Pretension Is Just A Hoity-Toity Word For Pretendin’

A book with an intriguingly different view on pretentiousness was recently the subject in the LA Review of Books. According to reviewer Barrett Swanson, Dan Fox, author of Pretentiousness: Why It Matters, thinks pretentiousness gets a bad rap.

Early in his disquisition, Fox wonders why children who investigate the world through “pretend” and “make believe” are seldom accused of pretentiousness, whereas adults who experiment with the liberties of masquerade are inevitably charged with duplicity.

[…]

“So you thought the film you just saw was pretentious, and so was the date you took with you. You thought the food and service at the restaurant where you had a bite to eat after was also pretentious. But pretending to be … what, precisely?” Fox asks. Because there is no Platonic ideal,… “When a person decides that a restaurant is pretentious,” he concludes, “the ‘authentic’ restaurant to which it’s being compared and the values that provide The One True Restaurant with its bona fides are seldom revealed.”

There are some interesting things in there to ponder.  Though before I get into the main part of my post, I wanted to note (without having read Fox’s book), that often pretension is based on an authenticity comparison that is anything but idealized — San Diego being the only place to get authentic Mexican food, for example. (Whereas NY is indisputably the only place that makes pizza and bagels worth eating.)

My initial thoughts about why kids can pretend without being dismissed as pretentious and adults can’t get away with it as easily, is due to the fact we don’t feel empowered to call people out as quickly when we get older.

Between being bound by a sense of polite behavior and a growing understanding that there are subjects in which other people are more expert at than ourselves, we don’t feel we have the ability to force people to acknowledge they are pretending something is what it isn’t. Still, because we feel ashamed of our lack of knowledge or ability to deny the reality being asserted, we label it pretentious.

For example, we had no problem as kids recognizing that someone is pretending to be Superman or a dinosaur. We had no compunction about saying pretend bombs, swords and Kamehameha waves missed us or got deflected by our energy shields.

It is more difficult to know if someone is wrong when they make a statement about a performance or visual art work if we don’t have experience in that field. If something tastes awful to us, we don’t know if it is really poorly made or if our palate just isn’t refined. Because we acknowledge the possibility of not having enough knowledge or experience, we don’t have the confidence to yell “Na-uh!” that we did when we were children.

Even if we did and we were right, there may be sufficient number of other people who have agreed to pretend otherwise causing us to feel uncomfortable. We may laugh about wine experts who think the same wine tastes better when it is in a more expensive bottle, but we still feel anxiety about picking out a bottle to bring to a dinner party.

It may actually relieve one’s anxiety to a degree to look at a situation that appears intimidating and decide everyone who thinks a certain way is pretending. It can be liberating to walk among people whom you have decided have subscribed to a certain fiction whereas you have subscribed to a slightly different fiction. Or perhaps, you have decided it would be fun to see how far you can get pretending the same thing everyone else does.

While I think this might be a helpful intermediary step to assuage anxieties, deciding everything is equally meaningless and lacking of value does an injustice to objects and achievements that have actual value.

This isn’t an argument for determining what is objectively more valuable and important than something else. Rather, eventually one needs to acknowledge that there are some things one recognizes as more important and valuable than other things. Others may not agree and that doesn’t bother you. The you five years in the future may not agree with the you of today and you need to be okay with that possibility as well.

About Joe Patti

I have been writing Butts in the Seats (BitS) on topics of arts and cultural administration since 2004 (yikes!). Given the ever evolving concerns facing the sector, I have yet to exhaust the available subject matter. In addition to BitS, I am a founding contributor to the ArtsHacker (artshacker.com) website where I focus on topics related to boards, law, governance, policy and practice.

I am also an evangelist for the effort to Build Public Will For Arts and Culture being helmed by Arts Midwest and the Metropolitan Group. (http://www.creatingconnection.org/about/)

My most recent role was as Executive Director of the Grand Opera House in Macon, GA.

Among the things I am most proud are having produced an opera in the Hawaiian language and a dance drama about Hawaii's snow goddess Poli'ahu while working as a Theater Manager in Hawaii. Though there are many more highlights than there is space here to list.

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