The article touches upon the influence of a mass culture on an
artistic-pedagogic subject-matter as included in several important
issues. The whole work has been divided into five thematic
parts. These are:
1. Three principles of education.
2. Academism and kitsch.
3. A metaphysical nature of art.
4. An artistic output as a game.
5. On hierarchy.
In the first one, the author widely discusses a multiplicity
of relations happening between an artistic education and art
popularization, as well as selected components characterizing
culture. In so doing he refers to three definitions of a mass
culture, that is the one by Dwight Macdonald, Marshall
McLuhan and Jose Ortega’y Gasset, and contrasts them with
three principles of education. Here is their short description:
1. It introduces us into various issues according to the previously
assumed hierarchy considered unchangeable and
2. It teaches a critical perception of the very issues through
the clash of a multiplicity of norms, opinions, aesthetics and
cognitive methods, namely through relativism that constitutes
a primary feature of this principle.
3. It consists in teaching ways of realizing tasks and is rather
devoid of intellectual bases. It is fairly often in the pedagogical
practice, but when it comes to its topicality later on,
it is mostly endangered out of these three conceptions.
The part Academism and kitsch concerns the functioning
of a stereotype of imaginations on art in different social groups.
It is a common opinion that culturally worse groups and social
classes should be brought up in the spirit leading them to the
stereotype of imaginations on art and opinions of a higher group,
and, as a result, communing with a subsequent current academic
nature that is the model of preferences.
The third part presents a characteristic of art itself in relation
to the disappearance of its metaphysical representation in favour
of common inspirations. One should remember that a small
circle of metaphysicians always dominated over educational
habits of a statistic majority, which allowed shaping a modern
hierarchy of works and creators.
The forth part describes an artistic output as a kind of a game
with the fate. Nowadays, the very game is absorbed by
a naughty, and extra-individual participation in a ceremony
of a different aspect of a festival, as a bawdy happiness of
relaxation in the rhythmic and colourful, which ends up in the
delight of entertainment, combined with buying beautiful
souvenirs, in a different world of carousels and disco.
The whole closes with a text on hierarchy where two different
ways of a social presence of a pyramid of works and artists.