scholarly journals An aesthetic of the unknown

2015 ◽  
Vol 7 (1) ◽  
pp. 19-32
Author(s):  
Michael Evans
Keyword(s):  
Contemporary Art ◽  
Art Criticism ◽  
Theoretical Framework ◽  
Art Theory ◽  
Abstract Painting ◽  
The Unconscious ◽  
Conscious Mind ◽  
Starting Point ◽  
Numinous Experience

This paper begins to establish an ‘aesthetic of the unknown’ by drawing together theorists and approaches from mainstream art criticism to provide a starting-point for an aesthetic sympathetic with Jungian perspectives, in an attempt to bridge a gap between contemporary abstract painting, contemporary art theory, and Jungian studies. This is a framework for approaching abstract painting not as an object awaiting interpretation or ‘reading’, but rather as something that offers a numinous experience (or experience of the unknown), which can be thought about but may remain ultimately unknowable and irreducible. Such experience – involving both the unconscious and conscious mind – would provide glimpses of forms of meaning not accessible to full rational exposition. This type of unconsciously understood meaning is explored, acknowledging that there is a need to preserve this encounter with the unknown and a need for a contemporary critical, theoretical framework that recognises the importance of this within abstract painting.

scholarly journals THE IDENTITY AS AN ART PHENOMENON

2021 ◽  
Vol 5 (43) ◽  
Author(s):  
A. Zinenko
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
Art Criticism ◽  
Organizational Design ◽  
Cross Cultural ◽  
Research Subject ◽  
Art Theory ◽  
Teaching Activities ◽  
Hermeneutic Phenomenological ◽  
The Past

The research subject is the study of the Phenomenon of identity and its reflection in contemporary Ukrainian art. The purpose of the work is to investigate the specifics of the Phenomenon's reflection of identity in contemporary Ukrainian art. The work methodology is based on chronological and scientific comprehensiveness, art history, historical, philosophical, and culturological approaches, ontological, axiological, hermeneutic, phenomenological, cross-cultural, and method of art analysis. The work results allow us to understand the evolution of researchers' views in various fields on the Phenomenon of identity and its application in contemporary art approaches. The results' scope is today's artistic practices, history, art theory, and art criticism, teaching activities for students and graduate students of creative specialties. Findings. The Phenomenon of identity in contemporary art means that problem of its reflection in the art exists and begins to be understandable. Some conclusions about the correctness of the direction of practices and patterns to a new search identity approach can be made considering foreign experience. Simultaneously, a society that interacts with contemporary art in the latest cultural projects and what principles of such participation should be taken into account in organizational, design, exhibition, and interpretive activities. The proof that modern contemporary art in its various manifestations is deeply rooted in the socio-cultural process, and therefore has different forms of identity, is closely connected with the past and present of Ukraine. Appeal to the past in art - preserving memory, rethinks symbols and signs, gives new life to archaic images and techniques; art is turned to the present, reflecting on reality. Presenting society's moods and problems accumulate the achievements of Ukraine as an independent country.Keywords: contemporary art, identity, Ukraine, the beginning of XXI century. 

scholarly journals La educación artística como configuración de lo contemporáneo en el arte

2018 ◽  
pp. 149
Author(s):  
Daniel Montero
Keyword(s):  
Contemporary Art ◽  
Art Criticism ◽  
Art World ◽  
Art Theory ◽  
Palabras Clave ◽  
Or Practice ◽  
Art Research ◽  
Global Art ◽  
Art Schools ◽  
Arte Contemporáneo

Resumen: El siguiente texto es una reflexión personal que parte de mi experiencia profesional como investigador en historia y crítica de arte, así como de mi labor docente en escuelas de formación artística en niveles de licenciatura y posgrado y que permite pensar en cómo es que tanto la teoría, la historia y las prácticas del arte coinciden necesariamente. Se argumenta, en general, que la noción de arte contemporáneo, más que un estilo o una moda, es un espacio de experimentación que puede ser aprovechado en las escuelas de arte como un lugar para pensar en cómo es que se percibe la realidad inmediata y cómo es que se pueden singularizar ciertas experiencias de una manera única, de forma muy diferente a cualquier otra disciplina. En ese sentido, y al contrario de lo que se podría esperar por las reglamentaciones y tradiciones que lo predeterminan, el espacio académico se convierte a su vez en un lugar en que la práctica del arte puede escapar y empezar a dialogar de otra forma con la institucionalidad del mundo del arte global y de ciertas maneras de hacer que se han convertido en códigos fácilmente comprensibles. Así, la noción de arte contemporáneo incorporada a la escuela podría incluso cuestionar las mismas bases del conocimiento artístico permitiendo cierta movilidad de los sujetos, así como de las prácticas. Palabras clave: Investigación artística, Arte contemporáneo, Arte crítico, Escuela de arte, Formación artística.   Abstract: The following text is a personal reflection from my professional experience as a researcher in arte history and art criticism, as well as from my teaching work in art schools at undergraduate and graduate levels. That allows me to think about how the art theory, art history and practice of art necessarily coincide. It is argued, in general, that the notion of contemporary art, rather than a style or a fad, is a space for experimentation that can be used in art schools as a place to think about how it is perceived the immediate reality and how it is that you can single out certain experiences in a unique way, very differently from any other discipline or practice. In that sense, and contrary to what could be expected by the regulations and traditions that predetermine it, the academic space becomes a place where the practice of art can escape the institutionality of the global art world and of certain ways of doing that have become easily understandable codes. Thus, the notion of contemporary art incorporated into the school could even question the very foundations of artistic knowledge allowing certain mobility of the subjects, as well as of the practices. Keywords: Art research, Contemporary art, Critical art, School of art, Artistic education.   http://dx.doi.org/10.7203/eari.9.11492

Contemporary Art and the Problem of Music: Towards a Musical Contemporary Art

2021 ◽  
pp. 1-26
Author(s):  
G. DOUGLAS BARRETT
Keyword(s):  
Contemporary Art ◽  
Contemporary Music ◽  
Conceptual Art ◽  
Social Process ◽  
Theoretical Concept ◽  
Sound Art ◽  
Art Theory ◽  
Avant Garde ◽  
Absolute Music ◽  
Art Form

Abstract This article elaborates the art-theoretical concept of ‘the contemporary’ along with formal differences between contemporary music and contemporary art. Contemporary art emerges from the radical transformations of the historical avant-garde and neo-avant-garde that have led to post-conceptual art – a generic art beyond specific mediums that prioritizes discursive meaning and social process – while contemporary music struggles with its status as a non-conceptual art form that inherits its concept from aesthetic modernism and absolute music. The article also considers the category of sound art and discusses some of the ways it, too, is at odds with contemporary art's generic and post-conceptual condition. I argue that, despite their respective claims to contemporaneity, neither sound art nor contemporary music is contemporary in the historical sense of the term articulated in art theory. As an alternative to these categories, I propose ‘musical contemporary art’ to describe practices that depart in consequential ways from new/contemporary music and sound art.

Power in Russia: Modus Vivendi and Artis Imago

2019 ◽  
Author(s):  
Tatyana Zlotnikova ◽  
Keyword(s):  
Art Criticism ◽  
Empirical Support ◽  
First Century ◽  
The Unconscious ◽  
Theoretical Substantiation ◽  
Early Twenty ◽  
Modus Vivendi ◽  
History Of ◽  
Creative Experience ◽  
History Of Culture

Contemporary Russian socio-cultural, cultural and philosophical, socio psychological, artistic and aesthetic practices actualize the Russian tradition of rejection, criticism, undisguised hatred and fear of power. Today, however, power has ceased to be a subject of one-dimensional denial or condemnation, becoming the subject of an interdisciplinary scientific discourse that integrates cultural studies, philosophy, social psychology, semiotics, art criticism and history (history of culture). The article provides theoretical substantiation and empirical support for the two facets of notions of power. The first facet is the unique, not only political, but also mental determinant of the problem of power in Russia, a kind of reflection of modus vivendi. The second facet is the artistic and image-based determinant of problem of power in Russia designated as artis imago. Theoretical grounds for solving these problems are found in F. Nietzsche’s perceptions of the binary “potentate-mass” opposition, G. Le Bon’s of the “leader”, K.-G. Jung’s of mechanisms of human motivation for power. The paper dwells on the “semiosis of power” in the focus of thoughts by A. F. Losev, P. A. Sorokin, R. Barthes. Based on S. Freud’s views of the unconscious and G. V. Plekhanov’s and J. Maritain’s views of the totalitarian power, we substantiate the concept of “the imperial unconscious”. The paper focuses on the importance of the freedom motif in art (D. Diderot and V. G. Belinsky as theorists, S. Y. Yursky as an art practitioner). Power as a subject of influence and object of analysis by Russian creators is studied on the material of perceptions and creative experience of A. S. Pushkin (in the context of works devoted to Russian “impostors” by numerous authors). Special attention is paid to the early twenty-first century television series on Soviet rulers (Stalin, Khrushchev, Brezhnev, Furtseva). The conclusion is made on the relevance of Pushkin’s remark about “living power” “hated by the rabble” for contemporary Russia.

scholarly journals The typology of backstory inter-character conflicts as a core action in the plot

Ars Aeterna ◽  
2019 ◽  
Vol 11 (2) ◽  
pp. 81-90
Author(s):  
Mariana Čechová
Keyword(s):  
Contemporary Art ◽  
Fairy Tales ◽  
Fairy Tale ◽  
Starting Point ◽  
Hypo Thesis ◽  
Text Model ◽  
Literary Characters

Abstract Using material from classic fairy tales, the author defines three fundamental types of conflict between literary characters in the text model of the fairy-tale world: overt, covert and potential. Their attributes are evidenced and demonstrated via specific texts and their universal (transcultural) analogues are shown in the archnarratives, which go beyond the classic fairy tale genre. At the end of the interpretation, the author proposes a (hypo)thesis that the presented typology could be a starting point for creating a backstory of conflicts as an action-formative factor also in other art genres, and that it can be used as a source for a much broader and modern (and current in contemporary art) diapason of “dramatic” storylines.

scholarly journals Slika i antislika – Julije Knifer i problem prezentacije

Ars Adriatica ◽  
2017 ◽  
Vol 7 (1) ◽  
pp. 379
Author(s):  
Blaženka Perica
Keyword(s):  
Visual Studies ◽  
Image Theory ◽  
Art Theory ◽  
Scholarly Output ◽  
Theoretical Approaches ◽  
Image Science ◽  
Theoretical Perspectives ◽  
Starting Point ◽  
Artistic Career ◽  
Insight Into

The collection of texts Image and Anti-Image – Julije Knifer and the Problem of Representation is based on multi- and transdisciplinary research conducted by Croatian and international critics and theoreticians. They have investigated the contemporary sensibility for the questions of image and pictoriality by referring to a common starting point: the oeuvre of one of the most important Croatian artists – Julije Knifer. In their analysis of Knifer’s paintings since the early 1960s, which revolve around a single motif – the “meander” – which the artist has repeated and varied throughout his artistic career, the authors have followed the changing reception of his work from the supremacy of the high modernist image concept, such as postulated in Greenberg’s formalistic theory, until today, when theoretical proposals have become essentially different. In his introduction to the project, editor Krešimir Purgar has stressed the importance of new perspectives that Knifer’s work may offer if viewed in the context of new disciplines such as visual studies and image science. The 21 articles, grouped into five thematic sections, aim at clarifying and expanding the references of Knifer’s “meander” by taking diverse informative and original approaches that have this recent image theory as their starting point. In the context of Croatian scholarly output, this publication is notable for having accomplished a rare blend between monographic material and a series of interdisciplinary, scholarly-theoretical studies based on extremely varied perspectives, resulting in a valuable comparative miscellany, a contribution both to the actualisation and new positioning of Knifer’s art and to our insight into various analytic and interpretative approaches related to the present state of art theory. Such an approach assigns a special place to the image, to pictoriality and visuality. The theoretical perspectives of image science and the heterogeneous, plural strategies of research developed within the new image studies (image science, visual studies) assimilate and expand rather than replace the previously accepted methods, common in traditional theoretical approaches to the discipline of art history.

scholarly journals {Tener/llevar} + participio en el castellano de los Siglos de Oro y algunas notas interlingüísticas

2017 ◽  
Vol 16 (16) ◽  
pp. 87
Author(s):  
Patricia Fernández Martín
Keyword(s):  
Golden Age ◽  
Theoretical Framework ◽  
Spanish Language ◽  
Romance Languages ◽  
Personal Pronouns ◽  
Dual Nature ◽  
Starting Point ◽  
Chronicles Of The Indies ◽  
History Of

El objetivo del presente trabajo es profundizar en la historia del funcionamiento de las construcciones castellanas {tener/llevar} + participio, tomando como centro de estudio la lengua de los siglos xvi y xvii y estableciendo ciertas comparaciones, a lo largo del texto, con otras lenguas romances, en especial el asturiano. El punto de partida se encuentra en la idea de que los problemas que crean estas construccionesse deben esencialmente a la doble naturaleza del participio (adjetival y verbal), solo comprensible inserta en un continuum entre el puro adjetivo y el puro verbo. Para ello, comenzaremos estableciendo, en el marco teórico, nuestro concepto de perífrasis verbal de participio y su aplicación a las construcciones que nos ocupan en el español de los Siglos de Oro. En una segunda parte, analizaremos el funcionamiento de dichas estructuras en el español clásico, empleando un corpus formado por tres génerosdiscursivos, escritos entre 1519 y 1656, que componen sendos subapartados (novelas picarescas, epístolas y crónicas de Indias). La principal conclusión es que los géneros discursivos no afectan a las construcciones de participio en la misma medida en que puede afectar a otros fenómenos gramaticales, como los pronombres personales.The aim of this work is to deepen in the history of the Spanish structures{tener/llevar} + participle, taking into account the language of the 16th and 17th centuries and offering certain comparisons with other Romance languages, specially Asturian. The starting point lies in the idea that the problems that create these constructions are essentially due to the dual nature of the participle (between a verb and an adjective), which can be only understood into a continuum, whose ends are the pure adjective and the pure verb. For that, we will start setting our concept of participial periphrases in the theoretical framework, as well as its applicationto the Spanish language spoken in the Golden Age. Then, we analyze how these structures work in that Spanish, using a corpus formed by three discourse genres (picaresque novels, letters and chronicles of the Indies), whose texts were written between 1519 and 1656. Finally, all of which allows to conclude that the discourse genres do not affect the appearance of the constructions of participle in the same extent that it may affect other grammatical phenomena, such as personal pronouns.

scholarly journals Brain as agent and conscious mind as action guide: from Libet-style experiments to necessary conditions for free will

2021 ◽  
Vol 22 (1) ◽  
pp. 78-83
Author(s):  
Jonas Gonçalves Coelho
Keyword(s):  
Free Will ◽  
Necessary Conditions ◽  
Brain Activity ◽  
The Body ◽  
General View ◽  
Conscious Mind ◽  
Sociocultural Environment ◽  
Starting Point ◽  
Conscious Intention ◽  
The Brain

Many neuroscientific experiments, based on monitoring brain activity, suggest that it is possible to predict the conscious intention/choice/decision of an agent before he himself knows that. Some neuroscientists and philosophers interpret the results of these experiments as showing that free will is an illusion, since it is the brain and not the conscious mind that intends/chooses/decides. Assuming that the methods and results of these experiments are reliable the question is if they really show that free will is an illusion. To address this problem, I argue that first it is needed to answer three questions related to the relationship between conscious mind and brain: 1. Do brain events cause conscious events? 2. Do conscious events cause brain events? 3. Who is the agent, that is, who consciously intends/chooses/ decides, the conscious mind, the brain, or both? I answer these questions by arguing that the conscious mind is a property of the brain due to which the brain has the causal capacity to interact adaptively with its body, and trough the body, with the physical and sociocultural environment. In other words, the brain is the agent and the conscious mind, in its various forms - cognitive, volitional and emotional - and contents, is its guide of action. Based on this general view I argue that the experiments aforementioned do not show that free will is an illusion, and as a starting point for examining this problem I point out, from some exemplary situations, what I believe to be some of the necessary conditions for free will.Key-words: Agent brain, conscious mind, free will, Libet-style experiments.

scholarly journals TRANSFORMASI RELIEF CANDI PRAMBANAN DALAM KARYA TUBUH RITUS TUBUH OLEH ANGGONO KUSUMO WIBOWO

2020 ◽  
Vol 19 (1) ◽  
pp. 66-76
Author(s):  
Siska Dwi Purwanti ◽  
Daryono Daryono
Keyword(s):  
Contemporary Art ◽  
Participatory Research ◽  
Research Method ◽  
Theory Of Change ◽  
Starting Point ◽  
Visual Expression ◽  
Change Transformation ◽  
Different Levels

Transformation is a process of changing form, nature, and so on into new forms without leaving the values that existed in the previous culture. The process of transformation always produces elements of novelty, both in terms of style, taste, and meaning even at different levels of change. Transformation in art does not only occur in similar arts. Ancient relics, for example, as one form of art can be a starting point to be interpreted into visual expression in contemporary art, including dance. Tubuh Ritus Tubuh is one of the dance works which is a form of transformation of the Prambanan Temple relief. This study tries to uncover the allegations of the  transformation of the Prambanan temple reliefs that can be observed on Tubuh Ritus Tubuh dance presentation. The problem of transformation is examined using the theory of change expressed by Lorens Bagus. The participatory research method carried out by the author is able to uncover the form of transformation found in certain parts of the dance presentation. Keywords: transformation, relief, Prambanan Temple, Tubuh Ritus Tubuh.

The Black Scuare – from Alle to Malevich

2019 ◽  
Vol 3 (1) ◽  
Author(s):  
Alexander Gyoshev ◽  
Keyword(s):  
Contemporary Art ◽  
Cultural Context ◽  
White Background ◽  
Abstract Painting ◽  
Central Concern ◽  
French Writer ◽  
Adequate Understanding ◽  
Iconic Image ◽  
Dark Figure

The study observes some of the most important details hidden in Kazimir Malevich’s abstract painting “Black Square on a White Background” (1915). Of central concern for the more adequate understanding of this intriguing piece of art is the tracking of its supposed relationship with the work of Alfons Alle – French writer known for his extravagant style and ideas. The differences between Alle’s painting entitled “Negroes Fighting in a Cellar at Night” and Malevich’s composition, both sharing similar themes, are analyzed in their specific historical and cultural context. Finally, there is a hypothesis about “Black Square on a White Background” as a work marked with a psychological projection that unfolds itself through the dark figure of the square, as an iconic image that still has an impact on the contemporary art and may serve as a key to some symbols of the present.

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