The Erosion of the American Arts

Cultural Memory versus “Social Acceleration”

Abstract

A tidal continuum submerging the arts with entertainment may be traced in stages from silent film to film with sound, then color; to TV with its laugh and applause tracks; to YouTube, with its loud and irrelevant ads; to social media and the segmentation of Americans into consumers of political and cultural pabulum. The ease with which entertainment pays commercial dividends, the alacrity with which it can today be produced and acquired, are fatal enticements. At every stage, engagement grows ever more supine. Are these impediments deeply rooted in the American experience, even within the very ethos of democracy and freedom? Certainly there is an impressive lineage of writings analyzing an American aversion to artists and intellectuals. An enduring philosophical argument against the American arts was launched by Theodor Adorno and the Frankfurt School. Much more recently, positing “a new theory of modernism,” the German sociologist Hartmut Rosa calls the governing dynamic “social acceleration”—and his prognoses are grim. With so much at stake, where does hope lie? Contrary to what might be thought or assumed, it cannot be said that America was never a fit home for the arts. During the Gilded Age, no one pondering issues of shared American identity would consider omitting the arts. In the decades after World War I, the arts were more widely but also more superficially acquired. I emphasize the possibilities for innovation in my own field: orchestras. They were once an American bellwether. Two recent controversies drive home the moment—the resignation of Esa-Pekka Salonen as music director of the San Francisco Symphony, and the engagement of Klaus Makela as music director of the Chicago Symphony. Curating the American musical past, comparable to the efforts of art museums, remains unattempted. A case in point is the Charles Ives Sesquicentenary, ignored by the major US orchestras.