Our social structural theory of fame departs from prior work on fame which argues that fame is driven by creativity. (Banerjee & Ingram)
§.00 Fame and creativity have a instinctive association. It is thought that, for artists, as a general rule, the more creative they are, the more famous they will be. Evidence, however, does not bare this preconception out.
§.01 In the lengthy, richly detailed 2018 paper, Fame as an Illusion of Creativity: Evidence from the Pioneers of Abstract Art, researchers Banerjee & Ingram delve into the correlation between fame (large scale public attention) and creativity by studying the social networks of 90 artists from Europe and the US during the 20th Century (1910-1925) whose work radically departed from the norms of representational art of the time. The researchers used two measures for creativity: an expert measure of an artist’s creativity and a computational measure of an artist’s novelty. They found that the social networks of the artists in question played a significantly larger role than their creativity (as measured by the two metrics listed above) and no statistical linkage for positive correlation between creativity and fame.
Surprisingly given previous theory, we do not find statistical support for a positive
relationship between an artist’s creativity and fame. (Banerjee & Ingram, Fame as an Illusion of Creativity, p.6)
§.02 Rather than creativity, Banerjee and Ingram find that identity is the crucial determining factor for domain-transcendent success.
-our evidence reveals identity as the link between peer network and fame. (Banerjee & Ingram, p. 6)
§.03 Identity here being, not simply one’s self-conception, but one’s public image (whether authentic or inauthentic).
In effect, the outsider identity of such [aforementioned artistic] producers might contribute to others’ perception of them as rebels who are authentically creative. Audiences may reject or embrace such a challenging creative identity, but it is more likely to garner attention. (Banerjee & Ingram, p. 11)
§.04 In summation, networking and identity (branding) are more important to fame in the arts than creativity. In conclusion, it is important to note that personal fame is extremely tenuous; consider how many past social media stars are now completely forgotten. This need not be so for an artist’s works, which can endure long after their creator has passed into eternal slumber. For this reason, it is unwise for any serious artist whose goal is the upward development of his or her craft to chiefly prize fame, for in doing so, one will have, of necessity, deprioritized one’s art—when the muse is eschewed for the socialite, the fires of creation abate.
Mark B. Turner & Gilles Fauconnier. (1999) A Mechanism of Creativity. Poetics Today, Vol. 20, No. 3, pp. 397-418, Fall 1999. Available at SSRN: https://ssrn.com/abstract=1416435
Mitali Banerjee & Paul Ingram. (2018) Fame as an Illusion of Creativity: Evidence from the Pioneers of Abstract Art. HEC Paris Research Paper No. SPE-2018-1305; Columbia Business School Research Paper No. 18-74. Available at SSRN: https://ssrn.com/abstract=3258318 or http://dx.doi.org/10.2139/ssrn.3258318
The recording below, Tri-C Community College radio recording, consists of a fantastic collection of sound poetry. ‘Sound poetry’ broadly defined, is poetry which is typically characterized by wild and often non-standard linguistic exclamations, intended to invoke a thematic mood or feeling. As with noise-music, contemporary sound poetry can be traced to the Italian Futurists.
Most notably, the recording features a energetic reading (in Italian) of Futurist Founder F.T. Marinetti’s sound poem, Dune, parole in libertà (1914).
“Let us overturn monuments, pavements, arcades and flights of steps; let us sink the streets and squares; let us raise the level of the city.”
-Antonio Sant’Elia, Futurist Manifesto of Architecture.
“I am at war with my time, with history, with all authority that resides in fixed and frightened forms.”
-Lebbeus Woods, War and Architecture.
Whilst the name of Antonio Sant’Elia is not widely known, anyone who has ever seen Fritz Lang’s Metropolis (1927), or Ridley Scott’s Bladerunner (1982) has beheld the striking power of his legacy as his imposing and gargantuan, yet highly plausible, architectural drawings inspired the architecturally dense worlds of both films. Elia’s most well known works all come from his Citta Nuova (New City) series which the American experimental architect Lebbeus Woods described as, “perhaps, the most famous and influential [drawings] of the early 20th century.”
Antonio Sant’Elia, Air and train station with funicular cableways on three road levels from La Città Nuova, 1914.
Lebbeus Woods is well positioned to critique and build upon the works of Sant’Elia, as he, more than nearly any other contemporary artist, embraced and carried forth the brilliant flame of Futurism which Marinetti first kindled in Italy in 1909 with his incendiary manifesto and which Sant’Elia further crystallized with his astounding architectural drawings and conceptual writings which brim to overflowing with the steel of mind and the light of purpose. Whilst, like most modern men, Woods certainly was not nearly so sanguine about the prospects of war as the Futurists (who glorified it as the hygiene of the world), he certainly understood its nature well, having dedicated many works to the torturous Siege of Sarajevo – the single longest concentrated attack on a capital city in modern history – which Woods witnessed first-hand. In 2011, Woods wrote of the conflict:
“For anyone who saw the burning twin towers in Sarajevo, in the summer of 1992, which were attacked by terrorists bent on undermining the morale of the people of that cosmopolitan city, the attacks on the twin towers of the World Trade Center in New York, nine years later, with the same goals in mind, came as no great surprise. The fall of the Iron Curtain and the end of the Cold War had produced a new type of global struggle based not on vast armies clashing in the field, but on small-scale insurgencies attacking the centers of their enemies’ power, disrupting them, and thereby undermining their self-confidence and ability to dominate others. This new type of warfare was called terrorism. Its main weapon is creating fear in the enemy, both government and ordinary citizens, leading not to armistices, treaties, and other official instruments of reconciliation between legally recognized states, but to de facto victories, in which the insurgents hope to win economic or political concessions that strengthen them in their own domain or globally, in the sense that they are ever more feared and hence ever more powerful and influential.
One significant new feature of this new type of conflict is that opposing sides are not drawn along socio-political lines—one communist and one capitalist—as in the Cold War rivalry between two superpowers, but rather along religious ones. This is a throwback to the Middle Ages, and not Modern at all, except in terms of weaponry and techniques of command and control. The conflict now is primarily between Christians and Muslims. The attack on Sarajevo was carried out by a Christian insurgency against a Muslim majority. The attack on the World Trade Center in New York was carried out by a Muslim insurgency against a Christian majority. Both had the goal of degrading a way of life. Both attacks were attacks on the idea of the city itself.”
Woods’ sensitivity to the times, the city and to the cultural zeitgeists which shape it, is a attribution which he closely shared with Sant’Elia who in his Futurist Manifesto of Architecture, wrote:
“No architecture has existed since 1700. A moronic mixture of the most various stylistic elements used to mask the skeletons of modern houses is called modern architecture. The new beauty of cement and iron are profaned by the superimposition of motley decorative incrustations that cannot be justified either by constructive necessity or by our (modern) taste, and whose origins are in Egyptian, Indian or Byzantine antiquity and in that idiotic flowering of stupidity and impotence that took the name of neoclassicism.
These architectonic prostitutions are welcomed in Italy, and rapacious alien ineptitude is passed off as talented invention and as extremely up-to-date architecture. Young Italian architects (those who borrow originality from clandestine and compulsive devouring of art journals) flaunt their talents in the new quarters of our towns, where a hilarious salad of little ogival columns, seventeenth-century foliation, Gothic pointed arches, Egyptian pilasters, rococo scrolls, fifteenth-century cherubs, swollen caryatids, take the place of style in all seriousness, and presumptuously put on monumental airs. The kaleidoscopic appearance and reappearance of forms, the multiplying of machinery, the daily increasing needs imposed by the speed of communications, by the concentration of population, by hygiene, and by a hundred other phenomena of modern life, never cause these self-styled renovators of architecture a moment’s perplexity or hesitation. They persevere obstinately with the rules of Vitruvius, Vignola and Sansovino plus gleanings from any published scrap of information on German architecture that happens to be at hand. Using these, they continue to stamp the image of imbecility on our cities, our cities which should be the immediate and faithful projection of ourselves.”
How sharp and true do his words ring today! And, likely, well shall they ring unto the future. Both Sant’Elia and Woods share in their ruminations on architecture a delicate sensitivity to time and place, to the nature of the city and its shaping by the forces of a hundred thousand different traditions all vying for dominion (and nearly all ignorant or uncaring about meeting the needs of the evolution of human civilization). Sant’Elia, like all of his Futurist brethern, rejected these traditions as a supreme giving-in to decrepitude and decay, and instead opts to turn The City into a majestic symbolic representation of a “projection of ourselves as we are.” Reification of the present without delay! Woods doesn’t entirely agree (nor entirely disagree) as he writes in his piece War and Architecture,
“In going over what I wrote about this work [on Sarajevo] at the time—in 1993—I find it inadequate in its explanation of what inspired the designs, drawings, and models and what I hoped to achieve by making them. No wonder, I say in hindsight, that they were accused of “aestheticizing violence,” and merely being exploitative of a tragic human condition. I failed to put the work in the broader human context that it needed to be understood as proposals for architecture serving rational and needed purposes. I hope to correct—to the extent I can here—this failure.”
Woods is here throwing up a, “I would never aestheticize violence!” as if that were somehow criminal. We should hastily remark that aestheticizing violence is just as laudable (and potentially deplorable) as aestheticizing any other domain of significant human activity. Nevertheless, Woods, in a slightly less politicized context, writes of war:
“Architecture and war are not incompatible. Architecture is war. War is architecture. I am at war with my time, with history, with all authority that resides in fixed and frightened forms. I am one of millions who do not fit in, who have no home, no family, no doctrine, no firm place to call my own, no known beginning or end, no “sacred and primordial site.” I declare war on all icons and finalities, on all histories that would chain me with my own falseness, my own pitiful fears. I know only moments, and lifetimes that are as moments, and forms that appear with infinite strength, then “melt into air.” I am an architect, a constructor of worlds, a sensualist who worships the flesh, the melody, a silhouette against the darkening sky. I cannot know your name. Nor you can know mine. Tomorrow, we begin together the construction of a city.”
Such vivacity, why Marinetti or Sant’Elia could well have written those words themselves and should surely laud them were they able! One sees here the convergence most starkley between Sant’Elia and Woods, the city is new because the city, to be a proper and well fitted city must always be new. Perfection is anathema for perfection is stagnation and stagnation is death. Thus they war with time and space itself, eternally, in, as Aaron Traywick once said, “The Endless Game.”
I have often heard it said, when in a position of judgmental argumentation, “Who are you to judge, who are you to say what is good or bad!” The answer, so starkly white-hot in the mind as to burn through its cranial cage, is always the same, “The only one present.” This truism can be applied to nearly everything but I find it is, in my experience, most often brought to bear on art.
Beksinski’s “AA78”
“Art,” a new word really needs to be invented to encapsulate what that mighty triumvirate of letters used to signify. Those letters which gave the world the Sistine Chapel, Bernini’s soul-searing statuary, Beksinski’s hellish paintings, explorations of the evils of Man, the mad-dash glory of Italian Futurism and the harrowing, primal writings of McCarthy. But they have also given birth to the likes of the alcoholic smatterings of Pollock, the idiocy of Andy “Art is anything you can get away with” Warhol as well as Marcel Duchamp and his foppishly signed toilet seat — the new paradigm of the avantgarde. Warhol is also often quoted as saying, “I think everybody should like everybody,” as well as the patently untrue “Making money is art, working is art, good business is art.” One might therefore assume that brushing one’s teeth and defecating were art as well. By such definitions; why not? What is not? What is?
Worse than these statements shallowness and patent falsehood is their grotesque distortion of the classical usage of the word. Art as a definition has been totally and utterly erased by postmodernism, rendered into amorphous mush. It now means, “Something I can do that is useless — or nearly so.” It’s a literal manifestation of Oscar Wilde’s “All art is quite useless.” Meaning of course that the externalization of an artists ideas or concept is enough — form, function, derivation of spiritual sustenance all goes out the window. What it is matters less here than that itis. The root of the Conceptual Art School. Something like, “I art, therefore it’s good… well, good enough.” It should really be a crime for a mind so large to think so very, very small.
This aforementioned postmodernist tendency in art would not bear so much discussion if it did not also entail the outright destruction of those schools of thought which sought a purpose in their creations — those schools that wished to utilize art as a temple, a internal refuge and source of meditation, a teaching tool, a pathway to political critique and a weapon to combat the moral evils of the day. Art which now speaks to the essence of man’s soul is all too often seen as “stuffy,” or, “snobbish.” Those artists who demand some collective standard, objective or subjective, by which to judge a work of art are told they need to think “outside the box.” But how can this be done when there is no longer a box at all? The new standard is “For it’s own sake” — no longer do works of art even serve their creators. Those who have gone to art college know what I mean — ask the question, what’s your work about, all too often the reply from the student will be, “I don’t know.” As with the Dadaists, irrationality, chaos and irreverence are championed. Unlike with Dada, the Postmodernists do not utilize these characteristics in the purpose of some higher goal but simply because they are antithetical to what has come before. The classical past is anathema and the new reigns — not because it is good but because it is new. This is just as foolish as romanticizing the events of the past because they happened long ago. The time is now and to the postmodernists, it must never be then.
When faced with such overwhelming, neigh omnipresent, vacuousness one should not fall into the all too easy trap of defeatism. One should not throw up one’s hand and say, “Art is dead.” What to do then? Bring back the manifesto! So seemingly quaint; the word itself rings like a antiquated bell — but why? Atomization (the deplorable case of the death of the author, the birth of the reader). Bring back the tradition of artistic “School of Thought” of “The Movement.” Ruthlessly (and subtly) deride relentless-Escapism and the deconstruction of aesthetic standards at every conceivable turn. Bring back elitism! When you wish to have your car fixed one would be mad to think of the mechanic “who is he to fix my car!” No — one calls around and chooses the best mechanic for the job, the one whose skills (and price tag) outshine the others. So too does this hold in every conceivable area of one’s life where skill and intelligence plays a part so why a different standard for art? Most importantly, bring back a bloody definition! Cleave to it and defend it, whatever it may happen to be.
That definition shall no longer include the tawdry rebel-without-a-cause nor the bystander nor the attention-seeker. That definition will lend legitimacy to those individuals who cast their souls out into the wide ambit of the world like blinding spears. A manifestation of principal. Those individuals whose work sings songs of violence and death, of fertility and re-birth. Of internal empire and external community. Of Reason as Emotion’s master. Of the transcendental, the numinous — the supra-rational. This new school of thought must be cogent, organized and consistently, doggedly external, its body of works pouring out into the world with all the force and speed of some thundering pack of draft-horses. In short, I advocate for the death of the reader and the re-birth of the author.
EDITOR’S NOTE: This rare piece, published in 1924, was originally written by the Leading Futurist and Cosmic Idealist, Enrico Prampolini. I have reproduced it here for the edification of my audience due it’s rarity and artistic importance.
In the aesthetic phenomenon of the evolution of the plastic arts the necessity of considering the Machine and Mechanical elements as new symbols of aesthetic inspiration has not been sufficiently taken into account.
i. Precursors. We Futurists were the first to understand the marvellous mystery of inspiration which machines possess with their own mechanical world. In fact, Marinetti in his first Manifesto on the Foundation of Futurism published in the Figaro in 1909 stated, “We shall chant the vibrant nocturnal fervour of the arsenals and ship-yards lit with their violent electric moons, the bridges like giant gymnasts striding the rivers, the daring steamers that nose the horizons, the full-breasted locomotives that prance on the rails like enormous iron horses bridled with tubes, the gliding flight of the aeroplanes whose screw flutters in the wind[s] like [a] flag or seems to applaud like an enthusiastic mob. The racing automobile with its explosive breath and its great serpent-like tubes crawling over the bonnet an automobile that whizzes like volley[s] from [a] machine-gun is more beautiful than the victory of Samothrace.”
From the appearance of the first Futurist Manifesto of Marinetti up there has been ceaseless searching and questioning in the field of art. Boccioni in his book, Futurist Sculpture and Painting (1914) stated that the era of the great mechanical individualities has begun that all the rest is paleontology.
Luigi Russolo (in 1913) with his invention of the noise-makers constructed new mechanical instruments to give value to the new musical sounds inspired by noise, while Luciano Folgore in his poem the Chant of the Motors (1914) exalted the mechanical beauty of workshops and the overpowering lyricism of machines. Later, in my manifesto entitled Absolute Constructions in Motion-Noise (1915), revealed by means of new plastic constructions the unknown constructive virtues of the mechanical aesthetic. While the painter Gino Severini confirmed by means of an admirable theoretical essay in the Mercure de France (1916) the theory that the process of the construction of machine is analogous to the constructive process of work of art. This Futurist exaltation of ours for the new era of the machines crossed the Italic frontier and awoke echoes among the Dutch, the Russian, the Germans and the Spanish. 236.
Fernand Leger recently declared his paintings to be concerned with the love of those forms created by modern industry and the clash of the thousand coloured and persuasive reflections of the so called classical subjects. Guillermo de Torre, the daring Spanish poet and founder of the Ultraist movement, announced in his manifesto Vertical” in 1918 the forthcoming epoch of the new spatial and mechanical world. Today we see new tendency manifest itself at the recent international Artists Congress of Diisseldorf. This is the movement of the Constructionists as exemplified in the works of the Russian, Dutch, German, Scandinavian and Roumanian painters, among whom we may note Theo Van Doesburg, Richter, Lissitzky, Kggelin and Janco. The Constructionists, though they take as their starting point an extremely clear theory, announcing the constructive exaltation of the Machine, become inconsistent in the application of their doctrine, confusing exterior form with spiritual content.
We today without ignoring the attempts that have been made in the course of the last years by ourselves and certain Futurist friends of ours intend to reasume and synthetize all that which has been expressed individually and incidentally in order to arrive at completer and more concrete results; in order to be able to realize more fully new aesthetic values in the field of the plastic arts. Our experience has convinced us of the truth of certain of our plastic truths and has allowed us to perceive the errors that lie in others. OLD AND NEW SYMBOLS In the history of art throughout the ages the symbols and elements of inspiration have been suggested to us by the ancient legends and classic myths created by modern imagination.
Today, therefore, where can we look for more contingent inspiration than among the new symbols which are no longer the creation of the imagination or the fantasy but of human genius Is not the machine today the most exuberant symbol of the mystery of human creation Is it not the new mythical deity which weaves the legends and histories of the contemporary human drama The Machine in its practical and material function comes to have today in human concepts and thoughts the significance of an ideal and spiritual inspiration.
The artist can only pin his faith to the realities contingent on his own life or on those elements of expression which spiritualize the atmosphere he breathes. The elements and the plastic symbols of the Machine are inevitably much nearer to us (materially and spiritually) than any symbol of the past can be symbols as such as god Pan, the taking down from the Cross or the Assumption of the Virgin, etc. The logic, therefore, of aesthetic verities becomes self-evident, 237 and develops parallelly with the spirit of the times which seeks to contemplate, live and identify itself with reality itself. The aesthetic of the Machine and Mechanical Introspection We today, after having sung and exalted the suggestive inspirational force of The Machine after having by meansof the first plastic works of the new school fixed our plastic sensations and emotions, see now the outlines of the new aesthetic of The Machine appearing on the horizon like fly wheel all fiery from Eternal Motion. We therefore Proclaim
1. The Machine to be the tutelary symbol of the universal dynamism, potentially embodying in itself the essential elements of human creation the discoverer of fresh developments in modern aesthetics.
2. The aesthetic virtues of the machine and the metaphysical meaning of its motions and movements constitute the new fount of inspiration for the evolution and development of contemporaneous plastic arts.
3. The plastic exaltation of The Machine and the mechanical elements must not be conceived in their exterior reality, that is in formal representations of the elements which make up The Machine itself, but rather in the plasticmechanical analogy that The Machine suggests to us in connection with various spiritual realities.
4. The stylistic modifications of Mechanical Art arise from The Machineas-interferential-element.
5. The machine marks the rhythm of human psychology and beats the time for our spiritual exaltations. Therefore it is inevitable and consequent to the evolution of the plastic arts of our day. [Enrico Prampolini (Translated by E. S.)]
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