scholarly journals Twórczość jako adaptacja? Sztuka zagrożona wyginięciem…

2021 ◽  
Vol 16 (1) ◽  
pp. 39-48
Author(s):  
Agnieszka Bandura
Keyword(s):  
Contemporary Art ◽  
Evolutionary Theory ◽  
Philosophical Anthropology ◽  
Book Art ◽  
Adaptive Function ◽  
Avant Garde ◽  
Evolutionary Aesthetics

In this paper I try to defend contemporary art (avant-garde and post-modern) from the criticism of evolutionary aesthetics. Referring to selected theses put forward by Jerzy Luty in his book Art as Adaptation. Universalism in Evolutionary Aesthetics (2018), I propose an alternative to them in the form of philosophical anthropology (Gehlen) and evolutionary theory considered as bricolage (Jacob). Above all, I challenge the hypotheses of the evolutionarily and biologically adaptive function of art and the condition of pleasure it must necessarily provide.

scholarly journals Sztuka zwierząt i „paradygmat siatkówkowy” — czym nie jest estetyka ewolucyjna

2021 ◽  
Vol 16 (2) ◽  
pp. 89-105
Author(s):  
Jerzy Luty
Keyword(s):  
Explanatory Power ◽  
Evolutionary Approach ◽  
Book Art ◽  
Avant Garde ◽  
Evolutionary Aesthetics ◽  
Evolutionary Science

In the article I defend some of the thesis presented in my book ‘Art as Adaptation: Universalism in Evolutionary Aesthetics’ (Sztuka jako adaptacja: uniwersalizm w estetyce ewolucyjnej) (2018) against the claims of my critics. I focus especialy on some misreadings regarding the explanatory power of evolutionary science. I try to show that even though evolutionarily informed aesthetics is not a handy tool for analyzing the intrinsically diverse currents of modern and neo-avant-garde art, it does an excellent job of explaining the mental tendencies and typical behaviors behind these practices. I also focus on the artistic abilities of animals and the problematic dominance of the visuality paradigm in the evolutionary approach, topics that are unjustifiably considered to be most momentous in evolutionary aesthetics.

Evo-Devo and the Structure(s) of Evolutionary Theory

2017 ◽  
Author(s):  
Alan C. Love
Keyword(s):  
Developmental Biology ◽  
Evolutionary Theory ◽  
Mechanistic Explanation ◽  
Evolutionary Developmental Biology ◽  
Primary Concern ◽  
Adaptive Function ◽  
Specific Content ◽  
Central Location ◽  
Developmental Form ◽  
Evo Devo

Many researchers have argued that evolutionary developmental biology (evo-devo) constitutes a challenge to standard evolutionary theory, requiring the explicit inclusion of developmental processes that generate variation and attention to organismal form (rather than adaptive function). An analysis of these developmental-form challenges indicates that the primary concern is not the inclusion of specific content but the epistemic organization or structure of evolutionary theory. Proponents of developmental-form challenges favor moving their considerations to a more central location in evolutionary theorizing, in part because of a commitment to the value of mechanistic explanation. This chapter argues there are multiple legitimate structures for evolutionary theory, instead of a single, overarching or canonical organization, and different theory presentations can be understood as idealizations that serve different investigative and explanatory goals in evolutionary inquiry.

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.

Pop as Translation Strategy: Makishi Tsutomu's Political Pop in Okinawa

ARTMargins ◽  
2018 ◽  
Vol 7 (2) ◽  
pp. 42-71
Author(s):  
Hiroko Ikegami
Keyword(s):  
Vietnam War ◽  
Contemporary Art ◽  
Economic Benefits ◽  
Pop Art ◽  
Cocktail Party ◽  
Lingua Franca ◽  
Avant Garde ◽  
Japanese Imperialism ◽  
Translation Strategy ◽  
The Vietnam War

This essay makes the first sustained study of the Okinawan artist Makishi Tsutomu (1941–2015) who used American Pop Art vocabularies to describe the complex realities of US-occupied Okinawa. Focusing on his 1972 installation Commemorating the Reversion to the Great Empire of Japan, the essay examines the critical ambivalence of Makishi's Political Pop as a translation strategy. Despite his critique of both American and Japanese imperialism, Makishi was aware that Okinawa was inseparably entangled in it, especially in the context of the Vietnam War, which brought violence, but also economic benefits, to Okinawa. Despite his use of the American Pop idiom as a new lingua franca for contemporary art, Makishi's work did not reach either mainland or international audiences as the artist exhibited almost exclusively in Okinawa. By comparing Makishi's artistic strategies with those of a representative Okinawan novelist, Ōshiro Tatsuhiro, especially as articulated in his 1967 novella The Cocktail Party, the essay situates the significance of Makishi's project within the emerging discourse on the global neo-avant-garde.

On the “Odoresque” and “Aero-Perfumes”: Smell Related Neologisms in Avant-garde and Contemporary Art and Scholarship

2021 ◽  
Vol 9 (2021-2) ◽  
pp. 120-133
Author(s):  
Caro Verbeek
Keyword(s):  
Embodied Cognition ◽  
Contemporary Art ◽  
Doctoral Dissertation ◽  
Historical Sources ◽  
Avant Garde ◽  
Literary Sources ◽  
The Hague

For her doctoral dissertation “In Search of Lost Scents,” art and scent historian Caro Verbeek (Vrije Universiteit Amsterdam, Kunstmuseum, The Hague) collected olfactory neologisms or newly invented smell related words from (art) historical sources ranging from 1855 to 1975, which she categorised according to the themes poetry, mind, concepts, material and synaesthesia. Three never-before-published artistic illustrations by the author help establish a more embodied cognition of the meaning of some of these concepts, as including “smell images” is impossible. In addition, she has created a “synaesthetic odour wheel” based on literary sources (2021).

THE ISSUE OF CONTEMPORANEITY AS CULTURAL AND HISTORICAL TOTALITY IN THE WORKS OF BORIS GROYS

2021 ◽  
pp. 5-18
Author(s):  
Elena Y. Baboshko ◽  
◽  
Dmitriy V. Galkin ◽  
Keyword(s):  
Contemporary Art ◽  
Social Dynamics ◽  
Will To Power ◽  
Avant Garde ◽  
Historical Processes ◽  
The Social ◽  
Political Forces ◽  
Definition Of ◽  
Modernist Discourse ◽  
Selection Of

The authors refer the issue of definition of contemporaneity as cultural and historical totality basing on the research results of a well-known theorist Boris Groys. Analyzing the progress of his ideas, the authors conclude, that the philosopher’s considerable contribution to the science is composed of the next phase of the development of the thesis about the art language as the base of contemporaneity construction and of the “natural selection” of contemporary art structures. The latter is not simply reduced to the postmodern “polylogue” variant, but implies a kind of contemporaneity patterns niche and “stabilization”. The patterns naturally tend to become complementary due to simple juxtaposition/ overlay in general time context. According to the authors, this circumstance does not prevent them from being turned by different political forces into locally dominating contemporaneity patterns (as in the case of Gesamkunstwerk Stalin). Contemporary art provides simple experience, that helps to retain the illusion of single and seemingly total contemporaneity. B. Groys leads us to the thought that art provides conditions for generating a significant reflective distance in relation to different social and historical situations. The distance gives an artist the opportunity to consider the reality comprehensively, given the autonomy, through the art language. However, we believe, that the most important philosopher’s achievement is not only drawing parallels between cultural and social and historical processes, based on the concept of art strategies influencing the social dynamics. He also managed to approach one of the most significant issues in culture theory and history – the opportunity to define contemporaneity as cultural and historical totality. According to his modernity theory, the origin of contemporaneity is hidden in the avant-garde art manifestation. He interprets the utopic by its nature modernist discourse, applied in art practice, through Nietzscheian will to power as redefining the new age philosophy. This article aims to analyze the progress of the issue of contemporaneity in the works of B. Groys and to explicate the complexity of considering contemporaneity as cultural and historical totality. The authors believe that the thorough study of the phenomenon of total artwork (Gesamtkunstwerk) as a soviet Stalin project and critics’ opinion analysis helps to create arguments limiting the opportunity of considering contemporaneity as totality.

Presenting the Unpresentable: Jean-François Lyotard’s Kantian Art-Sublime

2021 ◽  
pp. 1-17
Author(s):  
Rachel Zuckert
Keyword(s):  
Contemporary Art ◽  
Artistic Practice ◽  
Avant Garde ◽  
The Sublime ◽  
The Absolute

Abstract This article reconstructs Jean-François Lyotard’s theory of the sublime in contemporary art, focusing on his claim that such art ‘presents’ the unpresentable, and tracing its origins in Kant’s account of the sublime. I propose that Lyotard identifies a difficulty concerning Kant’s account: to understand why the disparate elements in the experience of the sublime (idea of reason, sensible representation) should be synthesized to form that experience. Lyotard recasts this difficulty as a pragmatic problem for artistic practice – how to ‘testify’ to the absolute in a non-absolute, sensibly perceivable object (the artwork) – that can be understood to drive avant-garde artistic experimentation.

Heide Circle

2018 ◽  
Author(s):  
Richard Haese
Keyword(s):  
Contemporary Art ◽  
Early Phase ◽  
Institutional Support ◽  
Second Phase ◽  
Avant Garde ◽  
Art Collectors ◽  
Art And Literature ◽  
Post War ◽  
New Generation

The group of avant-garde Australian artists and their supporters, now identified as the Heide Circle, evolved over three decades, from the pioneering modernism of the early 1930s through the post-war era of the mid-1960s. These Melbourne-based artists constituted the essential core of radical Australian modernism; the early phase including, most notably, Sidney Nolan, Albert Tucker, Arthur Boyd, John Perceval, and the Russian-born émigré Danila Vassilieff. The work of these pioneering artists demonstrated a highly original antipodean response to European expressionist, cubist, and surrealist movements, together with a new fascination with untutored and naïve art. The group shared personal and institutional support from the art collectors and patrons John and Sunday Reed, whose semi-rural home called ‘‘Heide‘‘ on the outskirts of Melbourne became the focus of the movement. In 1938, the Reeds spearheaded the establishment of the Contemporary Art Society (CAS) in order to promote the modernist movement in Australian art. Along with the young poet Max Harris, the Reeds also began publishing the key cultural journal Angry Penguins, which was dedicated to championing radical art and literature. These initiatives eventually collapsed in 1947. However, the revival of the CAS in 1953 initiated a second phase of the Heide circle, together with a new generation of artists.

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