Friday, August 3, 2012

The Turning of the Centuries


On or about December 1910, human character changed. I am not saying that one went out, as one might into a garden, and there saw that a rose had flowered, or that a hen had laid an egg. The change was not sudden and definite like that. But a change there was, nevertheless; and, since one must be arbitrary, let us date it about the year 1910.”

-Virginia Woolf, from “Mr. Bennett and Mrs. Brown”, 1924


The twenty or so years preceding 1910 were marked by revolutionary changes in how humans viewed the world. The ground-breaking nature of these ideas and inventions of the early 20th century dwarf anything comparable in the 21st. Maybe we are not far enough into the 21st century to notice or to understand the significance of what is happening now. Or maybe the turning of the 20th century was just a unique period not to be repeated again.


If measured by the number of new developments, the speed at which we're changing is continuing to accelerate.  Alvin Toffler's Future Shock popularized this concept. Toffler found an audience primed for the message: the book shot to the top of the best seller list in 1970. However, what's central to the present discussion is not the number but rather the impact of the changes - their revolutionary, creative nature. In this respect, I believe the “big” ideas of today fall short of the changes of the early 20th century. Those changes in science, in technology, in public health and medicine, in art and literature revolutionized life on the planet. Today's changes seem, at least at this point, to be more incremental.


So what are some of the noteworthy events around the turn of the last century? Let's start with transportation. In December 1903, The Wright brothers made the first controlled power airplane flights near Kitty Hawk. Henry Ford incorporated the Ford Motor Company the same year. That the world has been made effectively smaller and the individual freer by the airplane and the automobile, there can be no doubt.


We also saw electricity beginning to shape the modern world. In 1897, Marconi established a “wireless” (radio) station on the Isle of Wight off the coast of England. The tungsten filament light bulb made its appearance in 1905. Electrical power was being applied to everyday household chores. Washing clothes and cleaning house were to become easier and less time consuming with the introduction of the electric washing machine (1901) and vacuum cleaner (1907).


In science, Einstein's 1905 paper “On the Electrodynamics of Moving Bodies” overturned the absolute space and time of classical Newtonian mechanics and introduced the special theory of relativity.   Some years earlier, Max Planck had developed his quantum hypothesis, which laid the foundation for quantum mechanics. These concepts had an enormous impact on physics throughout the 20th century and still do today more than 100 years later.


Medicine and public health were also changing. In 1900, Middlekerke, Belgium began chlorinating its water supply to decontaminate it – the first city to do so. Marie and Pierre Curie and Henri Becquerel were jointly awarded the Nobel Prize in Physics in 1903 for their work on radiation. Radiology was born and the X-ray invented.  For the first time, doctors could see inside the body in a non-invasive fashion. 


In the arts, the new medium of film was just being developed. In Paris in 1895, Antoine Lumiere began exhibitions of projected films to paying audiences. In time, film would add sound, color, three-dimensionality, and computer-generated special effects. Its reach would span the globe.

With photography and film capable of capturing images in more realistic detail than an artist ever could, artists searched for ways to convey meaning beyond the literal (to mix metaphors) representation.  Painters provided new ways of seeing reality.   Picasso's Les Demoiselles d'Avignon (1907), Braque's Violin and Candlestick (1910), Matisse's Atelier Rouge (1911) and Kandinsky's various “Improvisations” and “Compositions” (Link to Mark Harden review of Kandinsky: Compositions by Magdalena Dabrowski) are early examples of what came to be known as modern art. 


Western classical music was also undergoing a revolution. Schoenberg began composing his atonal music in 1908 (Link to String Quartet No. 2, 4th Movement) . Stravinsky's daring compositions about this time – especially The Firebird (1910) (Link to YouTube video of Stravinsky conducting the Firebird "Lullaby" at age 82) and The Rites of Spring (1913) – brought him international acclaim and an enduring reputation as a musical revolutionary.


Freud, Jung and Adler were laying the foundations of psychoanalysis, psychiatry and psychology. Freud's The Interpretation of Dreams was published in 1899; Jung's Psychology of the Unconscious, in 1912.


French philosopher Henri Bergson's Creative Evolution was published in 1907.  "The book provides an alternate explanation for Darwin's mechanism of evolution, suggesting that evolution is motivated by ... a 'vital impetus' that can be understood as humanity's natural creative impulse...The book also develops concepts of time...which influenced modernist writers and thinkers....For example, Bergson's term 'duration' refers to a more individual, subjective experience of time as opposed to mathematical, objectively measurable 'clock time'." (Source: Wikipedia entry on the book Creative Evolution)

Influenced by the ideas of Freud, Einstein, Darwin, Bergson and others, the modernist literary movement began “on or about...1910”, following Virginia Woolf's analysis. The internal state of the characters became ever more important and techniques such as stream-of-consciuosness were developed. Some early modernist works include the first volume of Proust's Remembrance of Things Past (1913), Kafka's short story “Metamorphosis” (1915), Joyce's Portrait of the Artist as a Young Man (1916) and Eliot's poem “The Love Song of J. Alfred Prufrock” (1916).


What caused this concentrated outpouring of creativity and invention? If I had to hazard a guess, it seems to have been a combination of several things:

  • the continuing development and application of the concepts and inventions of the previous (i.e., 19th) century
  • the serendipity of having men of genius like Einstein, Edison and Picasso alive at that time
  • the new technologies that were then coming to the fore – especially electricity.

And what would be some changes or discoveries today that would make a comparable impact - i.e.,  that would again significantly change the "human character"?   Genetically enhanced human intelligence?  Discovery of life on a planet other than Earth?  Cold fusion for safe, clean, nearly limitless, energy? A cure for cancer? A new interactive art form based on computers/game machines, virtual reality and artificial intelligence?  The discovery of a parallel universe? A realized noosphere enabled by advances in communications and computer technology and the Web?  Any others you can think of that would qualify?

Most of these seem, to me at least, to be in the far future.  Unfortunately, the turn of the 20th century was a unique point in time not soon to be repeated.  I hope I'm wrong.

Random Stuff

In October 1903, the American League Boston Red Sox defeated the National League Pittsburgh Pirates 5 games to 3 in the first modern Major League World Series.  (I know - this is not quite on the same level as the Theory of Special Relativity or the flights at Kitty Hawk but I thought it was neat.)

The Victor Talking Machine Company was incorporated in 1901.  At about the same time, the bulky cylinders used in the early gramophones were being replaced by flat disks that were easier to produce and distribute.  Music recorded by others, both classical and popular, could now be enjoyed by anyone at anytime without having to go to a concert hall or other live venue.  The invention of the gramophone did for music what the printing press had done for the written word.

The concept of a "noosphere" originated with Vladimir Vernadsky (1863-1945)and developed in the work of Pierre Teilhard de Chardin (1881-1955).  The noosphere is "the sphere of human thought".  In Vernadsky's original theory, it represented the third stage in the development of the Earth, succeeding the geosphere (inanimate matter) and the biosphere (biological life).  For Teilhard, "the noosphere emerges through and is constituted by the interaction of human minds.  The noosphere has grown in step with the organization of the human mass...as it populates the Earth....Teilhard argued the noosphere is growing towards...greater integration and unification, culminating in the Omega Point...an apex of thought/consciousness", which Teilhard saw as the goal of  history.  (Source: Wikipedia entry on noosphere)

The now-widely used term "biosphere" was coined by geologist Edouard Suess (1831-1914) in 1875.  He met Vladimir Vernadsky in 1911.

 








 

3 comments:

  1. Thanks,Robert, for the thoughtful far-ranging article. It really hit home for me in a number ways regarding artistic and spiritual pursuits in modern civilization. So here we go....

    In art the Renaissance brought such a change in that "point-of-view" was introduced ( see Alberti's "Window") and a human-centered universe starting from a point or "ego", oneself, became the focus. The participatory nature of prior "religious" art with humankind a part of the whole "divinely" conceived world was being replaced and humankind took center stage (and rightly so at least in the sense of debunking what was mythology and religious belief that did not measure up to reality and scientific knowing). And so keenly developed the analytical, conceptual, practical and technological means to both make life less subject to unwanted natural occurences but also make "nature" more subject to human interference, consumption and degradation. What with God moving out of the picture, the salvatory function of control and knowledge was inevitable and also unbrindled which is as it should be (this is a swirling, messy place, no?)

    The turn to the twentieth century was truly, as you point out, an amazing outburst of creativity and in a lot of ways a breaking beyond or reaction to or transcendence of this development of techno-life, and though human-centered, not always human-kind activity.

    As we all came into the same room with travel and communication changes.....East met West. The highly developed materialism of the West and the highly devoloped spirituality of the East ran full force into each other. And in this milieu the senstive artist found the subjective stance versus the objective to be a dive into a new (and ancient) spirituality in many cases.

    In a great article "Kandinsky's Thought Forms and the Occult Roots of Modern Art" (Quest Magazine March-April 2008), Gary Lachman (a theosophist writer and founding member of the rock group Blondie and now member of the Rock and Roll Hall of Fame as of 2006!) speaks of this quest in many of the writers and painters of the time to found a pure spirituality in their works. The influence of this was on many in various degrees: Yeats, Eliot, Duchamp, Mondrian, Malevich, of course Kandinsky most famously, and many others. Even priot to this uproarious turn of the century, Mozart, Beethoven, Wagner, and Debussy all delved into the mystical and magical side of "things".

    The greatest link I can see in this transmigration of spirit into matter or matter into spirit, seemingly, was a small pocket of monks in the Bengal region of India headed up by a great saint Swami Ramakrishna in the second half of the 19th Century. Ramakrishna, and then his disciple, Vivekananda, championed the unity of all religions, though they practiced the great Hindu religion of Vedanta. Ramakrishna, literally, spent time in his spiritual journey practicing and realizing the highest truths of many of the great religions including Christianity, Buddhism, Islam, etc.

    The reason I bring these great sages of the East up is that though Ramakrishna recapitulated the past and the prior unity of all religions and was a man of the east, Vivekananda, had a western education and was a man for the future. While calling on the West to dive into the true spirit, he simultaneously called on his inward-turned beloved India to embrace life and the advance of the West.

    (more in next comment)

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  2. Ramakrishna was not about to get on a plane and come to the West but Vivekananda did. His first trip was to the Chicago World Parliament of Religions of 1893. His influence there can be summed up in the first time he stood up in his orange renunciate garb and head gear before the Parliment of mostly Christian adherents to speak. The force of his very presence there was felt my participants as one who lived religion deeply and as he stood to speak to the gathering for the first time, he sent a force through those there in an unspeakable way and so he stood up and strongly greeted all saying "Brothers and Sisters of America!" Everyone spontaneously rose to their feet and a thunderous applause for minutes ensued! Though he died at 39 years his influence spread his teachers message of unity to many on both sides of the globe.

    The influence of these two, Ramakrishna and Vivekananda was widely felt and praised by the likes of Gandhi, R. Tagore, Max Muller, the great German Indologist, Nehru, Tolstoy, and more recently Christopher Isherwood and Dvorak and Philip Glass. Gertrude Stein hosted Vivekananda in Massachusettes among others..it was all a lively mix of art and spirit and interactions were intensively being sought and creation happening together (See more at wikipedia on Ramakrishna and Vivekananda)

    The spiritual link of Christian missionaries going east and now the East to West was made. Again we were finding ourselves all in the same boat, together. Adi Da Samraj, my spiritual teacher, said these two great saints together were the forerunners to his appearance and great teaching submission in the West for the sake of all. Adi Da was born here in 1939 with great spiritual gifts as he said, "I have come at the beginning of WWII to keep you from having WWIII!" and to show the Real Divine condition once again as the foreground of Reality. It is in this impulse to non-separate, prior unity and common humanity and realization that there is an indivisibly Unity felt at the core and beyond the appearances that is Reality Itself, Truth Itself. It is "That" in which we all inhere, and which, I feel, is now the smallest dawning of something new emerging and being acknowledged as the case. Always was and always will be, but only now in this milieu of everyone in the room together, entirely dependent on each other in very real ways, climatically and personally, coming to the fore. A vision of the future that is based in what is actually the case right now. All of this is Divine Conscious Light. We are just beginning to see, feel and intuit it I think, and it is a rough transition as any growth and birth is! (Arab spring, internet, everyone seeing it all in real time unscreened and with all the opportunity to spread untruths as well as non-suppressed information). And, yes, Robert, probably many, many, many centuries before the fullness of what Is Emerges in this earth realm with impact we all can feel and understand to be the Truth of us.

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  3. Finally....(long wind blowing out here!) Returning to the topic more at hand, this great period of artistic flourishing and abstract and more and more in a real way spiritual resurgence in the early twentieth century found itself dampened by these World-Wars, and the resultant understandable stampede to 1950's misplaced and fear-based materialism and control. Indeed, today in the arts the reaction to this and the deadening and dead end of art is seen in much of the post-modern works -- cynical, darkly political, negative and barely willing to have Beauty and Truth Itself at all in its making, let alone as its great purpose. And so the Kandinsky's, Picasso's, Joyce's and all moved to make a statement of things as more subtle and spiritual that had had it's life squeezed out of it by the great rise up of War and holocaust that may have been the dark resistance (and even in all of us some of this is felt) to this Bright appearance of a newly felt but deeply and anciently and always at heart felt, unity beyond difference.

    I would put forth that the art of Adi Da (see www.daplastique.com for more on the function and form of his "transcendental realist" art, and many examples), heakens back to the great work of the abstract modernist movement and brings it beyond any point of view to the "point" of Prior Unity and Indivisible Conscious Light. And so It Is.

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