Science and arts, often celebrated as pillars of progress, are not exempt from critical scrutiny. While their contributions to knowledge, creativity, and societal advancement are undeniable, their impact on human morality and nature requires closer examination. Jean-Jacques Rousseau, a profound critic of civilisation’s excesses, argued that science and arts, rather than elevating human morality, have often led to its corruption. This critique resonates with Thomas Hobbes’s view of human nature as inherently competitive and self-serving. For a painter like me, these reflections are vital as they unveil the complex interplay between creativity, ambition, and morality. This essay explores the moral damage inflicted by science and arts on human nature, connecting Hobbes’s insights with Rousseau’s critique and analysing how civilization fosters competition, envy, and alienation.

Rousseau’s Critique of Civilisation and Arts

Rousseau’s seminal work, Discourse on the Sciences and Arts, underscores how the advancement of knowledge and artistic expression has led to the degeneration of human morality. Rousseau contended that humanity’s original state of innocence—a time characterized by simple, authentic living—was corrupted as societies developed artificial values through scientific and artistic pursuits. According to Rousseau:

“Everything is good as it comes from the hands of the Creator; everything degenerates in the hands of man.”

This degeneration manifests as a loss of authenticity, with individuals driven by pride (amour-propre), vanity, and a desire to appear superior to others. The arts, instead of fostering virtue, have become tools for display, fostering competition, envy, and moral decay. Science, with its emphasis on material advancement, alienates individuals from their natural selves, creating a culture obsessed with external recognition rather than internal contentment.

Hobbes and Rousseau: Diverging Views on Human Nature

Hobbes famously argued in Leviathan that humans are inherently selfish and competitive, driven by a constant struggle for power and survival. In the natural state, Hobbes described life as “solitary, poor, nasty, brutish, and short.” However, Rousseau’s vision diverged; he viewed the natural state as one of purity and simplicity, free from the corrupting influences of civilisation. Yet, there is a compelling intersection in their philosophies: the depiction of humanity’s moral corruption in a social context.

For Hobbes, the competitive nature of humans is innate, whereas Rousseau argued that this competitiveness arises from societal constructs. In civilised societies, the pursuit of science and arts exacerbates these tendencies. Rousseau’s concept of amour-propre highlights how individuals’ desire for recognition fuels envy, rivalry, and alienation—traits that Hobbes would recognize as intrinsic but which Rousseau attributes to civilisation’s distortion of natural instincts.

The Role of Science and Arts in Moral Corruption

Science and arts, as Rousseau argues, have become tools for self-aggrandizement rather than instruments of virtue. The rise of artificial needs, coupled with the desire to surpass others, fosters an environment of relentless competition. As Rousseau noted, the development of private property, a cornerstone of civilisation, introduced inequality and envy, laying the foundation for moral corruption:

“The first man who, having enclosed a piece of ground, bethought himself of saying ‘This is mine,’ and found people simple enough to believe him, was the real founder of civil society.”

In the same way, the cultivation of the arts and sciences serves to erect barriers between individuals, fueling pride and superficiality. This degeneration can be seen in modern society, where technological advancements often widen social divides and artistic expressions are commodified, catering to ego and vanity rather than the common good.

Competition, Envy, and Alienation

Rousseau’s analysis of amour-propre reveals the dangers of societal constructs that encourage comparison and competition. As people measure their worth against others, they become enslaved to external validation. This phenomenon mirrors Hobbes’s view of perpetual conflict among humans driven by a desire for power and security.

The arts, as a painter’s domain, provide a poignant example. While artistic creation has the potential to connect with universal truths, it is often subverted by market forces and the artist’s desire for recognition. The competitive nature of the art world mirrors Rousseau’s critique of civilisation: artists, rather than creating for the sake of expression, frequently find themselves vying for prestige and financial success. This struggle fosters envy and alienation, as artists distance themselves from their original, authentic motivations.

Rousseau’s Vision of Redemption

Despite his criticism, Rousseau did not view the degeneration of humanity as irreversible. He proposed a return to simplicity and authenticity through moral and political reform. In The Social Contract, Rousseau argued for a society grounded in collective will, where individuals prioritise the common good over personal gain. This vision, while idealistic, offers a blueprint for overcoming the moral corruption induced by science and arts.

For artists, this redemption lies in reconnecting with the true essence of creativity. Art should transcend superficiality, becoming a medium for introspection and shared human experience. As a painter, I strive to reflect these ideals in my work, seeking to evoke genuine emotion and universal truth rather than catering to fleeting trends or societal expectations.

Conclusion

The interplay between science, arts, and morality reveals a complex tapestry of human nature, ambition, and societal constructs. Rousseau’s critique of the moral damage caused by science and arts challenges us to reconsider their role in our lives. When pursued without restraint or ethical grounding, these endeavours can foster competition, envy, and alienation, distancing humanity from its natural state and core values. By examining these themes through the lens of Hobbes and Rousseau, we uncover timeless truths about the human condition and the need for a balance between progress and authenticity. For painters and creators, the challenge lies in resisting the pull of superficiality and embracing art as a means of truth and connection, offering a counterpoint to the moral corrosion of modern civilisation.