Because of this, beautiful works of art have to be censored because people would not understand them. In other words, art has to be dumbed down for society. To maintain stability, people have to create works of art inspired by nothing so they inspire nothing, but frankly, if art has no meaning then it is not even considered art. The low employee morale might be due to lack of job motivations and unfair promotion system. Furthermore, there were no sense of responsibility as employees were not engaged in decision making or improvements and communication between the different levels was weak.
Is it planned obsolescence in cheap clothes, or is it that they are aesthetically worthless at the same time they become functionally useless? There are prisons where 80 percent of the inmates bear tattoos. Loos accuses ornament of being a drag on the economy, wasting labor and artificially inflating the cost of things while adding no utility, subscribing to a pretty narrow utilitarian view of things and presuming a kind of rationality that we would probably fell straitened by. Behind much of Loos critique is the idea that ornament is a debased form of personal self-expression, a desperate form of self-promotion that taints all artistic practice, reducing it all to advertisements for oneself. The lack of ornament is a sign of intellectual power. Rather than reflect some evolution toward perfect humanity that the higher orders have achieved, deornamentation is simply a matter of amassing cultural capital; our culture continues to place greater value on the subtler pleasures that require a grounding in education and leisure time over the more straightforward pleasures that require no such preparation.
Ornament, Crime & Prejudice: Where Loos' Manifesto Fails to Understand People
He believed that what is beautiful must also be useful, and linked beauty and utility by returning an object to its true utilitarian value. Adolf Loos also believed the language of the environment of the metropolis was centered in the absence of all ornament. A major characteristic of his private residential works were the undecorated white facades. He also focused on reputing Vienna Succession a modernist movement led by Otto Wagner , which inspired his most notable essay, "Ornament and Crime" written in , but only published in Western Europe in the late s.
In his publication about western culture in the journal Das Andere, Adolf Loos tells a story about a master saddler. In this story, the saddler hears about the rise of the Secession in the city, and how they praise the creation of a modern style. Showing one of his saddles to one of the leaders of the movement, a professor, he finds that his saddles aren't modern. Despite his best attempts, the saddler couldn't create a saddle that would meet the high expectations of the professor.