Abstract

Less than an attempt to philosophically define anything, the following text should be read as a theoretical sketch to portray an artistic margin, which has not yet been much discussed, although it has been loosely touched upon as a side product of many other theoretical aspirations. Its name, ‘nobrow’, is borrowed from a use somewhat different from mine, but is accurate in pointing out that there is a dynamic position works of art can acquire when they use both high and low for their own purposes, still not really belonging to either field of culture. I will begin by sketching the outlines of this phenomenon, and then try to shed some light on it through by means of some examples, and conclude by claiming, that it lives on our cultural situation, where high and low, even if they are not as rigid compartments of culture as they used to be, continue to exist and to affect us. (Opening paragraph.)