Social Roots of Defining Art: Sample of Art Students (original) (raw)
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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.
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With its ambient, interesting and dynamic use of materials, alternative views of materials and objects, with its playfulness and affecting different senses contemporary fine art can be very interesting for art-educational work. Due to its complexity, however, it suffers from misunderstanding, retreat, and last but not least also fears both among teachers and learners. With the present article we wish to present a broader view of basic school pupils of fine art both historically and contemporarily. We wished to determine what views students have of contemporary artistic practices and to what extent they know fine art. The results obtained with guided interviews and worksheets indicate that students are not well informed about contemporary and historical artistic practices. They nevertheless demonstrate great openness, curiosity and relaxation, willingness to get to know these practices deeper under proper guidance of the teacher and also to become enthusiastic about them.
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This article examines the social characteristics of artists. The idea is that artists share some common characteristics that may have an effect on their becoming an artist. The process of acquiring the identification of artist is a multidimensional one, which is related to creativity, alongside many other factors that are inherently social. Here, emphasis is on the second kind of factors, the social ones. In order to show the importance of such factors, data from the author's previous research are presented. The theoretical field of study is sociology of art with an emphasis on Janet Wolff's ideas. The main hypothesis is that creativity and genius are preconditions for a person to become an artist, but are not sufficient in themselves. The individual's emergence as artist also relies on their social conditions. If certain social conditions are right, then an individual may be able to pursue artistic activities and become known as an artist.
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The text proposes to reflect on the meanings and contributions of art education in pedagogical experiences and teacher education, in view of the tense conversations between art and education. These disturbances translate into the devaluation or usefulness of the aesthetic-expressive dimension to the construction of pedagogical knowledge, generating the centralization of rational content related to the certainties of the world. This is a hermeneutic research that dialogues with art-education as a source of inquiry to understand the formative processes and actions of humanization of educational experiences in the field of human development. Art as a form of expression and sensitive education to think of expressive formation is something scientifically recognized, which does not obey conventionalisms, but provokes acts of freedom, interaction, social participation and motivation of subjects through different inventive and cultural knowledge. However, what are the contributions of art-e...
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2017
Focusing on the relations between art and research, this single topic issue was the result of several conversations held over the last few years between members of the CAIRE, the Experimental Art and Research Cluster. Founded by four research groups at the UAB, UB, UPF and UOC together with the HANGAR artistic production and research between in Barcelona, the objective of the CAIRE is precisely to contribute toward artistic research by capitalizing on its specific and unique features. In this respect, taking advantage of the framework offered by the symposium Questioning Aesthetics: Arts Research & Aesthetics, which took place from 20th to 22nd June 2017 at the Palau Virreina in Barcelona, organized by the UAB, the Transdisciplinary Aesthetics Foundation and Banco Sabadell Foundation, we issued an open call for articles that focus on the relation between the Arts and Research, which, after the peer-review process, ended up as this node of the journal Artnodes. Therefore, the first five articles are written by authors who took part at the aforementioned symposium at the time, while the rest of the articles in the single topic issue come from other writers who share their experiences and reflections with us from a range of different perspectives and approaches. The end result fulfils the desire expressed in the original open call for articles, in which we highlighted the diversity of approaches that exist in relation to the nature of the interrelation between art and research, including research for art, research on art, and finally, research in art, which is claimed by many to be the most genuine type of artistic research. Moreover, the selection of the articles published here in one way or another relates to the four lines specified in the open call, linked both to the theoretical perspective for and on artistic http://artnodes.uoc.edu artnodes
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The concept of Art and Artist has had a continuous evolution and countless definitions throughout history. But, are there really common concepts to define and perceive them in ancient and classic art as well as in modern? This thesis focuses on the current (year 2017) perception of what is considered art and what is considered an artist by ordinary people, out of what art and philosophy books tell.
This article is based on an analysis of the social field of the art and cultural category designed to described human taste of aestheticism and need to art creativity. The main idea of this paper is attempt of amendment existing applied notions to the description and analyses of art. To this purpose author is using the analogy between the iconoclash notion suggested by Bruno Latour, and proposed by oneself idea of the mediaclash. This phenomenon characterized by a clash of aesthetics and usage of formal means (especially digital technologies, which are the foundations of the very existence of new media). The second proposition is arthick category, used like Clifford Geertz thick description. This concept show a procedure of interpretation that sets the meaning of particular actions within their proper context, which makes it possible to understand human creative actions and it’s connections with social field. (Full text in English).
On Contemporary Issues in the Sociology of Art: Introduction
Przegląd Socjologii Jakościowej
In the introduction to this issue of Przegląd Socjologii Jakościowej, we undertake an attempt to characterize the contemporary field of the sociology of art in Poland. For the point of departure, we took four generations of the sociology of art as defined by Nathalie Heinich as well as the identification of the following four elements: an artwork and its reception, an artist and a creative process, an audience, and a social-institutional framework. We try to draw the timeline of this sub-discipline by means of indicating works of Stanisław Ossowski (the sociology of art sensu largo) and Florian Znaniecki (the sociology of artist) as its beginning in the country. We also define the unique status of art sociology in Poland as a sub-discipline of the sociology of culture, as well as its mutual relations with different sciences. We analyze the emergence of scientific communities and the appearance and disappearance of research specializations during the period of over 80 years. Addition...
Sociology of Art: New Stakes in a Post-Critical Time
The international handbook of …, 2000
During a long period, sociology of art has been divided mainly between two major directions. Both show art as a social reality but they do so from quite different points of view: one is frontally critical and aims at revealing the social determination of art behind any pretended autonomy (be it the autonomy of the works, following the objectivist aesthetics, or the autonomy of the taste for them, following an aesthetics of subjectivity); the other is more pragmatic and, without pretending to make statements about the works or aesthetic experience, procedes through a minutious reconstitution of the "collective action" necessary to produce and consume art. Against a purely internal and hagiographic aesthetical commentary of art works, sociology has thus filled back an "art world" which formerly included only very few chefs-d'oeuvre and geniuses. Mainstream productions and copies, conventions and material constraints, professions and academies, organizations and markets, codes and rites of social consumption have been pushed to the front of the scene.