Steven Pinker -- How the Mind Works - Hampshire High Italian ...

522 J HOW THE MIND WORKSon the question of why people pursue the arts at all. The function of thearts is almost defiantly obscure, and I think there are several reasonswhy.One is that the arts engage not only the psychology of aesthetics butthe psychology of status. The very uselessness of art that makes it soincomprehensible to evolutionary biology makes it all too comprehensibleto economics and social psychology. What better proof that you havemoney to spare than your being able to spend it on doodads and stuntsthat don't fill the belly or keep the rain out but that require preciousmaterials, years of practice, a command of obscure texts, or intimacywith the elite'? Thorstein Veblen's and Quentin Bell's analyses of tasteand fashion, in which an elite's conspicuous displays of consumption,leisure, and outrage are emulated by the rabble, sending the elite off insearch of new inimitable displays, nicely explains the otherwise inexplicableoddities of the arts. The grand styles of one century become tacky inthe next, as we see in words that are both period labels and terms ofabuse {gothic, mannerist, baroque, rococo). The steadfast patrons of thearts are the aristocracy and those who want to join them. Most peoplewould lose their taste for a musical recording if they learned it was beingsold at supermarket checkout counters or on late-night television, andeven the work of relatively prestigious artists, such as Pierre AugusteRenoir, draws derisive reviews when it is shown in a popular "blockbuster"museum show. The value of art is largely unrelated to aesthetics:a priceless masterpiece becomes worthless if it is found to be a forgery;soup cans and comic strips become high art when the art world says theyare, and then command conspicuously wasteful prices. Modern andpostmodern works are intended not to give pleasure but to confirm orconfound the theories of a guild of critics and analysts, to epater la bourgeoisie,or to baffle the rubes in Peoria.The banality that the psychology of the arts is partly the psychology ofstatus has been repeatedly pointed out, not just by cynics and barbariansbut by erudite social commentators such as Quentin Bell and TomWolfe. But in the modern university, it is unmentioned, indeed, unmentionable.Academics and intellectuals are culture vultures. In a gatheringof today's elite, it is perfectly acceptable to laugh that you barely passedPhysics for Poets and Rocks for Jocks and have remained ignorant of scienceever since, despite the obvious importance of scientific literacy toinformed choices about personal health and public policy. But sayingthat you have never heard of James Joyce or that you tried listening to