People and Things: Questions Museums Make us Ask and Answer

2016 ◽  
Vol 79 ◽  
pp. 199-216
Author(s):  
Alda Rodrigues
Keyword(s):  
The Other ◽  
Material Object ◽  
Work Of Art ◽  
Material World ◽  
Works Of Art

AbstractThis chapter first analyzes two texts in the tradition of essays which associate museums with the notion of displacement: Moral Considerations on the Destination of Works of Art, by Quatremère de Quincy, and ‘The Origin of the Work of Art’, by Heidegger. Both authors claim that a work of art is not only a material object but also a centre of practices, values, beliefs, traditions, memories, and so on. I argue that, insofar as a work of art can be the centre of this type of network in a museum, the description of art these authors propose defeats their own claims against museums. In the second part, I suggest that Heidegger's and Quatremère's descriptions of the role of art can be articulated with the help of Donald Davidson's understanding of the interconnection between the material world and human concepts. As Davidson sees it, things and people can only be described in relation to the other particular persons, objects, events and places they are connected to. From this perspective, the subjective, the objective and the intersubjective cannot be grasped independently. Museums stage this interconnection and can, therefore, be regarded as philosophical instruments that may help us describe things and, by extension, also ourselves.

scholarly journals Who’s Afraid of the Audience? Digital and Post-Digital Perspectives on Aesthetics

2014 ◽  
Vol 3 (1) ◽  
pp. 120-130 ◽  
Author(s):  
Lotte Philipsen
Keyword(s):  
Immanuel Kant ◽  
Digital Technology ◽  
Aesthetic Experience ◽  
The Other ◽  
Artistic Practice ◽  
Works Of Art ◽  
Practical Analysis ◽  
The Way

This article analyses how works of art that make use of or refer to digital technology can be approached, analysed, and understood aesthetically from two different perspectives. One perspective, which I shall term a ‘digital’ perspective, mainly focuses on poetics (or production) and technology when approach- ing the works, whereas the other, which I shall term a ‘post-digital’ perspective, focuses on aesthetic experience (or reception) when approaching the works. What I tentatively and for the purpose of practical analysis term the ‘digital’ and the ‘post-digital’ perspectives do not designate two different sets of concrete works of art or artistic practice and neither do they describe different periods.[1] Instead, the two perspectives co-exit as different discursive positions that are concretely ex- pressed in the way we talk about aesthetics in relation to art that makes use of and/or refers to digital technology. In short: When I choose here to talk about a digital and a post-digital perspective, I talk about two fundamentally different ways of ascribing aes- thetic meaning to (the same) concrete works of art. By drawing on the ideas of especially Immanuel Kant and Dominic McIver Lopes, it is the overall purposes of this article to ana- lyse and compare how the two perspectives understand the concept of aesthetics and to discuss some of the implications following from these understandings. As it turns out, one of the most significant implications is the role of the audience. 

The Gastronomy of the Eye

2020 ◽  
pp. 175-198
Author(s):  
Vrushali Dhage
Keyword(s):  
Essential Role ◽  
Historical Perspective ◽  
Smart Cities ◽  
Methodological Approach ◽  
Economic Liberalization ◽  
The Other ◽  
Works Of Art

Works of art can be read at various levels: from being objects of simple retinal pleasure to the other extreme of being significant critical statements of their time. This chapter aims to strike a cerebral dialogue through the works of art. The current study shall consider the latter function of art and analyze the methods in which contemporary Indian artists have made attempts to provide a critique of the early initiatives towards developing Delhi and Mumbai as ‘smart cities'. The review of works from India concludes the essential role of infrastructural projects and envisioned spaces built in the era of economic liberalization. The study aims at drawing a methodological approach, with an art historical perspective, with the artists analysing and translating the urban experiential phenomenon, into artworks.

scholarly journals Creative derivatives the poetics of derivation and its formative assumptions

2021 ◽  
pp. 233-252
Author(s):  
Jagor Bučan
Keyword(s):  
The Other ◽  
Common Denominator ◽  
Creative Work ◽  
Work Of Art ◽  
Cognitive Insight ◽  
Other Hand ◽  
Works Of Art ◽  
Aesthetic Pleasure ◽  
The One ◽  
Existing Form

The creative derivatives phrase has in itself two terms: creativity (lat. creatus - having been created) and derivation (lat. derivatio - derivation, departure). Creativity presupposes the realisation of the new, the non-existent. Derivation, on the other hand, means transition, formation or arrangement. A derivative is what is derived or comes from something else (like gasoline which is a petroleum derivative). Creative derivations would therefore be processes in which a new is derived from the existing; procedures of rearranging the existing, conversion (transitioning) from one system to another. There are two basic requirements that are necessary for the realisation of these and such actions: an adequate poetic means and a common denominator of two or more phenomena, i.e. two or more systems that are brought into contact. We define the poetic means here in Jakobson's terms as the axis of combination (syntagm) and the axis of selection (paradigm). The paper systematises the poetic possibilities of artistic modeling, which is based on the template of already existing works of art. Different versions of the approach to modern and postmodern practice of taking over the already existing form and content aspects of a work of art are briefly explained and described. When choosing examples, the author adheres to the principle of representativeness instead of compendial comprehensiveness. The outcome of the paper should be twofold. On the one hand, the aim is to get to know and understand the poetics of taking over, which is one of the preconditions for aesthetic pleasure and cognitive insight when encountering works of art of that provenance. On the other hand, the work should be useful to students in their own creative work. The poetic means exhibited in it should facilitate a creative approach to the inexhaustible source of tradition.

scholarly journals Leo Tolstoy's moralizing in context of ethical and aesthetic synthesis

2021 ◽  
Vol 10 (43) ◽  
pp. 257-263
Author(s):  
Svetlana A. Simonova ◽  
Tatiana V. Shvetsova ◽  
Marina A. Shtanko ◽  
Denis G. Bronnikov ◽  
Alexei A. Mikhailov
Keyword(s):  
The Other ◽  
Leo Tolstoy ◽  
Childhood And Adolescence ◽  
Aesthetic Theory ◽  
Russian Culture ◽  
Works Of Art ◽  
Aesthetic Pleasure ◽  
The Aesthetic ◽  
The One

The article examines the moralizing of Leo Tolstoy on the example of his theoretical ideas. The authors, examining their genesis, come to the conclusion that the writer formed his ideas under the influence of French enlighteners and sentimentalists, on the one hand, and absorbed the ethical dominant of Russian culture, on the other hand. The article analyzes the idea of absolutizing good, which runs through Tolstoy's entire aesthetic theory as a leitmotif. As a result of the study of the aesthetic views of the writer, it is concluded that Tolstoy understood the role of art solely as a translation of feelings and a means of communication. The writer deprives art of its aura of mystery and does not recognize the latter as a source of aesthetic pleasure and spiritual enrichment. The article analyzes the worldview of the writer, reveals the influence on him of the experience acquired by Tolstoy in childhood and adolescence. Tolstoy's works of art and theoretical views are another example of the fact that the artist's worldview does not always coincide with his work.

Art, definition of

2018 ◽  
Author(s):  
Stephen Davies
Keyword(s):  
Institutional Theory ◽  
Aesthetic Experience ◽  
The Other ◽  
Art Making ◽  
Work Of Art ◽  
Informal Institution ◽  
Works Of Art ◽  
Art Works ◽  
The One ◽  
Definition Of

Many of the earliest definitions of art were probably intended to emphasize salient or important features for an audience already familiar with the concept, rather than to analyse the essence possessed by all art works and only by them. Indeed, it has been argued that art could not be defined any more rigorously, since no immutable essence is observable in its instances. But, on the one hand, this view faces difficulties in explaining the unity of the concept – similarities between them, for example, are insufficient to distinguish works of art from other things. And, on the other, it overlooks the attractive possibility that art is to be defined in terms of a relation between the activities of artists, the products that result and the audiences that receive them. Two types of definition have come to prominence since the 1970s: the functional and procedural. The former regards something as art only if it serves the function for which we have art, usually said to be that of providing aesthetic experience. The latter regards something as art only if it has been baptized as such through an agent’s application of the appropriate procedures. In the version where the agent takes their authority from their location within an informal institution, the ‘artworld’, proceduralism is known as the institutional theory. These definitional strategies are opposed in practice, if not in theory, because the relevant procedures are sometimes used apart from, or to oppose, the alleged function of art; obviously these theories disagree then about whether the outcome is art. To take account of art’s historically changing character a definition might take a recursive form, holding that something is art if it stands in an appropriate relation to previous art works: it is the location of an item within accepted art-making traditions that makes it a work of art. Theories developed in the 1980s have often taken this form. They variously see the crucial relation between the piece and the corpus of accepted works as, for example, a matter of the manner in which it is intended to be regarded, or of a shared style, or of its being forged by a particular kind of narrative.

Art, definition of

2018 ◽  
Author(s):  
Stephen Davies
Keyword(s):  
Institutional Theory ◽  
Aesthetic Experience ◽  
The Other ◽  
Art Making ◽  
Work Of Art ◽  
Informal Institution ◽  
Works Of Art ◽  
Art Works ◽  
The One ◽  
Definition Of

Many of the earliest definitions of art were probably intended to emphasize salient or important features for an audience already familiar with the concept, rather than to analyse the essence possessed by all art works and only by them. Indeed, it has been argued that art could not be defined any more rigorously, since no immutable essence is observable in its instances. But, on the one hand, this view faces difficulties in explaining the unity of the concept – similarities between them, for example, are insufficient to distinguish works of art from other things. And, on the other, it overlooks the attractive possibility that art is to be defined in terms of a relation between the activities of artists, the products that result and the audiences that receive them. Two types of definition have come to prominence since the 1970s: the functional and procedural. The former regards something as art only if it serves the function for which we have art, usually said to be that of providing aesthetic experience. The latter regards something as art only if it has been baptized as such through an agent’s application of the appropriate procedures. In the version where the agent takes their authority from their location within an informal institution, the ‘artworld’, proceduralism is known as the institutional theory. These definitional strategies are opposed in practice, if not in theory, because the relevant procedures are sometimes used apart from, or to oppose, the alleged function of art; obviously these theories disagree then about whether the outcome is art. To take account of art’s historically changing character a definition might take a recursive form, holding that something is art if it stands in an appropriate relation to previous art works: it is the location of an item within accepted art-making traditions that makes it a work of art. Theories developed in the 1980s have often taken this form. They variously see the crucial relation between the piece and the corpus of accepted works as, for example, a matter of the manner in which it is intended to be regarded, or of a shared style, or of its being forged by a particular kind of narrative.

scholarly journals THE ROLE OF WORKS OF ART IN THE DISCOURSE OF SOCIAL ADVERTISING

2020 ◽  
Vol 4 (10(79)) ◽  
pp. 33-40
Author(s):  
T. Anissimova
Keyword(s):  
Work Of Art ◽  
Works Of Art ◽  
Social Advertising

The article discusses ways to use well-known works of painting, sculpture, and architecture in social advertising. There are three main ways: first, a work of art can be completely reproduced on a poster, second, when transferred to a poster, the work of art can undergo a significant transformation, and third, social advertising contains only an allusion to the work of art. 

TRANSLATION OF ABBREVIATIONS OF BUSINESS DISCOURSE IN RUSSIAN: COGNITIVE APPROACH

2020 ◽  
pp. 150-158
Author(s):  
Tat'yana V. Bychkova ◽  
Keyword(s):  
Cognitive Science ◽  
Business Communication ◽  
The Other ◽  
Material Object ◽  
Cognitive Approach ◽  
Rational Use ◽  
Business Discourse ◽  
The Law ◽  
The One

The paper considers the role of cognitive science in creating the theory of abbreviation. The author attempts to justify the idea that nomination in the form of abbreviations proceeds in accordance with the laws of dialectics from the standpoint of cognitive science. Language, which is physiological in nature, is a material object, and its development is contradictory. On the one hand, all elements and levels of the language are in a state of functional unity and balance, on the other, internal contradictions are the source of transformations and changes . In the presence of this interaction, the impetus for the development of the language is laid. .In linguistics, the dialectic of development is explained by the existence of antinomies. Using several abbreviations as examples from the sublanguage of business communication, the author considers the antinomy of the “speaker and listener” (or between the sender and the recipient). When abbreviations occur, this antinomy is resolved in favor of the sender due to the law of speech economy. because the law of saving efforts applies. which is manifested in the rational use of speech tools in the process of communication. As for the Addressee, it is in their interest to get information in an easy to understand way, so most abbreviations, except for those assimilated in Russian, are given in brackets after the motivating word or phrase.

Imaging the Cosmos: Astronomical Ekphraseis in Euripides

Ramus ◽  
2002 ◽  
Vol 31 (1-2) ◽  
pp. 19-32
Author(s):  
Robert Hannah
Keyword(s):  
Physical World ◽  
The Other ◽  
Work Of Art ◽  
Works Of Art ◽  
Physical Observable ◽  
Symbolic Value ◽  
The Senses

Ekphraseis of works of art exist at several levels. There is the physical, observable reality of an object or objects, or the potential for such. That (potential) reality may then be depicted within a work of art. A literary artist imaginatively (re-)presents that depiction, in the ekphrasis itself, and may further imbue the resultant description with a symbolic value for the story in which it is set. Not all of these layers need exist, nor need the correspondence between them be precise or even real. An ekphrasis, for example, may describe a completely fictitious object, which itself, however, reflects a possible actuality in the physical world of the senses. Or the question of symbolic value may appear irrelevant, if the purpose of the ekphrasis is instead to provide relief from the temporal drive of the narrative.This paper seeks to elucidate the two surviving ekphraseis with astronomical content from Euripides, one from his Elektra describing a shield of Akhilleus, and the other from his Ion describing a ceiling tapestry. I take the view that if we can discern and then understand a potential reality described in an ekphrasis, then it is worth asking whether this reality helps us to understand better the literary image and hence its possible symbolism too. The need to answer such a question is the greater with regard to texts involving astronomical material, as this tends to lie outside modern readers' experience or knowledge, but lay well within the day-to-day experience of people in antiquity.

THE ROLE OF IRONY IN UZBEK LITERATURE

2021 ◽  
Vol 5 (3) ◽  
pp. 50-59
Author(s):  
Ugiloy Mavlonova ◽  
Keyword(s):  
Literary Criticism ◽  
Research Methods ◽  
World Literature ◽  
Work Of Art ◽  
Scientific Investigations ◽  
Works Of Art ◽  
The World ◽  
The Individual

Introduction. In world literature, a number of scientific investigations are being conducted on the classification of irony, its artistic manifestations, parody, paradox, grotesque and image. The role of irony and image in the structure of the work of art in the world literary science, in which the coverage and identification of the individual skills of the writer remains one of the urgent tasks. In modern Uzbek literature, there is an approach based on various research methods of world literature in the analysis of works of art, the coverage of the poetic skills of the author. Research methods. At the same time, as poetry and prose of the 1970s and 1980s emerged from ideological stereotypes, literary criticism seemed to lag behind.

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