Why do artists …?

Working in isolation and without an ordinary outlet seems to be uncomfortable to lots of people, but might be more familiar for artists and writers. Why have we been doing that kind of thing for so long? The question reminded me of an essay from some years back that took the form of a conversation among people waiting for an art class to begin, as told by a first-person narrator. It was the only piece accepted for this anthology that was told in a creative form.

Here are some lines from the ending of my essay “Reveyesed I’s,” written for the publication Creativity:

Just as Roger and Rose Ellen are leaving together, Roger turns back and looks at Marie. “Why did they persist? Why do you?” he asks.

“What?” asks Marie.

“Why do artists insist on making art, without pay or recognition?” Roger asks.

“Why is art made, when the artist is no longer employed to fill the needs of church or king? Why, when there are no animals to be entranced, no hunting spells to weave by firelight deep beneath the earth? When images can more quickly be made by other means?” the model chants.

“When there is no clear use for what they do?” Roger asks.

“The artist needs to get the intuitions of the mind outside, and see what they look like. Or hear what they sound like,” Marie answers.

“Thoughts grow and change as they emerge. The process of getting the images down is a process of knowing them better. It’s a way of coming to terms with the shifting and expanding nature of reality,” the model says.

“What does creativity have to do with reality?” Kay asks.

“I think that the relationship of art to reality lies in the creative act itself. It’s not in the images or other results produced. The creation of images is part of the learning process, not something carried out after it,” says Marie.

“Just for themselves, then?” asks Roger.

“Oh, no. The response of others adds to the meaning. When readers and viewers make their own meanings, they are also involved in the process,” says Marie. …

“But what does all of that have to do with living in the real world?” Kay asks.

“It is by focusing on the process of creating works of art, and by drawing the viewer into that process, that our arts represent the real world. They reflect the way that we function in that world,” says the model. She returns to her place among the still-life items.

The model sits still for a long moment, then shifts her position. She speaks slowly, “‘No longer to receive ready-made a world completed, full, closed upon itself, but on the contrary to participate in a creation, to invent in his turn the work and the world, and thus to learn to invent his own life.’” She says nothing more. But that last, I am sure, was a quote from Robbe-Grillet. I shall have to look it up.

Marie nods. She gets slowly to her feet and gathers up her belongings. “My grandson is coming for me after class. But that’s still a long time off.”

“I’ll give you a ride home,” says Karen.

“Are there artists now, discovering?” asks Olivia.

“I hope so. I trust there must be,” says Marie. Once more, we glimpse through her glasses the multiple lights reflecting off her eyes.

Karen and Marie go out together. Kay and Olivia remain for a short time, talking quietly. Am I mistaken, or do I see there a slight glitter, a hint of a change in the eyes?

Then they, too, go out into the dark.

(See our Books and Downloads page for the whole essay.)

Pat

The Show Goes On …

Troubled times often lead to exciting innovation in the arts. Right now, creative people are dutifully quarantining themselves, just like the rest of the public. And yet at the same time, they’re refusing to sit back and wait for some kind of magical “all clear” signal before going back to work. This is especially true in the performing arts. Although bricks-and-mortar theaters and other performance venues have gone dark and dormant, there has been an explosion of virtual performances.

Songwriters, musicians, and other performers are going digital and online to reach out to a public that is hungrier than ever for artistic experience. Billboard, Grammy.com, Creative Capital, and other sites keep ongoing, updated lists of online digital artistic events.

I am excited and honored to be involved in an upcoming live, digital theater event. Project Chrysalis 2.0, an evening of staged readings of scenes from new plays, is going to take place online. An excerpt from my award-winning play The Shackles of Liberty will be one of five new works featured. For both rehearsals and performances, participants are working as an ensemble while remaining safely quarantined in their homes. I’m enjoying these unique, innovative, and rewarding rehearsals and am excited about the upcoming performance.

Hosted by the Cary Playwrights Forum, these scenes will will be broadcast live via Facebook Live on Saturday, April 11, at 7:00 p.m. Afterwards, the audience will vote on which play will get a full production. Please join us for this exciting and special event!

Collaboration and Creativity

I’m admiring the RC James song post of Wim’s poem, and other related pairs that show up on the Open Arts Forum (great place for creative people showing work and exchanging ideas). Collaboration can be like a conversation … Hey, is this what you meant? or How about this in addition to/instead of …? That can contribute mightily to creative experience when creativity is understood as not just a search for a way to express something understood but as a way of discovering more about whatever you’re reaching for. Probably musicians, especially jazz-inclined, get this better than those of us who use more stationary media. Not that either way of working replaces the other, but collaboration can open up possibilities in the process. Maybe it also readjusts our sense of how we function in the world.  — Pat

 

Three Double Takes

by Wim Coleman

1 allegretto

A zebra with a party
horn and hat has crashed
your thirtieth. This
creature was your friend
when you were three
and lived beneath the
checkered tablecloth
and would come up
from time to time
to munch with you on
globes of milk-drenched
Too-Sweets, but this
was not to be expected.

Hear the horn &
knit your brow &
turn & see &
nod as if you
understand &
turn away.
Your eyes pop out,
you turn right back
& stare amazed.

*

2 allegro

Her husband has
come back again
as you were raising
up your glasses
in a toast to
one another
naked in white
sparkling wine
swapping an
indecent ripe
Greek olive
faintly tinged
with feta. He
called her from
Tibet an hour ago.
This was not
to be expected.

Hear & turn.
Look & nod.
Turn away.
Beat. Beat.
Face react.
Turn again.
Stare afraid.
Beat. Beat.

*

3 presto

Death
has come
in a fake
tuxedo
t-shirt
with a
chainsaw
while you
were adding
a rhythm
section to
St. Matthew’s
Passion.
He calls
you by
a name
you can’t
pronounce.
This
was not
to be
expected.

Hear. Turn.
Look. Nod.
Turn. Six.
Seven. Eight.
Eyes pop.
Turn. Gape.
Stare. Six.
Seven.

Cold-Blooded Kindness …

Did anybody need a reminder that we’re living through mean times? Whether we needed it or not, we’re getting one right now, as states enact anti-abortion laws that have virtually nothing to do with protecting human life and a everything to do with controlling women’s lives and bodies. What has gone so terribly wrong with our culture?

Aime-Morot-Le-bon-Samaritain

The Good Samaritan by Aimé Morot (1880).

Perhaps our collective empathy is failing us. I’ve certainly thought so for quite some time. So did then-Senator Barack Obama back when he gave a 2006 commencement speech at Northwestern University in which he warned graduates of America’s “empathy deficit” …

[W]e live in a culture that discourages empathy.  A culture that too often tells us our principal goal in life is to be rich, thin, young, famous, safe, and entertained. A culture where those in power too often encourage these selfish impulses.

It’s gotten worse since 2006, as I’m sure Obama would agree. Incivility rears its head all over the place, from hate-filled Trump rallies to petty name-calling and ad hominem attacks on social media. Sometimes it feels like the whole world is descending into what the Indian writer Pankaj Mishra calls the “Age of Anger.”

But is “cultivating empathy,” as Obama proposed, some sort of magic bullet? Maybe—but maybe not. Lately some writers have been suggesting that empathy has its limitations—and also its dangers.

Hanna Rosin recently wrote about the ideas of Fritz Breithaupt, the author of the book The Dark Side of Empathy. Breithaupt turns some of our conventional notions of empathy upside down. For example, while we routinely think of terrorists as lacking in basic human empathy, Breithaupt suggests that they are instead afflicted with an “excess of empathy. They feel the suffering of their people.” Their empathy drives them to commit vicious acts against those whom they suppose to be responsible for inflicting that suffering.

I almost balk at this idea. Still, I’m afraid there’s something to it. Even those of us who are not terrorists can fall into narrow tribalism. It is easy to empathize with people who are like us, and near and dear to us; it is harder to empathize with people who are different and farther away. And this is dangerous. By giving ourselves over to divisive and selective empathy—the kind of empathy that excludes and persecutes the other—Breithaupt suggests that “basically you give up on civil society at that point. You give up on democracy.”

Paul_Bloom_no_Fronteiras_do_Pensamento_Florianópolis_2014_(15062511061)

Paul Bloom
photo by José Luis Somensi

Also, because empathy focuses on individuals, it is just about impossible to exercise in the abstract—which is to say, on any truly large human scale. Empathy is like a spotlight that blinds us to widespread suffering. In his controversial and provocatively-titled book Against Empathy, Psychologist Paul Bloom comments on this “spotlight” problem …

[S]potlights have a narrow focus, and this is one problem with empathy. It does poorly in a world where there are many people in need and where the effects of one’s actions are diffuse, often delayed, and difficult to compute, a world in which an act that helps one person in the here and now can lead to greater suffering in the future.

Bloom is fond of citing a question posed by the Chinese philosopher Mencius: If you are out walking and see a child drowning, what would prompt you to rescue her? Would it be empathy? I can certainly imagine feeling empathy for the child’s pain and terror, and also for her parents’ grief and sorrow should their daughter drown. But when it comes to actually rescuing her, I suspect that Bloom is right in suggesting that I’d rescue the girl because it is simply the right thing to do.

According to Bloom, this may not be an empathetic decision, but it is definitely a compassionate one. We’re not used to making a distinction between empathy and compassion, but they’re really not the same. Bloom quotes a paper by Tania Singer and Olga Klimecki

In contrast to empathy, compassion does not mean sharing the suffering of the other: rather, it is characterized by feelings of warmth, concern and care for the other, as well as a strong motivation to improve the other’s well-being. Compassion is feeling for and not feeling with the other.

Bloom describes this sort of “non-empathetic compassion” as “a more distanced love and kindness and concern for others.” Such compassion involves a level of caring that empathy doesn’t necessarily engage. And because it isn’t easily exhausted, compassion also facilitates sustained, positive action to remedy human suffering.

I can remember my own outrage when the crisis of family separations began at the U.S./Mexico border. Like many Americans, I was devastated by images, videos, and audio recordings of terrified children. But I’ve also experienced a feeling of gnawing helplessness at the sheer number of children who remain separated from their families. My tears did those children no good—but perhaps my modest contributions to the ACLU did. That organization’s tireless effort to reunite children with their families is a task for which empathy seems ill-suited, but for which the more distanced, diffuse, and nuanced emotions of compassion and kindness are essential.

Such thoughts about empathy vs. compassion aren’t exactly new. Zambian writer Namwali Serpell compares Bloom’s notion of non-empathetic compassion with Hannah Arendt’s theory of “representative thinking”

Hannah_Arendt_1924

Hannah Arendt

I find that the best way to grasp the distinction between “representative thinking” and emotional empathy is Arendt’s lovely phrase, “one trains one’s imagination to go visiting.”

I’ve noticed that new developments in neuroscience seem to bear out these ideas. The hormone oxytocin has lately gained what I’m tempted to call “celebrity status.” Because it facilitates empathy, trust, and social bonding, and is released during sex and childbirth, it is popularly known as a “love drug” or “cuddle chemical.” But as sociologist Christopher Badcock points out, oxytocin has a dark side. The empathy that it generates seems to be limited to one’s own group and can actually stir up hostility toward outsiders.

Nevertheless, recent experiments with oxytocin suggest some intriguing possibilities—and maybe even potential therapies. When administered as a nasal spray to human subjects, oxytocin alone does not change preexisting attitudes toward, say, refugees and foreigners. But if a dosage is accompanied by “peer influence” promoting the value of tolerance, subjects show increasing generosity even toward outsiders.

In other words, when administered with a spoonful of advocacy for positive social behavior, oxytocin might help transform “mere” empathy into robust and inclusive compassion. According to researcher Rene Hurlemann, “Given the right circumstances, oxytocin may help promote the acceptance and integration of migrants into Western cultures.”

That’s a tall order. I find it hard to imagine Americans lining up at clinics to get inoculated against xenophobia. Also, the mystique of empathy is so strong that people probably won’t easily give up their unquestioning faith in it. Even when it is painful, empathy makes us feel good about ourselves, promotes a desirable self-image. But there’s a difference between feeling good and doing good, and even between righteousness and doing what’s right.

bernard-shaw-on-self-effacement

Bernard Shaw

I’m reminded of the words of playwright Bernard Shaw, who could be notoriously unemotional—even chilly—in both his life and his writings …

The only aim that is at all peculiar to me is my disregard of warm feelings. They are quite well able to take care of themselves. What I want is a race of men who can be kind in cold blood.

—Wim

Beach Scene

—excerpted from Thing of Darkness,
a novel-in-progress by Wim Coleman and Pat Perrin

The tide was coming in. The wide beach where people and dogs had been playing earlier in the day was rapidly growing narrow, and no one was in sight. My timing was excellent—not just the hour but the season. While I especially love the coast during the gray and stormy winter, the Pacific is plenty mysterious and daunting in the fall.

I spotted a familiar rock, the largest in a decrepit old breakwater of scattered and piled-up boulders reaching out into the sea. I took off my shoes and socks and dropped them on the sand, then rolled up my pants legs. I waded a little way through icy water that rose partly up my calves, climbed up on the rock, and sat down on it—a perch I’d enjoyed since I was a little girl. The wind was cold and sharp, and waves rolled in on both sides of the line of stones.

I’ve been to other beaches, some in tepid humid parts of the Atlantic, all full of things that sting, pinch, or slide out from under your feet. But the sea life out east is prosaic and familiar, and in most places the ocean isn’t particularly treacherous. Even on the West Coast, some of the more southern shores are docile enough if you don’t go out too far.

But northwestern waters are not for lubberly humans to enter casually. Just to wade in the shallows is to invite getting sucked out to sea by a powerful undertow or swept away by a giant sneaker wave appearing out of nowhere. No, the coast in those parts is the domain of cunning things living beneath that gray surface—and you never really get to know those creatures.

Staring off into that ambiguous stretch of sea lying between the shore and the true deeps, I glimpsed some of them—three hulking shadows of unidentifiable beasts drifting by, not distant enough to be whales, but too big to be anything a swimmer would want to run into.

Beyond those parts, out in the depths far, far beyond the horizon, were live creatures to stagger and puzzle the mind—great blue whales, undulating manta rays, seldom-seen and semi-legendary giant squids, to say nothing of primordial dwellers of unspeakably deep subaquatic canyons near scalding hydrothermal vents, those scale-armored snails, eyeless shrimp, red-plumed tube worms, and heat-thriving eels, all so weird and alien that they’d be just as much at home in the watery abyss of Jupiter’s planet Europa as here on Earth.

Even so, I’m not one to ponder the depths all that much. The deceptively intimate shoreline shallows are plenty inscrutable for my reckoning. Right down below my dangling feet, what had recently been damp sand now lay beneath a foot of water, a foamy world populated by tiny creatures that had emerged now that the tide sequestered them and invited them forth. But even the afternoon daylight was powerless to fully reveal those frolicking sprites. What were those wet shadows flitting by? I couldn’t tell. Some serpenty shape writhed before me, then slipped away before I could detect whether it was plant or animal.

Here, right here, I thought. Here lies the answer to every mystery that will ever trouble me.

If only my eyes could lucidly penetrate the chaotic rippling refraction of the water, if only I could reach down and pick up the right rock and look under it, if only I could cup my hands and capture an ounce of salt-saturated truth like a fluttering butterfly …

If only.

I’d understand it all.

No demon could mystify or frighten me.

But it wasn’t to be, not while my skull was young and thick.

Maybe when I was old and soft and supple like Monty and Beth, this place would tell me all.

But not now, not yet.

I’d have to wait to achieve that kind of ripeness.

And I could wait. I’d be patient.

I lifted my face to gaze at the sea. At that moment, a breaker swept along the breakwater before me and blew sharp spray into my face. The clouds suddenly split, and the late afternoon sunlight set the waves ablaze.

Laughter rose up in me—a kind of laughter I’d experienced before, but only in this very spot. It’s an extraordinary laughter that both affirms and denies, delights and grieves, embracing all that is joyful and tragic in life, true and ambivalent, the kind of laughter that makes the heartiest common workaday laughter seem weak and puny. I knew the laughter would be gone in an inkling, so I gave it free reign, letting it rumble ferociously out of my belly to fill up the sparkling sky, as mighty as the surf itself.

The clouds closed, the sun vanished, and my laughter ended. A sadness settled deep in my chest—a strange, good, healing sadness that always comes in the wake of such spells of cosmic laughter.

My communion with the sea had reached its lovely consummation.

It was time to go back to the house.