scholarly journals „Relacijska forma” kao umjetnički jezik: pristupi i prijepori

Ars Adriatica ◽  
2018 ◽  
Vol 8 (1) ◽  
pp. 211-226
Author(s):  
Katarina Rukavina
Keyword(s):  
Contemporary Art ◽  
Ontological Status ◽  
Relational Practices ◽  
Art Forms ◽  
Extended Field ◽  
Relational Form ◽  
Insight Into

The paper aims at mapping and theoretically conceptualizing the controversies around the “relational form.” It does not, however, seek to conciliate the different positions or take “sides” in the debate; instead, it is based on concept-based methodology as an instrument offering a better insight into the researched object. Even though the form of contemporary art, be it as a process or as a procedure, is “broken” according to the traditional idea, the aim of this work is to examine the opposite. In the first part, the notion of “relational form” and the discourses related to its articulation are analyzed. The second part focuses on the techniques and procedures or strategies of the conceptual avant-gardes during the 1990s and 2000s. Eventually, the conclusion considers the efforts, debates, and possibilities of art in the extended field of relational practices. The aim of this research is to define more precisely the ontological status of contemporary art forms.

scholarly journals Contemporary Art in Applied Dimensions: A Reflective Review of Art as Therapeutic Process

2021 ◽  
Vol 13 (4) ◽  
Author(s):  
Oscar López ◽  
Keyword(s):  
Contemporary Art ◽  
Therapeutic Process ◽  
Abstract Art ◽  
Therapeutic Effects ◽  
Self Reflection ◽  
Phenomenological Experience ◽  
Art Forms ◽  
Exclusive Or ◽  
Therapeutic Art ◽  
Insight Into

A common perception about contemporary art is the perception that it excludes a majority of people as being its legitimate viewers or judges, by virtue of the fact that it contains exclusive or encrypted messages. A small, privileged group of experts grant value, acceptance and endow public popularity of such works for the market and media. In this research we seek to provide an insight into a cluster of contemporary abstract art forms and show how such art forms anticipate closer and more common sensory and hermeneutic experience. Art like that of Hamish Fulton is built on experiences that enables us to connect with them, thereby redefining the concepts and ideas of these arts through an alternative phenomenological experience of their methods and processes of making art. Fulton’s art is based on a visual translation of his experiences of healing walks through mountainous terrain. We may build a personal, general methodology of interpretation by building personal synergistic links with the methods of creation – that could in turn generate therapeutic effects both in the viewer or in the interpreter of such art, through self-reflection and re-construction of the concepts proposed in the framing. Likewise, we will reflect briefly on art therapeutic projects that we studied for patients with ADHD. We analyze the expressions and suggest a method of therapeutic art creation based on similar processes as in Fulton.

Transformative Encounters and Uncanny Intimacies: Biotechnology and Contemporary Art – A Practitioner's Approach and Perspective

Somatechnics ◽  
2012 ◽  
Vol 2 (2) ◽  
pp. 263-283 ◽  
Author(s):  
Svenja J. Kratz
Keyword(s):  
Tissue Culture ◽  
Human Skin ◽  
Contemporary Art ◽  
Skin Equivalent ◽  
Biomedical Innovation ◽  
Equivalent Models ◽  
Science Projects ◽  
Insight Into ◽  
Human Skin Equivalent

Abstract: Presented from an ArtScience practitioner's perspective, this paper provides an overview of Svenja Kratz's experience working as an artist within the area of cell and tissue culture at QUT's Institute of Health and Biomedical Innovation (IHBI). Using The Absence of Alice, a multi-medium exhibition based on the experience of culturing cells, as a case study, the paper gives insight into the artist's approach to working across art and science and how ideas, processes, and languages from each discipline can intermesh and extend the possibilities of each system. The paper also provides an overview of her most recent artwork, The Human Skin Equivalent/Experience Project, which involves the creation of personal jewellery items incorporating human skin equivalent models grown from the artist's skin and participant cells. Referencing this project, and other contemporary bioart works, the value of ArtScience is discussed, focusing in particular on the way in which cross-art-science projects enable an alternative voice to enter into scientific dialogues and have the potential to yield outcomes valuable to both disciplines.

scholarly journals Being-with: Access to Relation, Participation, and Togetherness in Contemporary Art

2017 ◽  
Vol 6 (1) ◽  
Author(s):  
Tony Valberg
Keyword(s):  
Contemporary Art ◽  
Social Space ◽  
Small Town ◽  
Art Practice ◽  
Research Project ◽  
Relational Practices ◽  
The Arts ◽  
The Social ◽  
Specific Setting

Being-with is an artistically based research project aimed at applying and studying participatory and relational practices within the arts as well as addressing the esthetical and ethical questions that such practices generate. The participants in Being-with – researchers and artists as well as children, parents, grandparents, siblings and other residents in the small town of Høvåg in Norway – gathered weekly for half a year to experience how aesthetic production may interact with social space and vice versa. The article reflects on what consequences such interaction may have for the conception of art, and its arenas and agendas … when we consider art not only as a reflection of our lives, but also as an agent shaping our lives and changing the social surroundings we are part of. The article relates discourses of aesthetics penned by continental philosophers over the last 50 years to a specific setting in a Nordic contemporary art practice.

scholarly journals Haka and Hula Representations in Tourism

2021 ◽  
Author(s):  
◽  
Acushla Deanne O'Carroll
Keyword(s):  
Cultural Values ◽  
Tourism Industry ◽  
Cultural Representations ◽  
The World ◽  
Art Forms ◽  
Insight Into ◽  
The Way

<p>Haka and hula performances tell stories that represent histories, traditions, protocols and customs of the Maori and Hawai'ian people and give insight into their lives and the way that they see the world. The way that haka and hula performances are represented is being tested, as the dynamics of the tourism industry impact upon and influence the art forms. If allowed, these impacts and influences can affect the performances and thus manipulate or change the way that haka and hula are represented. Through an understanding of the impacts and influences of tourism on haka and hula performances, as well as an exploration of the cultures' values, cultural representations effective existence within the tourism industry can be investigated. This thesis will incorporate the perspectives of haka and hula practitioners and discuss the impacts and influences on haka and hula performances in tourism. The research will also explore and discuss the ways in which cultural values and representations can effectively co-exist within tourism.</p>

Reflecții asupra conceptului de artă obiectivă în contextul artei contemporane

2020 ◽  
Vol 65 (1) ◽  
pp. 175-184
Author(s):  
Carmen Belean
Keyword(s):  
Contemporary Art ◽  
Arbitrary Element ◽  
Human Life ◽  
The Other ◽  
Future Generations ◽  
Literary Sources ◽  
Art Forms ◽  
Ancient Times ◽  
The Universe

"Reflections on the concept of objective art in the context of contemporary art. Objective art communicates about the human being and his/her place in the universe, about the cosmic laws and the role they play in human life and provide clues as to how man can relate to them. From literary sources attesting to the idea that art in its origin had the role of transmitting knowledge to future generations, we deduce that in ancient times all art forms could be read like a book, and those who knew how to read, fully understood the meaning of the knowledge that was incorporated in these art forms. Nevertheless, there are two forms of art, one very different from the other: objective art and subjective art. Everything that we call art today is subjective art. Objective art is the authentic work resulted from the deliberate, premeditated efforts of a conscious artist. In the act of his creation, the artist avoids or eliminates any subjective or arbitrary element and the impression that such a work evokes in others is always defined. Keywords: objective art, the art of antiquity, contemporary art "

scholarly journals What is neurophilosophy: Do we need a non-reductive form?

Synthese ◽  
2020 ◽  
Author(s):  
Philipp Klar
Keyword(s):  
Scientific Discipline ◽  
Ontological Status ◽  
Insight Into

Abstract Neurophilosophy is a controversial scientific discipline lacking a broadly accepted definition and especially a well-elaborated methodology. Views about what neurophilosophy entails and how it can combine neuroscience with philosophy, as in their branches (e.g. metaphysics, epistemology, ethics) and methodologies, diverge widely. This article, first of all, presents a brief insight into the naturalization of philosophy regarding neurophilosophy and three resulting distinguishable forms of how neuroscience and philosophy may or may not be connected in part 1, namely reductive neurophilosophy, the parallelism between neuroscience and philosophy which keeps both disciplines rather strictly separated and lastly, non-reductive neurophilosophy which aims for a bidirectional connection of both disciplines. Part 2 presents a paradigmatic example of how these three forms of neuroscience and philosophy approach the problem of self, mainly concerning its ontological status (existence and reality). This allows me to compare all three neurophilosophical approaches with each other and to highlight the benefits of a non-reductive form of neurophilosophy. I conclude that especially non-reductive neurophilosophy can give full justice to the complementary position of neurophilosophy right at the intersection between neuroscience, philosophy, and psychology.

Narrative in Form: A topological study of meaning in transmedial narratives

2016 ◽  
Vol 21 (3) ◽  
pp. 260-272 ◽  
Author(s):  
Marinos Giannoukakis
Keyword(s):  
Theoretical Models ◽  
The Other ◽  
Structure And Dynamics ◽  
Morphology And Structure ◽  
Art Forms ◽  
Multimedia Art ◽  
The One ◽  
Insight Into

This article is an attempt to demonstrate the relation between appreciation of morphology and structure in form on the one hand, with higher symbolic structures – crucial for meaning formation routines – on the other, and to evaluate their significance in transmedial narratives, primarily in the case of media-based artworks. The use of catastrophe theoretical models to classify forms, their structure and dynamics is proposed, and the question of how these models can give us insight into the meaning that is carried through transmedial narratives (referential or abstract) is examined. Finally, the value of these insights for the composition and practice-based analysis of multimedia art forms is demonstrated.

Consuming the Asian Other in Singapore: Interculturalism in TheatreWorks' Desdemona

2003 ◽  
Vol 28 (1) ◽  
pp. 79-95 ◽  
Author(s):  
William Peterson
Keyword(s):  
Contemporary Art ◽  
Large Scale ◽  
Audience Response ◽  
Current State ◽  
Wide Range ◽  
Art Forms ◽  
The Creation ◽  
Point Of Departure

The Singaporean company TheatreWorks, under the artistic direction of Ong Keng Sen, has been responsible for the creation of a number of large-scale Asian intercultural works that have toured to international festivals from Adelaide to Hamburg. Among the best known of these are Lear and Desdemona, both of which use Shakespeare as a point of departure for new performance pieces that bring together practitioners representing a wide range of traditional and contemporary art forms. Unlike other intercultural experiments, in Lear and Desdemona practitioners stay largely within the frame of their own performance and linguistic traditions, creating a work which, especially in the case of Desdemona, is far from seamless. Using the 2000 production of Desdemona as an object of inquiry, this model of Asian intercultural production is examined against the backdrop of the politics of one's location, the troubled audience response to the work in Singapore and Adelaide, and the current state of intercultural theory.

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