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Timothy Burke's avatar

The thing for me here is to imagine what a wealthy society ought to do, and post Thatcher and Reagan, it became incredibly hard to imagine ourselves as "wealthy societies", especially when our conception of wealth was filtered through post-Keynesian economics, which somehow imagines simultaneously that wealth grows (e.g., we're not zero-sum) and that we live in perpetual scarcity (e.g., that wealth somehow vanishes a millisecond after it grows). Whereas I think one thing you can say for the postwar boom is that the West broadly speaking thought of itself as wealthy and saw wealth as something that obliged it to a kind of generalized beneficence. In that window, public goods weren't something that the middle-class had to wrench out of the nation-state through some kind of political mobilization, but a general obligation, a rising tide that floated all boats. To me that's still a great vision, and it's especially central to imagining what public funding for the arts could look like--especially to reject what you underscore in this excerpt, that it shouldn't be about selecting for the best of the best or driven by the pursuit of quality.

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Kaleberg's avatar

That's an interesting approach. I'm less mystical.

To me, art is about ways of seeing, and governments in particular need to explore new ways of seeing as a means of advancing their civilization. The arts are in some ways like mathematics. There is a frontier which is all about new ways of seeing whether it involves aspects of humanity, our artifacts, our means of thought or our comprehension of the universe. There are only a handful of practitioners at the frontier but there are schools around them, and as one moves away from the frontier there are countless others integrated with the quotidian worlds of family, commerce, law, the military, politics and religion.

One of the big differences between our modern societies and more traditional societies is that our societies have to adapt to change or become marginalized. Our technology changes too rapidly for static solutions. Leaving art to the marketplace or to politics is a sure path to stagnation and irrelevance.

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