In my previous post, I mentioned the significance of the Japanese Kokugaku movement to decolonisation. But it is part of a broader picture of cultural revival, a process which arrests the decline of institutions and the deracination and atomisation of communities, and rescues memory and tradition, training it onto the trellis of contemporary society. Today, I am dealing with it in relation to aesthetics, with an emphasis on architecture. The aim of the revival is to provide a sense of home, and a sens of achievement and upliftment. Revival is always a reaction to the erosion and erasure that professional elite skepticism, nihilism and novelty fetishism produces, but it cannot simply resuscitate dead things, nor endlessly repeat the parochial traditions of the past. It must find a way to bring out a continuity between the roots and the grand canopy of high culture.
More Notes on Cultural Revival
More Notes on Cultural Revival
More Notes on Cultural Revival
In my previous post, I mentioned the significance of the Japanese Kokugaku movement to decolonisation. But it is part of a broader picture of cultural revival, a process which arrests the decline of institutions and the deracination and atomisation of communities, and rescues memory and tradition, training it onto the trellis of contemporary society. Today, I am dealing with it in relation to aesthetics, with an emphasis on architecture. The aim of the revival is to provide a sense of home, and a sens of achievement and upliftment. Revival is always a reaction to the erosion and erasure that professional elite skepticism, nihilism and novelty fetishism produces, but it cannot simply resuscitate dead things, nor endlessly repeat the parochial traditions of the past. It must find a way to bring out a continuity between the roots and the grand canopy of high culture.