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An Astonishing Visibility: The Invisible Hand and the Visible Fist; Or, Enlightenment, Aesthetics, and Police

An Astonishing Visibility: The Invisible Hand and the Visible Fist; Or, Enlightenment,... Visual Arts Research Volume 48, Number 1 Summer 2022 17 An Astonishing Visibility: Rebecca Zorach Northwestern University The Invisible Hand and the Visible Fist; Or, Enlightenment, Aesthetics, and Police This essay takes as a starting point the modern influence of Scottish philosopher Adam Smith’s notion of the “invisible hand” in economics, and its relationship to police and policing, to trace the power relationships and aesthetic theories embedded in both in their 18th-century origins. Smith repeatedly frames the concept of the invisible hand in aesthetic terms, as does (in a different way) his devotee, neoliberal evangelist Milton Friedman. He also connects it at the outset with the then-current definition of the word “police” as both political order and refinement (etymologically connected to “polish”). An archaeology of both concepts leads to a final question: To what extent does our cur - rent understanding of “art” require a kind of order that can only come from “police”? KEYWORDS: Police, invisible hand, Adam Smith, Enlightenment, economics, aes- thetics The perfection of police, the extension of trade and manufactures, are noble and mag - nificent objects. —Adam Smith (1759/1761, p. 275) Should you be alone, and arrive by chance among an unknown people, if http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Visual Arts Research University of Illinois Press

An Astonishing Visibility: The Invisible Hand and the Visible Fist; Or, Enlightenment, Aesthetics, and Police

Visual Arts Research , Volume 48 (1) – May 26, 2022

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Publisher
University of Illinois Press
Copyright
Copyright © the Board of Trustees of the University of Illinois
ISSN
2151-8009

Abstract

Visual Arts Research Volume 48, Number 1 Summer 2022 17 An Astonishing Visibility: Rebecca Zorach Northwestern University The Invisible Hand and the Visible Fist; Or, Enlightenment, Aesthetics, and Police This essay takes as a starting point the modern influence of Scottish philosopher Adam Smith’s notion of the “invisible hand” in economics, and its relationship to police and policing, to trace the power relationships and aesthetic theories embedded in both in their 18th-century origins. Smith repeatedly frames the concept of the invisible hand in aesthetic terms, as does (in a different way) his devotee, neoliberal evangelist Milton Friedman. He also connects it at the outset with the then-current definition of the word “police” as both political order and refinement (etymologically connected to “polish”). An archaeology of both concepts leads to a final question: To what extent does our cur - rent understanding of “art” require a kind of order that can only come from “police”? KEYWORDS: Police, invisible hand, Adam Smith, Enlightenment, economics, aes- thetics The perfection of police, the extension of trade and manufactures, are noble and mag - nificent objects. —Adam Smith (1759/1761, p. 275) Should you be alone, and arrive by chance among an unknown people, if

Journal

Visual Arts ResearchUniversity of Illinois Press

Published: May 26, 2022

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