, the whole of things. How art does this is something only Proust and Samuel Beckett, of all people, offer\u00a0suggestions that make sense to me, in a tentative way, but that’s for another post. The point is to\u00a0trigger\u00a0in the practitioner an imaginative and felt\u00a0apprehension of the totality of life. For me painting at its best offers a certain kind of attention, a level of awareness, that combines\u00a0gratitude, joy, affirmation, and a sort\u00a0of impartial honoring\u00a0of things as they are. The spirit of painting for me is: “before it’s gone, take a look at how amazing this apple is!” Painting\u00a0is akin to meditation or\u00a0prayer: a way of strenuously attempting to see what’s there in front of you, and inside you, as clearly as possible, without distortion. (Would that describe\u00a0phenomenology as well?) And in both there’s a constant element of self-doubt, a questioning of whether or not what you’re seeing, and doing, is true or real or right or even just\u00a0worthwhile.<\/p>\n

All of this represents, in a different sphere, the striving at the heart\u00a0of most faiths, especially the element of self-doubt. In contrast to how\u00a0many people think faith means certainty, including a lot of believers. But to get back to Gopnik (who didn’t talk about any of this) he makes a point that art criticism, not art itself, is a practice before it’s a dogma–he got\u00a0there by talking first about Darwin and religion. I think that distinction between practice and dogma works much better for art itself than for art criticism. Art is a practice that tends to spin off\u00a0fixed principles, and schools, and prejudices against this or that in favor of that or this (the way faith splits up into antagonistic sects) but primarily it’s a non-conceptual way to see into the nature of things. Learning how to paint is learning how to be aware. It isn’t an activity that springs from conceptual origins (at least not the kind of painting I practice.)\u00a0Instead of illustrating ideas, painting\u00a0tries to\u00a0show<\/em>\u00a0life–and show it in terms that can’t be translated into words or concepts and maybe, to some individual degree, in ways that haven’t been seen\u00a0before. Dogma and ideas are beside the point. Practice is everything. Doing, not thinking.<\/p>\n

This distinction between practice and dogma links back to religion. It’s the pivotal distinction of Karen Armstrong’s recent writing about God. She talks about how religion and faith are learned behaviors, ways of being in the world, that can’t be reduced to dogma, and have very little to do with the various “beliefs” which can be asserted as propositions about the world. Art integrates human experience though learned skills. Art doesn’t assert propositions. Faith works in the same way. What’s incredible about a great painting is that, rising up out of long practice, long learning of skills, you might get\u00a0work\u00a0that resonates with a sense of the whole of life and\u00a0conveys what is\u00a0true and good–as the artist strives to\u00a0adhere to those things in something as simple as the way she\u00a0applies her\u00a0paint. All of these things are\u00a0equally true, in a slightly different and more important way, for the discipline of a Buddhist, Hindu, Jew, Muslim, or\u00a0Christian. The goal is the same: to act\u00a0in harmony with what’s real and true, through years of practice. The hope is to\u00a0create an extremely humble, living relationship with the world beyond your head, as Matthew Crawford puts it, while being acutely aware of how difficult it is for your mind to remain aware of\u00a0its own severe limitations and its default setting\u00a0for despair, cynicism, and doubt.<\/p>\n

Here is a sample of Gopnik’s comments. I’m puzzled by the genealogy he rattles off–I think I would reorder\u00a0the isms a bit. Surrealism begat abstract expressionism\u00a0didn’t it? But he makes his point:<\/p>\n

Krista Tippett: How does your reverence for Darwin . . . influence your sense of religion?<\/p>\n

Gopnick: I always see Darwin as the model of the active explanation, the ethics of explanation. It affects my own feelings about the universe because it’s demonstrative about the possibility that you can be completely committed to a rational, material explanation of how we got here without being committed to a reductive account of our own experience. You can believe that there’s a completely rational account of how we got here but you can never fully rationalize what we feel here: it’s central to Darwin’s distinction between two different kinds of time. It’s the hardest reconciliation to attempt. That is that anybody who, like Darwin, is committed to science is acutely aware of the limits of scientific explanation. The greatest philosopher of science in\u00a0the 20th century, Karl Popper, always said the realm of science was small. There is a huge realm of human experience that would never be susceptible to scientific explanation. That didn’t mean it could be subsumed into the supernatural. But there were realms of what for lack of a better word you call spiritual or numinous experience, or simply the experience of sensibility, everything summed up in . . . songs and poems and novels and spirituals all the other ways we have of organizing our experience . . . he believed he had discovered the secrets of life, but nothing could explain the mysteries of living.<\/p>\n

Krista: Which is also the confusion that brings us to the religious part of life–community, texts, teaching.<\/p>\n

Gopnick: And practices. I’m trying to write a book of memoirs on coming to New York\u00a0in the 1980s. I was in the art world in those years. I was getting a degree in art history, God help me. I realized then that understanding modern art really was like a religion in that it was a practice before it was a dogma. You could never really get it by understanding the way one picture had changed another, how\u00a0cubism had created expressionism which created surrealism and so on. It was a practice of interpretation. That is something that is insufficiently well understood. What religion brings us is a practice, not a dogma. The idea of having a spiritual practice is one that’s completely compatible with having a skepticism about dogma. Science demands that we be skeptical of our own theories.<\/p>\n

Gopnik doesn’t quite get to the heart of it: religion and art aren’t simply about “feeling” or “sensibility.” But that’s more a limitation of the language, rather than a fault in his view–these are the words you end up resorting to, for lack of better terms. BTW, on the subject of\u00a0art criticism, the\u00a0Entitled Opinions<\/em>\u00a0<\/a>episode on Diderot touches on how he\u00a0approached each painting he wrote about without applying any formal system to his critique or response. You’ll also learn\u00a0he\u00a0was crazy about ice cream.<\/p>\n","protected":false},"excerpt":{"rendered":"

Last month, Adam Gopnik,\u00a0a regular writer\u00a0for\u00a0The New Yorker, drew an unusual connection between art criticism and religion in this conversation with Krista Tippett who hosts the\u00a0On Being\u00a0podcast. Before he got to that, he offered interesting\u00a0thoughts on how he\u00a0can be a devoted Darwinist and still\u00a0take his Jewish faith seriously, as well as a husband who appreciates […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-6610","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"yoast_head":"\nDarwin, science, religion, art, ice cream - represent<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/thedorseypost.com\/?p=6610\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Darwin, science, religion, art, ice cream - represent\" \/>\n<meta property=\"og:description\" content=\"Last month, Adam Gopnik,\u00a0a regular writer\u00a0for\u00a0The New Yorker, drew an unusual connection between art criticism and religion in this conversation with Krista Tippett who hosts the\u00a0On Being\u00a0podcast. 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