Identical!

2018 ◽  
Author(s):  
Ellen Winner
Keyword(s):  
Work Of Art ◽  
The Mind

Why we should care if a painting we find beautiful turns out to be a perfect fake is a profound question that philosophers have wrestled with. The fake is just as beautiful as it always was. Yet research confirms that we do not valorize works once we find out they are fakes. Studies show that we devalue perfect copies even when we admit they remain beautiful. This finding shows that there is more to what we value in a work of art than its pictorial properties. What we esteem is the work’s connection to history, to the hand of the master, and to what we know about the mind that made it. This conclusion is entirely consistent with philosopher Denis Dutton’s position that we judge a work by the kind of achievement we believe it represents.

scholarly journals HUMBERTO RIVAS, DESDE LO ROMÁNTICO Y LO SINIESTRO. HUMBERTO RIVAS FROM THE ROMANTIC AND THE SINISTER.

2017 ◽  
Author(s):  
José Antonio Aristizábal
Keyword(s):  
20Th Century ◽  
Work Of Art ◽  
Photographic Image ◽  
History Of Art ◽  
Initial Hypothesis ◽  
History Of ◽  
Inner World ◽  
The Mind ◽  
Siglo Xx ◽  
Eugenio Trias

Palabras clave:Fotografía, estética, Humberto Rivas, Rafael Argullol, Eugenio Trías.Keywords: Photography, esthetic, Humberto Rivas, Rafael Argullol, Eugenio Trías.Resumen:El siguiente artículo busca dar una lectura a la obra del fotógrafo Humberto Rivas, Premio Nacional de Fotografía y unos de los mayores exponentes de la fotografía española de finales del siglo XX. Se parte de la convicción de que hace falta ubicar a Humberto Rivas en una tradición de pensamiento estético, ya que las distintas lecturas que existen sobre su trabajo, aunque importantes, no han  dejado de ser lecturas impresionistas que no han reflexionado en profundidad sobre su obra. Este artículo trata de ver a Rivas a partir de unas categorías estéticas. Para ello se remite a las reflexiones de Rafael Argullol para distinguir aquello propio del artista romántico, y a las aportaciones filosóficas de Eugenio Trías acerca de lo siniestro en la obra de arte, y las vincula a la obra de Humberto Rivas. La hipótesis inicial es de que Rivas no se sentía como un fotógrafo que atrapa momentos o documenta acontecimientos, sino como un creador, y su obra es resultado de un artista que se repliega sobre sí mismo con la intención de producir una imagen reflejo de su mundo interior, la cual se puede explicar desde la mente del artista romántico, aunque el contexto no sea el romanticismo. Por último, aunque el artículo hable sobre Humberto Rivas, también es una manera de construir un relato entre la imagen fotográfica y distintos valores estéticos que hacen parte la historia del arte. Abstract:The following article seeks to give a reading to the work of photographer Humberto Rivas, National Photography Prize and one of the greatest exponents of Spanish photography at the end of the 20th century. It is based on the conviction that it is necessary to locate Humberto Rivas in a translation of aesthetic thought, since the different readings that exist on his work, although important, have not ceased to be Impressionist readings that have not reflected in depth on his work . This article tries to see Rivas from some aesthetic categories. For this he refers to the reflections of Rafael Argullol to distinguish that of the romantic artist and the philosophical contributions of Eugenio Trías about the sinister in the work of art, and links them to the work of Humberto Rivas. The initial hypothesis is that Rivas did not feel like a photographer who catches moments or documents events, but as a creator, and his work is the result of an artist who recoils on himself with the intention of producing a reflex image of Its inner world, which can be explained, from the mind of the romantic artist although the context is not romanticism. Finally, although the article talks about Humberto Rivas, it is also a way to build a narrative between the photographic image and the values ​​that have served to interpret painting or sculpture in the history of art.

scholarly journals A Trip Through the Mind Jail

2021 ◽  
Vol 14 (1) ◽  
Author(s):  
Santiago Vidales Martínez (208–29)
Keyword(s):  
Textual Criticism ◽  
Art Theory ◽  
Work Of Art ◽  
The Mind

This essay attends to the poetry of Chicanx activist raúlrsalinas (1934–2008), specifically his most transgressive and innovative works which appear in A Trip Through the Mind Jail y Otras Excursions. I approach Salinas’s poetic works as textual events following Joseph Grigely’s reflections in Textualterity: Art, Theory and Textual Criticism where he conceives of texts as works in motion that frame the work of art as polytextual and comprised of multiple iterations.

scholarly journals Penciptaan Pertunjukan Teater Banowati Sang Pelakor Sebuah Implementasi metode Penyutradaan Augusto Boal

2019 ◽  
Vol 16 (1) ◽  
Author(s):  
Wahid Nurcahyono
Keyword(s):  
Performing Arts ◽  
Social Phenomenon ◽  
Augusto Boal ◽  
Work Of Art ◽  
Social Barriers ◽  
Political Reality ◽  
The People ◽  
Mutual Awareness ◽  
The Social ◽  
The Mind

A work of art should not only be a means to entertain, but can be broader and penetrate political and social barriers. Call it Augusto Boal, a Brazilian man who grew up in Rio de Janeiro. he experimented where he suggested different actions for the characters in the show who were subjected to oppression, and the actors who played the characters then made audience suggestions. With the experiments he did, he was able to uncover the thoughts of the people to the deepest niches that were often not spoken verbally about the position of those who were oppressed by the social and political reality in their place. Through this kind of theater, it would be interesting if the writer tries to reveal a social phenomenon that has multiple interpretations about who is blamed if there is a case of infidelity. With this kind of theater, the audience as well as the actors will be aware of the background or motivation of someone in the position of the victim or those who take advantage. This time's creation was intended to explore the possibility of the function of a show in people's lives. Problems that were originally complicated and tended to be deadlocked to be solved by playing theater directly. What needs to be considered for the creators of performing arts is that art is able to provide its own offer to communicate openly and break down the dividing walls of the mind in a segmented society so as to provide mutual awareness. Keyword : Theater, Opressed, Comunication, Awareness

scholarly journals The Imperceptibility of Style in Danto's Theory of Art: Metaphor and the Artist's Knowledge

CounterText ◽  
2015 ◽  
Vol 1 (3) ◽  
pp. 366-381 ◽  
Author(s):  
Stephen Snyder
Keyword(s):  
Work Of Art ◽  
Theoretical Concepts ◽  
Alternative Approach ◽  
Aesthetic Style ◽  
Artistic Interpretation ◽  
History Of ◽  
Artistic Theory ◽  
The Aesthetic ◽  
The Mind

Arthur Danto's analytic theory of art relies on a form of artistic interpretation that requires access to the art theoretical concepts of the artworld, ‘an atmosphere of artistic theory, a knowledge of the history of art: an artworld’. Art, in what Danto refers to as post-history, has become theoretical, yet it is here contended that his explanation of the artist's creative style lacks a theoretical dimension. This article examines Danto's account of style in light of the role the artistic metaphor plays in the interpretation of the artwork, arguing that it is unable to account for the metaphorical power he claims is embedded within the work of art. An artist's style issues from a unique perspective, the way an artist inhabits a specific spot in history. Though each person has such a perspective, when applied aesthetically, it is the key to the articulation of a unique historical meaning in the work of art. At the same time, artists' knowledge of their contribution remains cut off from this perspective, for they are unaware of their self-manifestation of the historical concept of style. This article makes the case that Danto's notion of style, based on Sartre's notion of being-for-itself, cannot fulfil the role he allots it in his theory because, at some level, artists must apprehend their style to create a work of art capable of functioning critically as a countertext. It is only through the apprehension of their style, and dialogical activity that takes place between the artist and the beholders, that the unseen body of artworld theory is formed. Without this, when oriented to the aesthetic, style provides no concept or theory for the mind to behold. This article presents an alternative approach to style that recognizes the role of theory in the creation of metaphor, which would circumvent this problem.

scholarly journals Estetiche della percezione

2007 ◽  
Keyword(s):  
Work Of Art ◽  
Symbolic Form ◽  
The Third ◽  
The Arts ◽  
The World ◽  
Lively Debate ◽  
The Mind ◽  
Contemporary Artists

This book is a continuation of the lively debate launched in Dall'oggetto estetico all'oggetto artistico which the same editors published with Firenze University Press. The argument of the book is the organic link connecting the two thematic axes that define the ambit of aesthetics: the theory of perception and reflection on the arts. The apparent tautology of the title is intended to stress how the interpenetration of perception and work of art is structural and organic, thus calling up the theoretical urgency of this problem for an effective understanding of the dynamics of the sense of art as a "symbolic form" in which the relation between the mind and the world is embodied in an exemplary manner. The book is divided into three sections. The first presents nuclei of reflection emerging from unconventional contemporary perspectives. The second addresses various angles of the theory of perception. Finally, the third part explores several cases in which contemporary artists have tackled the link between expressive practice and the articulation of perception.

scholarly journals DR.YASHODHAR MATHPAL’S PORTRAIT AS A DOCUMENT

2021 ◽  
Vol 2 (2) ◽  
pp. 48-52
Author(s):  
Srishti Sah Jagati ◽  
Annpurna Shukla
Keyword(s):  
Visual Art ◽  
Negative Emotions ◽  
Work Of Art ◽  
Inner Self ◽  
The Difference ◽  
The Mind ◽  
Positive And Negative Emotions

Whenever we look at an artwork, we often don’t know about what is the difference in between, seeing and observing. We often perceive the overall effect created by that work of art, without noticing the details. Off course, the effect created by that artwork in total plays an important part in evoking both positive and negative emotions. But there are few images which speak to the mind and inner self within minutes or seconds. In Visual Art the artists have ben recording, incidents, ideas and messages. The reason why it has been labelled for documenting, illustrating and narrative qualities.

“But My Kid Could Have Done That!”

2018 ◽  
Author(s):  
Ellen Winner
Keyword(s):  
Subject Matter ◽  
Abstract Art ◽  
Work Of Art ◽  
Abstract Expressionist ◽  
Adults And Children ◽  
The Mind

Many of us have a deep mistrust of abstract art. How can we tell if it is any good when we can’t use realism, subject matter, or narrative implications as a guide? In addition, abstract art looks superficially like paintings by preschoolers. This is why people say “My kid could have done that.” This chapter examines studies with adults and children showing that the untutored eye can distinguish works by children (and certain animals) from superficially similar works by abstract expressionist painters. We make this discrimination by perceiving intentionality. A computer can also be programmed to make this discrimination—and at about the same rate of accuracy as a human! The chapter concludes that your kid could not have done that. We see more than we think we do in abstract art. When we evaluate a work of art, we are thinking about the mind that made it.

Art or Monstrosity (1960)

2017 ◽  
Author(s):  
Edmundo O’Gorman
Keyword(s):  
Work Of Art ◽  
Works Of Art ◽  
Art Pottery ◽  
The Mind ◽  
The Universe

In this essay, Edmundo O’Gorman questions the historian’s effort to make sense of “art” from another culture. Before the art historian can theorize about the meaning of art in an “exotic” or “strange” culture, she first must identify which artifacts are genuine works of art (for that culture) and which are not. It could turn out, O’Gorman suggests, that none of the artifacts typically called works of art (pottery, sculpture, painting) is in fact a work of art for that culture. Contemplating the Aztec statue of Coatlique, O’Gorman then suggests that, aside from the historical project of “getting inside the mind of the creator,” one might imagine, as a literary exercise, that rather than representing “beauty” in the Western sense, the ancient statue represents “the monstrous,” which reveals the mythical fluidity of the universe and the mythical foundation of art.

Signs of Non-Objectivity in Bulgarian Sculpture

2020 ◽  
Vol 4 (1) ◽  
Author(s):  
Ilko Nikolchev ◽  
Keyword(s):  
Real World ◽  
Creative Process ◽  
Urban Spaces ◽  
Land Art ◽  
Environmental Art ◽  
Work Of Art ◽  
Site Specific ◽  
Avant Garde ◽  
The World ◽  
The Mind

The non-objective work of art is unrelated to real-world objects. The essence of non-objective art is that the work completes in the mind of the viewer, and he creates his own interpretation. In this sense, the viewer is involved in the creative process and interacts with the work of art. The expressive means and techniques of nonobjective sculpture are at the heart of some of the most avant-garde art movements, such as minimalism, land-art, site-specific art and environmental art. Some examples of non-objective sculpture flow from symposium sculpture, which later evolves into urban spaces. The first international symposiums, where Bulgarian authors work with their foreign colleagues and get acquainted with various artistic practices, influence the Bulgarian sculpture. The non-objective sculpture has its manifestations in Bulgarian art, though later. The works of some Bulgarian authors play an important role in the changes in the Bulgarian sculpture and in the integration into the world processes.

How Homo economicus lost her mind and how we can revive her

2018 ◽  
Vol 41 ◽  
Author(s):  
Peter DeScioli
Keyword(s):  
Economic Thought ◽  
History Of Economic Thought ◽  
Homo Economicus ◽  
Economic Theories ◽  
Target Article ◽  
History Of ◽  
The Mind ◽  
And Behavior

AbstractThe target article by Boyer & Petersen (B&P) contributes a vital message: that people have folk economic theories that shape their thoughts and behavior in the marketplace. This message is all the more important because, in the history of economic thought, Homo economicus was increasingly stripped of mental capacities. Intuitive theories can help restore the mind of Homo economicus.

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