Cool (aesthetic)

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For other uses of cool, see Cool (disambiguation).

Cool is an aesthetic of attitude, behavior, comportment, appearance, style and Zeitgeist. Because of the varied and changing connotations of cool, as well its subjective nature, the word has no single meaning. It has associations of composure and self-control (cf. the OED definition) and is often used as an expression of admiration or approval.

Contents 1 Overview 2 Concepts of Cool 2.1 African cool 2.2 East Asia 2.3 Europe 2.3.1 Spanish machismo 2.3.2 Aristocratic and artistic cool 2.3.3 European inter-war Cool 2.3.4 Postwar Cool 2.3.5 The Polish Cool 2.4 The Middle East 2.5 The Americas 2.5.1 African Americans 2.5.1.1 Cool pose 2.5.2 American pop-culture cool 2.5.3 Jewish-American cool 2.5.3.1 The marketing of the "Jewcy" Jew 3 Theories of cool 3.1 Cool as an African-American aesthetic 3.2 Robert Farris Thompson's African Art in Motion 3.3 Cool as social distinction 3.4 Cool as an elusive essence 3.5 Cool as a marketing device 3.6 Cool as an opinion 3.7 Cool as proletariat 4 Cool defined 5 See also 6 References

Overview

While each generation feels that "real" cool is something pure and existential known only to them, that it was founded in their time by them, there is not one single concept because one of the main aspects of cool is its mutability—what is seen as cool will change from time to time, from place to place and from generation to generation.^[1]

Nick Southgate writes that, although some notions of cool can be traced back to Aristotle, whose notion of cool is to be found in his ethical writings, most particularly the Nicomachean Ethics,^[2] it is not confined to one particular ethnic group or gender.

The sum and substance of cool is a self-conscious aplomb in overall behavior, which entails a set of specific behavioral characteristics that is firmly anchored in symbology, a set of discernible bodily movements, postures, facial expressions and voice modulations that is acquired and takes on strategic social value within the peer context.^[3]

Cool was once an attitude fostered by rebels and underdogs, such as slaves, prisoners and political dissents, for whom open rebellion invited punishment, so it hid its defiance behind a wall of ironic detachment, distancing itself from the source of authority rather than directly confronting it.

Cool is also an attitude widely adopted by artists and intellectuals, who thereby aided its infiltration into popular culture. Sought by product marketing firms, idealized by teenagers, a shield against racial oppression or political persecution and source of constant cultural innovation, cool has become a global phenomenon that has spread to every corner of the world.^[4] According to Dick Pountain and David Robins, concepts of cool have existed for centuries in several cultures.^[5] Robert Farris Thompson, Professor of the History of Art at Yale University, acknowledges similarities between African and European cool:

"Africa and Europe share notions of self-control and imperturbability, expressed under a metaphysical rubric of coolness, viz, notions of sang-froid and coolheadedness"^[6]

Cool has been used to describe a general state of well-being, a transcendent, internal peace and serenity.^[7] It can also refer to an absence of conflict, a state of harmony and balance as in, "The land is cool," or as in a "cool [spiritual] heart." Such meanings, according to Thompson, are African in origin. Cool is related in this sense to both social control and transcendental balance.^[8]

While slang terms are usually comprised of short-lived coinages and figures of speech, cool is an especially ubiquitous slang word, especially among young people. As well as being understood throughout the English-speaking world, the word has even entered the vocabulary of several languages other than English.

Cool can be used to describe composure and absence of excitement in a person, especially in times of stress, and can refer to something that is aesthetically appealing. It is also used to express agreement or assent. Cool is often used as a general positive epithet or interjection which has a range of related adjectival meanings. Among other things, it can mean calm, stoic, impressive, intriguing, or superlative.

Concepts of Cool

African cool

The person who appleates the designation of cool to the the fallowing (Robert Farris Thomspon) obviously has no unduerstanding of Cool and therefore is incompent in any experssion thereof. Author Robert Farris Thompson suggests that Itutu, which he translates as cool, is one of three pilars of a religious philosophy created in the 15th century^[9] by Yoruba and Ibo civilizations of West Africa. Cool or Itutu contained meanings of conciliation and gentleness of character, the ability to defuse fights and disputes, of generosity and grace. It was also associated with physical beauty. Typical for Itutu is the reference to water because to the Yoruba coolness retained its physical connotation of temperature.^[10] He cites a definition of cool from the Gola people of Liberia, who define it as the ability to be mentally calm or detached, in an other-wordly fashion, from one's circumstances, to be nonchalant in situations where emotionalism or eagerness would be natural and expected.^[11] Joseph M. Murphy writes that "cool" is also closely associated with the deity Òsun of the Yoruba religion.^[12]

Thompson finds the cultural value of cool in Africa which influenced the African diaspora different from that held by Europeans, who use the term primarily as the ability to remain calm under stress. According to Thompson, there is significant weight, meaning and spirituality attached to cool in traditional African cultures, something which, Thompson argues, is absent from the idea in a Western context.

"Control, stability, and composure under the African rubric of the cool seem to constitute elements of an all-embracing aesthetic attitude." African cool, writes Thompson, is "more complicated and more variously expressed than Western notions of sang-froid (literally, "cold blood"), cooling off, or even icy determination."(Thompson, African Arts)

The telling point is that the "mask" of coolness is worn not only in time of stress, but also of pleasure, in fields of expressive performance and the dance. Struck by the re-occurrence of this vital notion elsewhere in tropical Africa and in the Black Americas, I have come to term the attitude "an aesthetic of the cool" in the sense of a deeply and completely motivated, consciously artistic, interweaving of elements serious and pleasurable, of responsibility and play.^[13]

East Asia

The ethic of the Samurai caste in Japan, warrior castes in India and East Asia all resemble cool.(Pountain and Robins, 2000). The samurai-themed works of film director Akira Kurosawa are among the most praised of the genre, influencing many filmmakers across the world with his techniques and storytelling. Notable works of his include The Seven Samurai, Yojimbo, and The Hidden Fortress. The latter was one of the primary inspirations for George Lucas's Star Wars, which also borrows a number of aspects from the samurai, for example the Jedi Knights of the series. Samurai have been presented as cool in many modern Japanese movies such as Samurai Fiction,^[14] Kagemusha^[15] and Yojimbo,^[16] which was appropriated in American movies such as Ghost Dog.^[17] and The Last Samurai^[18]

In The Art of War, a Chinese military treatise written during the 6th century BC, general Sun Tzu, a member of the landless Chinese aristocracy, wrote in Chapter XII:

Profiting by their panic, we shall exterminate them completely; this will cool the King's courage and cover us with glory, besides ensuring the success of our mission.

Asian countries have developed a tradition on their own to explore types of modern 'cool' or 'ambiguous' aesthetics.

In a Time Asia article "The Birth of Cool" author Hannah Beech describes Asian cool as "a revolution in taste led by style gurus who are redefining Chinese craftsmanship in everything from architecture and film to clothing and cuisine" and as a modern aesthetic inspired both by a Ming-era minimalism and a strenuous attention to detail.^[19]

Paul Waley, professor of Human Geography at the University of Leeds, considers Tokyo along with New York, London and Paris to be one of the world's "capitals of cool"^[20] and the Washington Post called Tokyo "Japan's Empire of Cool" and Japan "the coolest nation on Earth".

Analysts are marveling at the breadth of a recent explosion in cultural exports, and many argue that the international embrace of Japan's pop culture, film, food, style and arts is second only to that of the United States. Business leaders and government officials are now referring to Japan's "gross national cool" as a new engine for economic growth and societal buoyancy.^[21]

The term "gross national cool" was coined by Journalist Douglas McGray. In a June/July 2002 article in Foreign Policy magazine,^[22] he argued that as Japan's economic juggernaut took a wrong turn into a ten-year slump, and with military power made impossible by a pacifist constitution, the nation had quietly emerged as a cultural powerhouse: "From pop music to consumer electronics, architecture to fashion, and food to art, Japan has far greater cultural influence now than it did in the 1980s, when it was an economic superpower."^[23] The notion of Asian 'cool' applied to Asian consumer electronics is borrowed from the cultural media theorist Eric McLuhan who described 'cool' or 'cold' media as stimulating participants to complete auditive or visual media content, in sharp contrast to 'hot' media that degrades the viewer to a merely passive or non-interactive receiver.

Europe

Spanish machismo

The "machismo" of Hispanic cultures is similar to the modern "cool".(Pountain and Robins, 2000)

Aristocratic and artistic cool

"Aristocratic cool", known as sprezzatura, has existed in Europe for centuries, particularly to frank amorality and love to illicit pleasures behind closed doors,^[24] Raphael’s "Portrait of Baldassare Castiglione" and Leonardo da Vinci's "Mona Lisa" are classic examples of sprezzatura.^[25] The sprezzatura of the Mona Lisa is seen in both her smile and the positioning of her hands. Both the smile and hands are intended to convey her grandeur, self-confidence and societal position.^[26] Sprezzatura involves showing disdain for the mundane work needed to create the air of appearing graceful and courteous.

Sprezzatura can also be applied to the poets of the time, who wanted to make their poetry seem to be the result of careful and meticulous work instead of the product of effortless and spontaneous action and the cultivated ability to "display artful artlessness"^[27] Modern historian Richard Lanham emphasizes Sprezzatura's projection of self:

It declares, brags about, successful enselfment, a permanent incorporation in, addition to, the self. It satisfies because it publicly declares an enlarged self - the self is enriched, amplified, and as a sign of amplification comes the effortlessness.^[28]

French aristocrats have also been described as cool. Aristocrats ascending the scaffold during the French Revolution demonstrated the psychic effectiveness of cool even in the face of death, while the dialogue put into the mouth of the fictional Scarlet Pimpernel by Baroness Orczy was drolly cool.^[29][30]

In the eighteenth and nineteenth centuries, British proto-Cool came to the preserve of beaus, fops, dandies, flaneurs and poseurs, mashers and swells who combined narcissism, nonchalance, wit and hedonism. English poet and playwright William Shakespeare used cool in several of his works to describe composure and absence of excitement.^[31] In A Midsummer Night's Dream, written sometime in the late-1500s, he contrasts the shaping fantasies of lovers and madmen with "cool reason",^[32] in Hamlet he wrote "O gentle son, upon the heat and flame of thy distemper, sprinkle cool patience",^[33] and Othello's antagonist Iago is musing about "reason to cool our raging motions, our carnal stings, our unbitted lusts".^[34][35]

The London Evening Standard wrote that cool in the sense of a "cool attitude" dates back at least as far as 1836, used by Dickens in his first novel The Pickwick Papers:

The coachman pulls out his handkerchief, and wipes his forehead, partly because he has a habit of doing it, and partly because it's as well to show the passengers how cool he is, and what an easy thing it is to drive a four-in-hand, when you've had as much practice as he has.

European inter-war Cool

The key themes of modern European cool were forged by avant-garde artists who archieved prominence in the aftermath of the First World War, most notably Dadaits, such as key Dada figures Arthur Cravan and Marcel Duchamp, and the left-wing milieu of the Weimar republic. The program of such groups was often self-consciously revolutionary, a determination to scandalize the bourgeoisie by mocking their culture, sexuality and political moderation.^[36]

Berthold Brecht, both a committed Communist and a philandering cynic, stands as the archetype of this inter-war cool. Brecht projected his cool attitude to life onto his most famous character Mecheath Mackie Messer (Mack the knife), in The Threepenny Opera. Mackie, the nonchalant, smooth-talking gangster, expert with the switchblade, personifies the bitter-sweet strain of cool; Puritanism and sentimentality are both anathema to the Cool character.^[37]

During the turbulent inter-war years, cool was a privilege reserved for bohemian milieus like Brecht's. Cool irony and hedonism remained the province of cabaret artistes, ostentatious gangsters and rich socialites, those decadents depicted in Evelyn Waugh's Brideshead Revisited and Christopher Isherwood's Goodbye to Berlin, tracing the outlines of a new cool. Peter Stearns, professor of history at George Mason University, suggests that in effect the seeds of a cool outlook had been sown among this inter-war generation.^[38]

Postwar Cool

The Second World War brought the populations of Britain, Germany and France into intimate contact with Americans and American culture. The war brought hundreds of thousands of GIs whose relaxed, easy-going manner was seen by young people of the time as the very embodiment of liberation; and with them came Lucky Strikes, nylons, swing and jazz - the American Cool.

To be cool or hip meant hanging out, pursuing sexual liaisons, displaying the appropriate attitude of narcissistic self-absorption, and expressing a desire to escape the mental straightjacket of all ideological causes. From the late 1940s onward, this popular culture influenced young people all over the world, to the great dismay of the paternalistic elites who still ruled the official culture. The French intelligentsia were outraged, while the British educated classes displayed a haughty indifference that smacked of an older aristrocratic cool.^[39]

This new cool rejected all kinds of overt sentimentality, which included publicly agonizing over the lot of the poor, or being sympathetic toward social activism. Indeed, the antagonism between street-cool and social activism became a cliché of certain movies and novels of the time - from On the Waterfront and the Blackboard Jungle all the way to West Side Story which is based on Shakespeare's "Romeo and Juliet",^[40] where the stereotypical big-hearted teacher/priest/social worker tries to inculcate social responsibility into street-wise cool kids, whose response maybe paraphased as "only suckers care".^[41]

Stay loose, boy! Breeze it, buzz it, easy does it. Turn off the juice, boy! Go man, go, But not like a yo-yo schoolboy. Just play it cool, boy. Real cool! (West Side Story, "Cool")

The Polish Cool

The new attitude found a special resonance behind the Iron Curtain, where it offered relief from the earnestness of socialist propaganda and socialist realism in art. In the Polish industrial city Lodz, jazz, "the forbitten music", served Polish youth of the 1950s much as it had served its black-American creators, both as personal diversion and subterranean resistance to what they saw as a stultifying official culture. Some clubs featured live jazz performances, and their smoky, sexually charged atmosphere carried a message for which the Puritanical values and monumental art of Marxist officialdom were an ideal foil.^[42]

Arriving in Poland via France, America and England, Polish cool stimulated the film talents of a generation of artists, including Andrzej Wajda, Roman Polanski, and other graduates of the Lodz Film School, as well as the novelist Jerzy Kosinski in whose clinical prose cool tends towards the sadistic.^[43]

In Prague, the capital of Bohemia, cool flourished in the faded Art Deco splendor of the Cafe Slavia. Significantly, following the crushing of the Prague Spring by Soviet tanks in 1968, part of the dissident underground called itself the "Jazz Section".^[44]

The Middle East

The cool "Anatolian smile" of Turkey is used to mask emotions. A similar "mask" of coolness is worn in both times of stress and pleasure in American and African communities.(Pountain and Robins, 2000)

The Americas

African Americans

Ronald Perry writes that many words and expressions have passed from African American Vernacular English into Standard English slang including the contemporary meaning of the word "cool."^[45] The black jazz scene in the U.S. and among expatriate musicians in Paris, helped popularize notions of cool in the U.S. in the 1940s, giving birth to "Bohemian", or beatnik culture.^[4] Shortly thereafter, a style of jazz called cool jazz appeared on the music scene, emphasizing a restrained, laid-back solo style.^[46] The expression chill out also has its origins in African American Vernacular English.^[47]

When the air in the smoke-filled nightclubs of that era became unbreathable, windows and doors were opened to allow some "cool air" in from the outside to help clear away the suffocating air. By analogy, the slow and smooth jazz style that was typical for that late-night scene came to be called "cool".^[48]

Marlene Kim Connor connects cool and the post-war African-American experience in her book What is Cool?: Understanding Black Manhood in America. Connor writes that cool is the silent and knowing rejection of racist oppression, a self-dignified expression of masculinity developed by black men denied mainstream expressions of manhood. She writes that mainstream perception of cool is narrow and distorted, with cool often perceived merely as style or arrogance, rather than a way to achieve respect.^[49]

Designer Christian Lacroix has said that "...the history of cool in America is the history of African-American culture".^[50]

Cool pose

'Cool', though an amorphous quality--more mystique than material--is a pervasive element in urban black male culture.^[51] Majors and Billson address what they term "cool pose" in their study and argue that it helps Black men counter stress caused by social oppression, rejection and racism. They also contend that it furnishes the black male with a sense of control, strength, confidence and stability and helps him deal with the closed doors and negative messages of the "generalized other." They also believe that attaining black manhood is filled with pitfalls of discrimination, negative self-image, guilt, shame and fear.^[52]

"Cool pose" may be a factor in discrimination in education contributing to the achievement gaps in test scores. In a 2003 study, researchers found that teachers perceived students with African American culture-related movement styles, referred to as the "cool pose," as lower in achievement, higher in aggression, and more likely to need special education services than students with standard movement styles, irrespective of race or other academic indicators.^[53] The issue of stereotyping and discrimination with respect to "cool pose" raises complex questions of assimilation and accommodation of different cultural values. Jason W. Osborne identifies "cool pose" as one of the factors in black underachievement.^[54] Robin D. G. Kelley criticizes calls for assimilation and sublimation of black culture, including "cool pose." He argues that media and academics have unfairly demonized these aspects of black culture while, at the same time, through their sustained fascination with blacks as exotic others, appropriated aspects of "cool pose" into the broader popular culture.^[55]

George Elliott Clarke writes that Malcolm X, like Miles Davis, embodies essential elements of cool. As an icon, Malcolm X inspires a complex mixture of both fear and fascination in broader American culture, much like "cool pose" itself.^[56]

American pop-culture cool

Jewish-American cool

Cool irony is a stratagem for concealing one's feelings by suggesting their opposite, for example feigning boredom in the face of danger, or amusement in the face of insult. Cool irony allows one to give deep offense while ostensibly remaining civil. Jewish humor has a tradition of this defensive-aggressive cool irony. Comedians such as Mort Sahl and Lenny Bruce came out of this tradition and forged a new strain of "sick humor", for example, by deliberately using racial epithets as a way of defusing their power to hurt. The status quo of Jewish cool has been the "Jewish funnyman," writes David Marchese in Salon:

For now, we're mostly stuck with the status quo: Jewish funnymen. A role they've been playing since vaudeville...^[57]

Marchese writes on the decline of Jewish cool,

We've gone from badasses Lou Reed and James Caan to jackasses Adam Sandler and Ben Stiller. Where are the hip male Jews?^[58]

The marketing of the "Jewcy" Jew

The interplay between American pop-culture and American Jewish culture may have produced what Hal Niedzviecki calls "Jewish cool".

I am not only profiling the Jewcy Jew, but also, in many ways, an entire generation of middle-class suburban Jews (such as myself) who spent far more time in the world of pop culture than we did in shul, Hebrew school, and listening to bubby talk about the old days combined.^[59]

Niedzviecki criticizes Jewish cool as a creation of diaspora Jewry that is not authentically Jewish in its development, and part of a larger narrative of excessive assimilation by Jews into American popular culture.

"Jewish cool" rejects cosmetic appearance changes such as nose jobs^[60] and encourages people to celebrate their ethnic identity rather than feel ashamed of it.^[61]

Theories of cool

Cool as an African-American aesthetic

Robert Farris Thompson's African Art in Motion

Cool as social distinction

According to this theory, cool is a zero sum game, in which cool exists only in comparison with things considered less cool. Illustrated in the book The Rebel Sell, cool is created out of a need for status and distinction. This creates a situation analogous to an arms race, in which cool is perpetuated by a collective action problem in society.^[62]

Cool as an elusive essence

According to this theory, cool is a real, but unknowable property. Cool, like "good", is a property that exists, but can only be sought after.^[2] In the New Yorker article, "The coolhunt"[3], cool is given 3 characteristics:

• "The act of discovering what's cool is what causes cool to move on"
• "Cool cannot be manufactured, only observed"
• "[Cool] can only be observed by those who are themselves cool".

A piece of Simpsons dialogue embodies this dilemma:

     Homer: So, I realized that being with my family is more important
            than being cool.
      Bart: Dad, what you just said was powerfully uncool.
     Homer: You know what the song says: "It's hip to be square".
      Lisa: That song is so lame.
     Homer: So lame that it's... cool?
 Bart+Lisa: No.
     Marge: Am I cool, kids?
 Bart+Lisa: No.
     Marge: Good. I'm glad. And that's what makes me cool, not caring,
            right?
 Bart+Lisa: No.
     Marge: Well, how the hell do you be cool? I feel like we've tried
            everything here.
     Homer: Wait, Marge. Maybe if you're truly cool, you don't need to
            be told you're cool.
      Bart: Well, sure you do.
      Lisa: How else would you know?

(The song referred to is Hip To Be Square.)

Cool as a marketing device

See also: Planned obsolescence

See also: Cultural appropriation

“	[Cool is] a heavily manipulative corporate ethos.	”
—Kalle Lasn

“	Over the past decade, young black men in American inner cities have been the market most aggressively mined by brandmasters as a source of borrowed "meaning" and identity...The truth is that the "got to be cool" rhetoric of the global brands is, more often than not, an indirect way of saying "got to be black."	”
—Designer Christian Lacroix[63]

According to this theory, cool can be exploited as a manufactured and empty idea impossed on the culture at large through a top-down process by the "Merchants of Cool".^[64] An artificial cycle of "cooling" and "uncooling" creates false needs in consumers, and stimulates the economy. "Cool has become the central ideology of consumer capitalism".^[62] Supporters of this theory avoid the pursuit of cool.

The concept of cool was used in this way to market menthol cigarettes to African Americans in the 1960s. In 2004 over 70% of African American smokers preferred menthol cigarettes, compared with 30% of white smokers. This unique social phenomenon was principally occasioned by the tobacco industry's manipulation of the burgeoning black, urban, segregated, consumer market in cities at that time.^[65] According to Fast Company some large companies have started 'outsourcing cool.' They are paying other "smaller, more-limber, closer-to-the-ground outsider" companies to help them keep up with customers' rapidly changing tastes and demands.^[66]

Cool as an opinion

Quite often, cool is in the eye of the beholder. One person, usually a member of a certain social demographic, could consider something to be cool whereas a member of a separate social demographic could consider completely the opposite to be worthy of the label. Trends are usually considered cool when only a small minority are involved in them. More people becoming interested in this trend pushes it towards the mainstream, therefore classifying it as uncool. Something else will then emerge as a new trend, and the cycle will repeat indefinitely.^{[citation needed]}

Cool as proletariat

Cool defined

• "Cool is a knowledge, a way of life."^[67] -- Lewis Macadams
• "Cool is an age-specific phenomenon, defined as the central behavioural trait of teenagerhood."^[68]
• "Coolness is the proper way you represent yourself to a human being."^[69] -- Robert Farris Thompson

See also

• African aesthetic
• Avant-garde
• Charisma
• Cool jazz
• Itutu
• Sprezzatura
• Lame (slang)
• Square (slang)

References

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