Travel'of'an'Idea:'Metaphysical'state'to'Material'state' Table of Content (original) (raw)
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Abstract Has art theory any function and any importance? A function and importance for who? For the practising artist, theorists, writers on art? Art speak and its place in art theory, art criticism and artists’ statement. - Many tools to create an intersubjective and universal frame of reference to make sense of any art exist., for example art history, labels such as expressionism, impressionism, modern art, contemporary art, Fine art, Visual Arts, Northern Baroque Art, minimalist, post-minimalist, anti-art, anti-anti-art, New Aesthetics, new media, slow art movement, etc and ‘art speak” .
B@belonline. Revista online de Filosofia. № 9. Novembre 2022., 2022
The Philosophy of Art class offers students an approach that intends to avoid the traditional limitation of students' attention to the work-author-viewer triad. Instead, students are offered a philosophical reflection on art in which the emphasis falls on explicating the 'perspectives' that are involved in the meaning constitution of a whole, which in this approach we call 'the phenomenal being of art'. Each perspective has a 'figure' representing it and its perspective is described phenomenologically, given that it is to explicate the meaningful contribution of this figure and its perspective in constituting the 'phenomenal being of art'. This approach has similarities with two other art's conceptions: the historical one of Paul Frankle and the institutional one of Arthur Danto and George Dickie.
Art and Interpretation; a Qualitative Theory of Art
2022
After the art forms of the second half of the 20th century it is not possible to define art based on the aesthetic in the traditional sense. Thus, the whole discipline has fallen into a trap, a cul-de-sac, from which there is no escape. Therefore, the aesthetic has to be redefined. This essay is an attempt to find a way out. This article analyzes the possibility of finding a definition of art and the work of art, especially the so called modern art, concentrating on visual art and specifically on painting. First, I briefly analyze some previous attempts and suggest a novel approach that would make it possible to define art as a special form of brainwork. To be able to do this, terms like beauty, aesthetic, and art and their mutual relations are first redefined, concentrating especially on the nature of aesthetic experience as the fundamental aspect of all life in general. Next, I suggest a distinction between craft and art and, based on this distinction, provide a definition of art in the traditional sense of the word, such as art was seen from prehistoric times to 19th century Europe. Thereafter, I suggest a definition of a work art as the realized intention of the artist in nonconceptual form. Finally, I analyze the possibility of interpretation of art according to this theory, concluding that while it is possible to interpret works of art, it is not possible to interpret art because art is the quality of the artwork, and that can only be experienced, not conceptually understood.
The Artwork Process and the Theory Spectrum
Proceedings of the European Society for Aesthetics 2017, 2017
The paper suggests a notion called 'the artwork process' which maps all the phases in the process from an artwork's initial manufacture to its experience as an artwork by an audience. It examines various definitions of 'artwork' that have offered and suggests that they share the common structure of locating artwork ontology at some or other definite phase within the artwork process. One result of this is that there is a common structure of objections to such theories, arising from counterexamples sourced from other phases of the artwork process excluded from the proposed definition, with the consequence that the definition becomes prescriptive towards actual artistic practice. This structure is then used to analyse the the 'performance theory' of art: It's suggested that this is the latest in the line of these definitional projects, novel in that it concentrates exclusively on the actions of artists for the source of its definition. The structural analysis is then used to generate two objections to performance theories, arising from phases of the artwork process it excludes. The paper then plots the different proposed definitional projects on the 'theory spectrum' according to which phases of the artwork process each proposed definition includes or excludes from its scope. It concludes by suggesting that only a comprehensively contextualist definition which makes reference to all phases of the artwork process can hope to be resistant to this structure of objection and defence. It concludes by speculating on why this might be so and suggesting 'manifested performance theory' as a plausible candidate for just such a comprehensively contextualist position.
Questions about the Art itself in the modern artworks
This article discusses one particular change in the development of Art in the twentieth century – the creation of Art as a reply to such questions as " Are there any substantial features of the work of art? " , " What is the difference between the works of art and nonartistic reality? " , " What does constitute the work of art as such? " Some contemporary artworks tell us merely about the nature of art. The attempt to conceive the works that belong to Biotechnological art, Social art, and Participatory art includes also a reflection on the question about the reasons which allow attributing these works to art. Creation includes consideration of what is possible in the art and notes on art history. The artworks combine the creation of artwork as such and questioning its content, meaning, form, and style. Art is perceived as an investigation of the status of the art object and the role of the artist himself.
An Exploration of the Essence of Art at the Light of the Contemporary Situation of Art
2019
Cette these cherche a repondre a une question fondamentale de la philosophie de l'art: qu'est-ce que l'art? Apres avoir examine les reponses des plusieurs theories de l’art, il propose que la definition de l’art proposee par Arthur Danto soit celle qui se conforme le plus a la realite de l’art, bien qu’elle souffre de certaines imperfections et insuffisances. Sur la base de cette conclusion critique ainsi que d'une analyse minutieuse de ce qui est considere actuellement comme un art, il tente de modifier la definition de Danto et de la transformer en une nouvelle definition, capable de mieux se conformer a la realite des phenomenes artistiques. La these d’abord presente la situation actuelle de l’art et les theories de l’art existantes qui n’ont pas reussi a rendre suffisamment justice a la totalite de ce qui est considere comme artistique. Par un regards critique de ces theories, la these tente de montrer que les conditions pour etre l’art qu’elles proposent sont so...
Art, Human Condition and Beyond …
Journal of the Institute of Engineering, 2019
Philosophers of different ages have made rigorous attempts to define art aiming to establish a set of characteristics applicable to all kinds of fine arts. However to point a definite meaning of art is elusive task. Similarly the question whether art can be didactic to provide knowledge, or insight is as old as philosophy itself. Art can be appreciated, enjoyed and loved for the powerful emotional values it reflects to the beholders. The production of art deals with creativity, imagination and innate ability of an artist. Art evolves from the culture that inspires artistic expression and art is born from the inner necessity of the artist. To determine the coherent ontological status of works of art has been a problematic issue despite the consistent philosophical practices. The metaphysical categorization of art as "the imaginary experience of the total activity" of the artist recreated by competent viewer is not all inclusive perception of art. The more liberal outlook of art as abstract cultural entities that are created at certain time through human activities seems convincing and relevant.
Exploring the Philosophical Character of Contemporary Art through a Post-Conceptual Practice
2014
This enquiry seeks to explore what philosopher and critic Peter Osborne identifies as the philosophical character of contemporary art. The purpose of this enquiry is not to resolve the ambiguous relationship between art and philosophy that he observes in contemporary art, but to address the complex engagement between them in a focused manner by examining how philosophy comes into play in my post-conceptual practice. This enquiry emerges from and is orientated by an ongoing post-conceptual practice. The central questions of the enquiry ask: What is the relationship between art and philosophy in my post-conceptual practice? How might my artworks raise philosophical ideas and thought? What is the nature of this thought? The primary component of the research project consists of three specific event-based art works: Gatherings (Transitory Encounters) (2008), Mystical Anarchism (2009-2012) and Metaphysical Longings (2006-). Through the development, enactment and critical reflection on these works I explore how my practice provides a domain to engage with philosophy and how the artworks that unfold out of this might implicate philosophical ideas and engender thought. These works seek to enact an other space. I use the term other space to articulate a temporary, experiential and/or symbolic space that differs from the quotidian. I develop my understanding of the philosophical character of art by exploring how philosophical ideas might be implicated in these works in an experiential manner by considering how these works invite thought. Through the research project I assert the proposition that the thinking raised by art is essentially affective. Alain Badiou's inaesthetics provides a theoretical guide. Although inaesthetics defines a reciprocal engagement between artistic practice and philosophical enquiry, the correlation of these disciplines is described from the vantage point of the philosopher and no examples from the area of contemporary art are provided within his thesis. Rather than repeating the procedures associated with traditional modalities of aesthetics that privilege the critic/philosopher, this research project provides a paradigm within artistic practice to explore how philosophical meaning is implicated through the development and enactment of artworks.
Method and Metaphysics in the Philosophy of Art
This article is concerned with the question of the proper place of substantial general metaphysics in aesthetics and the philosophy of art. For reasons articulated in writings from the 1950s, analytic aesthetics denies that there is any relation of dependence and regards the intrusion of metaphysics into reflection on art as not merely superfluous but also methodologically inappropriate. Against this I argue (1) that analytic aesthetics in its circumscription of the bounds of the discipline is not metaphysically neutral, (2) that it is vulnerable to the challenge of scientific naturalism, and (3) that a case for the necessity of metaphysics in aesthetics and the philosophy of art can be made on the grounds of the constitutive opacity of art and the aesthetic from the standpoint of ordinary consciousness. The analytic reception of Kant's aesthetic theory, I argue, supports this conclusion.
With the Eyes of the Mind. A Philosophical Analysis of Art
2017
What is true Art? Are there any objective criteria to analyze an artwork? How can we distinguish good Art and bad Art? This paper deals with these and other related questions, through an in-depth analysis of Chagall's "White Crucifixion", according to the philosophical theories of Jacques Maritain and Etienne Gilson. It also discusses the anthropological and metaphysical foundation of Art.