Entropy outside Science

Recently I have been trying to fathom what Alan Wilson’s ‘Superconcepts’ entail. The most recent, ‘Entropy’ involved a hell of a lot of hard and long mathematical equations explaining what is essentially: 1) Things always move from order to chaos without intervention and 2) Heat always moves from hot to cold 3) the spread of information to a wider group. As a non mathematician, I was shaken by those long and bizarre numerical sentences, but as things were explained in plain English, I realized that this complex and nuanced idea of Entropy has earnt it’s stripes as a Superconcept because of the pure universality of it’s basic ideas. So I am going to offer a few examples of how Entropy can be applied to the social sciences, the arts, and humanities in order to further the buzz word, ‘Interdisciplinarity’ whilst trying to break down the two cultures division.

Lets take the social science, Psychology to begin, but specifically depression and mental wellbeing. I would argue that modern psychiatric disorders follow a very clear entropic system in the sense that without active intervention, through either the person themselves, a psychologist, or a psychiatrist, the disorder continues it’s exacerbation. So in defining a good mental state as order and the bad mental state as chaos, this system follows the first definition of entropy well. Of course the definition of good and bad mental states may change; perhaps there is virtue in a chaotic mind for creativity and imagination, however if ‘order’ is seen to be the clarity of someones thought, appropriate emotional fluctuation and all round contentment so the person can lead a happy life, I think entropy does it’s bit in explaining a model of depression or other mental health disorders.

Moving to a more abstracted sense of Entropy, perhaps English literature – the reading, writing, and analytic practices in the subject – also moves in a metaphorically entropic sense. Take for instance the process of writing a novel; the heat of ideas and flair of creativity condensed into the sober and definite object of a book could mirror the second definition of entropy. Or indeed the ideas and politics that surround the author in their life; the zeitgeist of their time in either literature genre or the style of prose, which influence and spread amongst the reader and writer people in the culture. This spread of information perhaps influences the author and they use their writing to pull all these influences together, mirroring the third rule defined.

Or indeed, he process of painting a picture or creating any Art. The ordered and clean canvas to the painted one; the extended process of the new artist’s studio, with clean white walls and organized work top, evolving to the used, paint splattered individual’s creative space; or more literally the process of opening and using a tube of new paint, all go from the ordered to the chaotic, in a distinctly entropic movement.

There is something beautiful in the flow of Entropy; it is always one directional and there is a feeling of equilibrium and balance in the chaos or spread. Perhaps, Wilson’s Superconcepts should become more wide spread to engage a more general audience of critics; these Superconcepts assisting in the movement and development of social attitudes to problem based task solving. But above all I think Entropy is another lense for us to view the world through, maybe revealing new thinking about this previously known.

Art Under What Attack?

I recently visited the Tate Britain’s exhibition ‘Art under attack: histories of British Iconoclasm’ as a supplement to my Material Culture module. What struck me was how the traditional and stagnated curation of the exhibition completely juxtaposed the content; how if a slightly different and more engaging tack had been used it could have transformed the rather dry “look at that art!” walk through into a really engaging exploration of Iconoclasm. 

I found the first few rooms interesting, doing exactly what the title of the exhibition instructed – giving a history of Iconoclasm – nonetheless it was interesting to see how the early Protestant movement used the destruction of Catholic art as a politically religious protest. The traditional curation did not frustrate me until the Suffragette room; perhaps the closeness of the era combined with the motive and significance of those brave women’s acts, seemed bizarrely static in the large and rather boring room. (Here, I would like to show you a photo but cameras were banned, so imagine a large pinkish room with a variety of portraits lining the walls and a few comfy viewing seats – a standard gallery scene)

I think at this point is there could have been an opportunity for visitors to do some image destruction themselves, as Orlik’s scathing and highly critical article(1) rightly points out most of the art displayed were copied of the originals, therefore I wonder why I wasn’t allowed to do some picture ripping or slashing whilst listening to an interview with Mary Richardson about her attack on the ‘Rokeby Venus’?! I understand for the Tate to inspire an anarchic and rebellious feeling towards destroying art is almost definitely dangerous, but the essence of what I am trying to say is the motives behind the art’s original destruction seemed to be skimmed over whereas it would been more beneficial for it to be explored and confronted.

Image

Jones’s ‘Chair’ (2)

The curation of the objects in the adjacent room was so highly provocative I can barely refrain from cussing! So, having just considered the women’s movement and all the modern equality discussion which goes with that, you are confronted by on of the most offensive and vulgar pieces of ‘art’ I have ever seen: Allen Jones’s ‘Chair’. This piece was presented in it’s fully restored form, but why it ever was restored completely baffles me! Whilst I gazed on this epitome of female objectification, like it’s detroyer in the 70’s, I wanted to cover it in paint stripper! I feel that by presenting this as art wprthy of restoration in an age where pornography and the women’s form is still so much public property, I ask the Tate: what benefit does this piece have to my understanding of iconoclasm when the information provided was so dryly objective and neutral to it’s creation, destruction, and current presentation?

Whilst talking to my peers about this piece there has been mixed reviews about the objects purpose and it’s curatorial merit, but there seems to be a general view that if there had been a more involving process either towards the restoration or destruction of a virtual or physical replica, we would have all felt a deeper understanding of the motives and processes of Iconoclasm and restoration, throughout history. 

What I couldn’t grasp was the aim of the exhibition, and I think essentially this was a problem in the location of the exhibition. The Tate understandably couldn’t celebrate iconoclasm, but perhaps but staying so neutral it doesn’t fully explore it either; I wonder if a more innovative curation would have been possible in a different setting, like a pop up gallery. Curation aside, was it ever a viable idea to explore art destruction in the bed of art presentation at all? 

If this topic continues to interest you I recommend a visit to Tate Britain and a read of Orlik’s article, both linked below. I would be interested to hear your opinions on it! 

http://www.tate.org.uk/whats-on/tate-britain/exhibition/art-under-attack-histories-british-iconoclasm

(1) Orlik’s Article: http://www.independent.co.uk/voices/art-under-attack-does-tate-britains-new-exhibition-on-the-history-of-iconoclasm-have-anything-to-say-8864373.html

(2) http://www.google.co.uk/imgres?imgurl=http://www.positive-magazine.com/wp-content/uploads/2012/08/3.-Allen-Jones-Chair-1969.jpg&imgrefurl=http://www.positive-magazine.com/design/british-design-from-the-48-austerity-olympics-to-2012-olympics/&h=1905&w=2689&sz=2050&tbnid=bejysivIg_o2aM:&tbnh=90&tbnw=127&zoom=1&usg=__M4DtWE5xW72a1b-0jNUMCk1yIZc=&docid=dGzxoW7kZDeOHM&sa=X&ei=JIF7UsbqGuTX7AbajoGACA&ved=0CDQQ9QEwAg