Miller's appeal to an extreme form of subjectivity is at the opposite end of 
any worthy discussion of ideas.  Sentimentality is a worthy idea.  It deserves 
analytical discussion, not only for denoting personal judgments but also for 
its larger and more diffuse role in shaping cultural values. A worthy idea for 
analysis is not necessarily a "good" idea, if by good we mean a benefit for 
human identity.

American culture, including its most vulgar kitsch and popular tropes, is 
essentially sentimental.  What's interesting about this sentimentality is how 
it clouds perceptions of reality and thus values by which to make judgments, 
not only about art but about the whole matrix of human activities.  For example 
the American mythology of its founding that supports the altruistic concept of 
democtratic freedom is baked in sentimental projections unsupported by 
historical fact.  In short, American culture never practiced what it preached.

We create symbols of the real world in order to gain greater access to the 
relationship between ourselves and the world.  Such symbols are interchangeable 
and metaphorical.  They enable us to compare and contrast, to perceive one 
thing as if it were another, to multiply our experiences and thus our 
capacities to cooperate with reality.  I think this is the same root for all 
edeavors, whether scientific, speculative, or artistic.  If so, then the role 
of art is to gain access to reality.  Sentimentality is a shroud over reality 
that directs perception inward to assuage the difficulty of assimilating the 
self to the objective world. Sentimentality is the comforting blanket of 
infancy, a retreat to a fantasy of the womb.

I think the best art mediates the self and reality.  It offers a metaphorical 
fusing of the self as if other, an objectification of the self as a 
make-believe symbol of reality. It is a rebirth into the world.

  The "space" of the art "object" then is a fictional space, what Winnicott 
termed "potential space".  

Perhaps it is impossible to eradicate our longing for the comforts of 
sentimentality and perhaps some sentimentality is always present in our efforts 
to accomodate reality.  Perhaps to that extent it is good.  But to choose it 
over the more difficult and conflicted and ultimately rewarding task of merging 
the self to objectivity is fatal to creativity and human intellect.

What great art, literature, music is willfully sentimental? None!  

What popular art, fiction, demagoguery, and daily prattle is sentimental? Most!

Choose sentimentality for its own sake and you choose the lesser life.

WC  


--- On Fri, 1/23/09, Chris Miller <[email protected]> wrote:

> From: Chris Miller <[email protected]>
> Subject: Re: The good sort of sentimentality
> To: [email protected]
> Cc: [email protected]
> Date: Friday, January 23, 2009, 8:13 AM
> Michael asked me:
> 
> "So, if you're actually interested in the notion
> of how sentimentality is
> connected to the arts, then why don't you describe what
> you mean ("have in
> mind") by that term and give a few examples in art,
> and the all of us can
> respond."
> 
> 
> Michael, I'm not interested in "how sentimentality
> is connected to the arts"
> -- but rather in how those on this list make that
> connection -- especially if,
> like William, they use it to judge good art from bad.
> (though, it appears that
> WIlliam would much rather discuss the neurology of judgment
> rather than
> explaining his own)
> 
> And -- as I've said about four times now -- I do not
> associate the  word
> "sentimentality" with either approval or it's
> opposite.  The Christian
> tradition  of painting and sculpture feels very sentimental
> to me -- the
> Chinese tradition of calligraphy does not -- and I greatly
> admire both of
> them.
> 
> What about you, Michael ?
> 
> Can you step away from the passive consideration of
> "how sentimentality is
> connected",  and tell us how you would make a
> connection ? Do you ever use the
> word "sentimental" to show disapproval ?
> 
> Does anyone else ?
> 
> 
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