scholarly journals Świat sztuki i czas ewolucyjny — dlaczego estetyka współczesna boi się unaukowienia

2021 ◽  
Vol 16 (2) ◽  
pp. 107-117
Author(s):  
Jerzy Luty
Keyword(s):  
Evolutionary Adaptation ◽  
Art World ◽  
Art Theory ◽  
Evolutionary Mechanisms ◽  
Avant Garde ◽  
Know How ◽  
Scientific Approach ◽  
Evolutionary Aesthetics

The criticisms I address in this article provoke questions about the very nature of aesthetic discourse and its relation to scientific approach in art theory. In the article, I try to respond to the author who criticizes me (and evolutionary aesthetics) for disliking avant-garde art and, worse, contemporary aesthetics. I also try to explain that I am not a biological determinist, that I do not consider art an evolutionary adaptation, that I do not practice reductionism, and that I know how evolutionary mechanisms work. I also describe the reasons why the contemporary aesthetics, which the critic represents, is afraid of being scientific, and what this has to do with the need for prestige and belonging to the art world.

Cinema Expanded

2020 ◽  
Author(s):  
Jonathan Walley
Keyword(s):  
New Media ◽  
Film History ◽  
Video Art ◽  
Experimental Film ◽  
Art World ◽  
Film Culture ◽  
Moving Image ◽  
Avant Garde ◽  
Expanded Cinema ◽  
History Of

Cinema Expanded: Avant-Garde Film in the Age of Intermedia is a comprehensive historical survey of expanded cinema from the mid-1960s to the present. It offers an historical and theoretical revision of the concept of expanded cinema, placing it in the context of avant-garde/experimental film history rather than the history of new media, intermedia, or multimedia. The book argues that while expanded cinema has taken an incredible variety of forms (including moving image installation, multi-screen films, live cinematic performance, light shows, shadow plays, computer-generated images, video art, sculptural objects, and texts), it is nonetheless best understood as an ongoing meditation by filmmakers on the nature of cinema, specifically, and on its relationship to the other arts. Cinema Expanded also extends its historical and theoretical scope to avant-garde film culture more generally, placing expanded cinema in that context while also considering what it has to tell us about the moving image in the art world and new media environment.

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.

The Transformation of the Avant-Garde: The New York Art World, 1940-1985

1988 ◽  
Vol 17 (2) ◽  
pp. 221
Author(s):  
Rosanne Martorella ◽  
Diana Crane
Keyword(s):  
New York ◽  
Art World ◽  
Avant Garde

Politics in the Art of War: The American War Cemeteries

2018 ◽  
Vol 38 (2) ◽  
pp. 223-254
Author(s):  
Kate Clarke Lemay
Keyword(s):  
Soft Power ◽  
American Art ◽  
The United States ◽  
Political Strategy ◽  
Art World ◽  
Art Making ◽  
Avant Garde ◽  
Art Of War ◽  
International Diplomacy ◽  
Internal Struggle

The overseas American war cemeteries, in their aim to achieve “soft power” or cultural diplomacy during the mid-century, created high-value commissions in the American art world. The sought-after commissions resulted in an internal struggle between artists practicing traditional figural Classicism and the avant-garde who had adopted expressionism and abstraction. Additionally, a surging political stream of anti-Communism made artists vulnerable, because modern art seemed to underscore Communism’s abandonment of religion. By adopting demagoguery as political strategy, McCarthyists escalated the perception of Communism as present in the United States by targeting American culture, including artists of the American war cemeteries. Describing the struggles surrounding the creation of the cemeteries, this essay takes into account the artists’ biographies, statements, and actions, arguing that their art-making was not only critical in creating international diplomacy, but also in sustaining American freedom, particularly within an era of American political suspicion.

On Aggregators

October ◽  
2013 ◽  
Vol 146 ◽  
pp. 3-18 ◽  
Author(s):  
David Joselit
Keyword(s):  
Uneven Development ◽  
Literal Meaning ◽  
Art World ◽  
Forward Movement ◽  
Avant Garde ◽  
Economic Disparity ◽  
Garment Factories ◽  
Global Art

The term contemporary has shifted from an adjective to a noun. Once a neutral descriptor meant to indicate recentness, the contemporary is now widely claimed as a period, composed of loosely related aesthetic tendencies, following and displacing modernism. In this regard, it enters a tradition of now discredited movements that includes “pluralism” and “postmodernism.” Unlike these predecessors, however, which took Euro-Amer ican art as their pr imary archive, contemporary encompasses the temporally coeval but geographically diverse expressions of a global art world—a point critics often emphasize by noting that the literal meaning of con-temporary is “with time,” which in turn is sometimes poetically glossed as referring to “comrades in time.” A framework for global art is thus furnished through the undeniable and ostensibly value-free contention that work so designated occupies the same moment in time. There is, however, a paradox in rendering the adjective contemporary as a noun: When packaged as a period, the contemporary unconsciously reinscribes a model of temporal progression that was fundamental to modernism. While discussions of the contemporary typically emphasize its synchronic dimension—calling upon, as I've mentioned, the con to suggest simultaneity across different locations and perspectives—by definition it is always advancing. Like an avant-garde, the contemporary can only go forward, but unlike an avant-garde, the contemporary doesn't have an avant: Its forward movement does not carry the productive shock of being in advance or, perhaps more appropriate, of being out of sync with its time. In its discursive structure, the contemporary is a kind of blank or denatured modernism, one that is only ever “with” its moment. And this seemingly innocuous “with” masks the dramatically uneven development of globalization. For being together in time does nothing to redress economic disparity, as the victims of collapsed Bangladeshi garment factories producing inexpensive clothes for Western corporations can attest.

Avant-Garde Anachronisms: Prague's Group of Fine Artists and Viennese Art Theory

Slavic Review ◽  
2012 ◽  
Vol 71 (3) ◽  
pp. 516-545 ◽  
Author(s):  
Naomi Hume
Keyword(s):  
Art Theory ◽  
Avant Garde ◽  
The Past ◽  
Prior Art ◽  
Art Objects ◽  
National Tradition

The Czech Group of Fine Artists published their journal, Umělecký měsíčník (Art Monthly, 1911-1914) to justify their abstraction and their interest in French cubism in response to criticism that denigrated their work as incomprehensible and foreign. In this article, Naomi Hume argues that the Group's strategy was fundamentally at odds with how avantgardes have been understood to operate in scholarship on modernism. Rather than asserting a break with the past, the Group applied new Viennese art historical approaches—particularly those of Alois Riegl, Max Dvořák, and Vincenc Kramář—to draw parallels between their work and prior art objects that departed from mimesis. They equated their radical style with what Riegl called anachronisms in art's development, moments when an independent will to form emerges from the mainstream. By bringing French cubist ideas into dialogue with the inherent spirituality of their own national tradition, the Group saw themselves as reinvigorating Czech art.

The branding of contemporary Chinese art and its politics

2014 ◽  
Vol 4 (1/2) ◽  
pp. 25-44 ◽  
Author(s):  
Chloe Preece
Keyword(s):  
Visual Arts ◽  
Marketing Research ◽  
Art Market ◽  
Chinese Art ◽  
Art World ◽  
Content Type ◽  
Avant Garde ◽  
Political Ideas ◽  
Ethnographic Data ◽  
Contemporary Chinese

Purpose – The purpose of this paper is to examine the branding of the Cynical Realist and Political Pop contemporary art movements in China. The trajectory this brand has taken over the past 25 years reveals some of the power discourses that operate within the international visual arts market and how these are constructed, distributed and consumed. Design/methodology/approach – A review of avant-garde art in China and its dissemination is undertaken through analysis of historical data and ethnographic data collected in Beijing, Shanghai and Hong Kong. Findings – The analysis exposes the ideological framework within which the art market operates and how this affects the art that is produced within it. In the case of Cynical Realism and Political Pop, the art was framed and packaged by the art world to reflect Western liberal political thinking in terms of personal expression thereby implicitly justifying Western democratic, capitalist values. Research limitations/implications – As an exploratory study, findings contribute to macro-marketing research by demonstrating how certain sociopolitical ideas develop and become naturalised through branding discourses in a market system. Practical implications – A socio-cultural branding approach to the art market provides a macro-perspective in terms of the limitations and barriers for artists in taking their work to market. Originality/value – While there have been various studies of branding in the art market, this study reveals the power discourses at work in the contemporary visual arts market in terms of the work that is promoted as “hot” by the art world. Branding here is shown to reflect politics by circulating and promoting certain sociocultural and political ideas.

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.

scholarly journals PELAKSANAAN KURIKULUM 2013 DI SMP NEGERI 4 BANJARMASIN

Jurnal Socius ◽  
2018 ◽  
Vol 7 (2) ◽  
Author(s):  
Akhmad Riyadi
Keyword(s):  
High School ◽  
Junior High School ◽  
Junior High ◽  
Science Study ◽  
Data Presentation ◽  
Know How ◽  
Social Science Study ◽  
Scientific Approach ◽  
Qualitative Descriptive ◽  
Training Activities

AbstractCurriculum changes KTSP 2006 to Curriculum 2013 raises new problems for the community, for schools and for teachers due to lack of socialization and readiness in the field, therefore this study aims to find out about the Implementation of Curriculum 2013 at State Junior High School 4 Banjarmasin, more specifically want to know how readiness schools in the socialization of the Curriculum 2013, the readiness of infrastructure facilities supporting the implementation of Curriculum 2013, and the readiness of teachers in implementing Curriculum 2013. Research methods that researcher used is Qualitative-Descriptive with Data collection through interviews, observation, and documentation, then analyzed data include three procedures: (1) reduction, (2) data presentation; (3) drawing conclusions and verification. The result of the research shows that: (1) The school has prepared the planning and organizing socialization of the implementation of Curriculum 2013 at State Junior High School 4 Banjarmasin through training activities of In House Training (IHT) and Subject Teacher Consultant; (2) The school has also prepared infrastructure supporting the implementation of Curriculum 2013, such as package books, learning media, computer, internet, LCD, etc .; (3) The teacher has implemented the 2013 Curriculum Learning with the Scientific Approach which is described in the observation result of Social Science study in class VII well. The conclusion of at State Junior High School 4 Banjarmasin study has been ready to implement the Curriculum 2013 with the fulfillment of the three indicators of the research results.Keywords: Implementation, Curriculum 2013, and Junior High School AbstrakPerubahan kurikulum KTSP 2006 menjadi Kurikulum 2013 memunculkan masalah baru baik bagi masyarakat, bagi sekolah maupun bagi guru karena kurangnya sosialisasi dan kesiapan di lapangan, karena itu penelitian ini bertujuan mencari tahu tentang Pelaksanaan Kurikulum 2013 di SMP Negeri 4 Banjarmasin, lebih rinci lagi ingin mengetahui bagaimana kesiapan sekolah dalam sosialisasi Kurikulum 2013, kesiapan sarana prasarana penunjang pelaksanaan Kurikulum 2013, dan kesiapan guru dalam melaksanakan Kurikulum 2013. Metode penelitian yang peneliti gunakan adalah Kualitatif-Deskriptif dengan Pengumpulan data melalui wawancara, observasi, dan dokumentasi, selanjutnya data dianalisis meliputi tiga prosedur yaitu: (1) reduksi, (2) penyajian data; (3) penarikan kesimpulan dan verifikasi. Hasil penelitian yang diperoleh menunjukkan bahwa: (1) Sekolah sudah mempersiapkan perencanaan dan pengorganisasian sosialisasi pelaksanaan Kurikulum 2013 di SMP Negeri 4 Banjarmasin melalui kegiatan pelatihan Workshop/In House Training (IHT) dan Musyawarah Guru Mata Pelajaran (MGMP); (2) Sekolah juga sudah mempersiapkan sarana prasarana penunjang pelaksanaan Kurikulum 2013, seperti buku paket, media pembelajaran, komputer, internet, LCD, dll; (3) Guru sudah melaksanakan Pembelajaran Kurikulum 2013 dengan Pendekatan Saintifik yang terdeskripsikan dalam hasil observasi pembelajaran IPS di kelas VII dengan baik. Kesimpulan penelitian SMP Negeri 4 Banjarmasin telah siap melaksanakan Kurikulum 2013 dengan terpenuhinya ketiga indikator hasil penelitian tersebut.Kata Kunci : Pelaksanaan, Kurikulum 2013, SMP Negeri

scholarly journals Disclosing a Transfer: Art and Religion in the Notebooks of Dominique de Menil

2020 ◽  
Vol 8 (2) ◽  
pp. 188-222
Author(s):  
Samuel O’Connor Perks ◽  
Rajesh Heynickx ◽  
Stéphane Symons
Keyword(s):  
Intellectual Development ◽  
Art World ◽  
Avant Garde ◽  
Figures Of Speech ◽  
High Profile ◽  
The Third ◽  
Works Of Art ◽  
Art Scene ◽  
Intellectual Context

Abstract The art collector and educator, Dominique de Menil (1908–1997) has mostly been remembered as a pragmatic orchestrator of high-profile commissions in the art world. However, little attention has been paid to her role as a thinker. This article seeks to address that lacuna in the literature by attending to an overlooked source in the Menil archives, de Menil’s notebooks, which were written between 1974 and 1994. By analysing de Menil’s use of metaphor in the notebooks, we place them within the trajectory of de Menil’s intellectual development stemming back to her 1936 article: ‘Pour l’unité du monde chrétien’. The first part situates the metaphors which de Menil employed in the notebooks from the 1970s in the intellectual context of her inception of these figures of speech in Montmartre, Paris in 1936. The second part unpacks a central metaphor which grounds de Menil’s conception of tradition. The third part compares de Menil’s art historiography vis-à-vis other models which sought to reinvigorate the avant-garde art scene via pre-modern sources. The Coda critically assesses de Menil’s art historiography against other prevalent views on the relation between pre-modern and modern works of art.

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