scholarly journals Revisiting Gadamer's Conception of Works of Art

Labyrinth ◽  
2021 ◽  
Vol 23 (1) ◽  
pp. 140-165
Author(s):  
Man Chun Szeto
Keyword(s):  
Video Games ◽  
East Asia ◽  
Performing Arts ◽  
Chinese Art ◽  
Work Of Art ◽  
Works Of Art ◽  
Japanese Art

In contrast to Kant's aesthetic, Gadamer proposes a fundamentally different way of understanding our experiences of art. One that is not restricted by the dichotomy between subjectivity and objectivity: A work of art is not simply an object created by an artist, but a "world" in which all the "players" participate. This conception of art is inspired by the performing arts; but how much is it relevant to other forms of art? Gadamer never explored this question fully. It is of interest, therefore, to expand the analysis of Gadamer on two fronts: first, new forms of art such as installations and video games; second, artistic practices in East Asia, notably, the Japanese art of kintsugi and Chinese art of seals (zhāng). The analysis of these forms of art not only helps broaden the scope of Gadamer's theory, but shows also that the insights found in his works are more relevant than ever.

Kaki Manusia Sebagai Objek Estetik Penciptaan Fotografi Seni

2014 ◽  
Author(s):  
Dira Herawati
Keyword(s):  
Social Situation ◽  
Work Of Art ◽  
Social Phenomena ◽  
Aesthetic Object ◽  
Human Foot ◽  
Works Of Art ◽  
The Social ◽  
The Creation ◽  
Art Photography ◽  
Artistic Images

Accountability report is a written description of creative experiences as an artist or a photographer of aesthetic exploration efforts on the image and the idea of a human as a basic stimulant for the creation of works of art photography. Human foot as an aesthetic object is a problem that relates to various phenomena that occur in the social sphere, culture and politics in Indonesia today. Based on these linkages, human feet would be formulated as an image that has a value, and the impression of eating alone in the creation of a work of art photography. Hence the creation of this art photography entitled The Human Foots as Aesthetic Object  Creation of Art Photography. Starting from this background, then the legs as an option object art photography, will be managed creatively and systematically through a phases of creation. The creation phases consist of: (1) the exploration of discourse, (2) artistic exploration, (3) the stage of elaboration photographic, (4) the synthesis phase, and (5) the stage of completion. Methodically, through the phases of the creative process  through which this can then be formulated in various forms of artistic image of a human foot. The various forms of artistic images generated from the foots of its creation process, can be summed up as an object of aesthetic order 160 Kaki Manusia Sebagai Objek Estetik Penciptaan Fotografi Seni in the photographic works of art. It is specifically characterized by the formation of ‘imaging the other’ behind the image seen with legs visible, as well as of the various forms of ‘new image’ as a result of an artistic exploration of the common image of legs visible. In general, the whole image of the foot in a photographic work of art has a reflective relationship with the social situation, cultures, and politics that developed in Indonesian society, by value, meaning and impression that it contains.Keywords: human foots, aestheti,; social phenomena, art photography, images

祭りは神々のパフォーマンス: 芸能をめぐる日本と東アジア [Festival as Sacred Performance: Traditional Performing Arts in Japan and East Asia]

1988 ◽  
Vol 47 (1) ◽  
pp. 167
Author(s):  
John K. Gillespie ◽  
梅棹忠夫 ◽  
守屋毅 ◽  
Umesao Tadao ◽  
Moriya Takeshi
Keyword(s):  
East Asia ◽  
Performing Arts

Introduction

Dangerous Art ◽  
2020 ◽  
pp. 1-8
Author(s):  
James Harold
Keyword(s):  
Video Games ◽  
Public Discourse ◽  
Public Support ◽  
Gun Control ◽  
Moral Judgments ◽  
Violent Video Games ◽  
National Rifle Association ◽  
Works Of Art ◽  
Gays And Lesbians

This book takes up the problems that we run into when we judge works of art to be morally good or bad. This might seem like an unserious thing to do. In public discourse, such judgments are often born of prejudice or are mere devices for political scapegoating. For example, former senator Jesse Helms’s attacks on the alleged immorality of Mapplethorpe’s photography seem to have been grounded in his hatred and fear of gays and lesbians; leaders of the National Rifle Association routinely raise moral concerns about violent video games as means to distract people and to undermine public support for gun control. We ought not to take such moral judgments very seriously....

The Medieval Image, I

2019 ◽  
pp. 196-223
Author(s):  
Thomas Nail
Keyword(s):  
Middle Ages ◽  
Work Of Art ◽  
Works Of Art ◽  
Aesthetic Field ◽  
The Aesthetic ◽  
The Church ◽  
The Middle Ages

Chapter 10 presents a realist aesthetics (versus constructivist) and a kinetic materialism (versus formal idealism) that focuses on the material kinetic structure of the work of art itself, inclusive of milieu and viewer. What the author calls “kinesthetics” is a return to the works of art themselves as fields of images, affects, and sensations. The chapter more specifically offers a focused study of the material kinetic conditions of the dominant aesthetic field of relation during the Middle Ages. The argument here and in the next chapter is that during the Middle Ages, the aesthetic field is defined by a tensional and relational regime of motion. This idea is supported by looking closely at three major arts of the Middle Ages: glassworks, the church, and distillation. The next chapter likewise considers perspective, the keyboard, and epistolography.

1. What is art history?

2020 ◽  
pp. 1-30
Author(s):  
Dana Arnold
Keyword(s):  
Art History ◽  
Art Criticism ◽  
Art Appreciation ◽  
Cultural Issues ◽  
Work Of Art ◽  
Works Of Art ◽  
The Social ◽  
Over Time

‘What is art history?’ discusses the term art history and draws distinctions between it and art appreciation and art criticism. It also considers the range of artefacts included in the discipline and how these have changed over time. The work of art is our primary evidence, and it is our interaction between this evidence and methods of enquiry that forms art history. Art appreciation and criticism are also linked to connoisseurship. Although art is a visual subject, we learn about it through reading and we convey our ideas about it mostly in writing. The social and cultural issues articulated by art history are examined through an analysis of four very different works of art.

Seduction in Works of Art

2017 ◽  
pp. 165-187
Author(s):  
Laura González
Keyword(s):  
Jean Baudrillard ◽  
Work Of Art ◽  
Academic Knowledge ◽  
The Core ◽  
Works Of Art

What is it about certain things that occupy our thought until we get hold of them, until we somehow possess them? Why is it that we hopelessly, predictably, inevitably fall for certain works of art? What is it about certain objects that seduce us? This chapter seeks to study the seductiveness of objects, something that also preoccupied Jean Baudrillard and is found at the core of his thinking. The work studies a very particular kind of object: the work of art, although consumption and captology, designed objects and other types of objecthood are also used as examples. The perspective adopted here, however, is not related to the historical or economic contexts of the objects. The truth about seduction will not be sought (it would deceive, anyway); or, indeed, an interpretation for the purposes of academic knowledge, which would kill it; or, again, its representation, which would be a flawed and false undertaking, if not impossible.

A Reply To Miss Smith

Philosophy ◽  
1958 ◽  
Vol 33 (124) ◽  
pp. 57-57
Author(s):  
W. D. Glasgow
Keyword(s):  
Work Of Art ◽  
Works Of Art ◽  
The Subject ◽  
Spiritual Reality ◽  
Objective Reference ◽  
Do So

The word “objective” is of course the trouble–maker here, Miss Smith assumes that if an aesthetic statement is held to be objective (or to have an objective reference) then it is the physical existence of the work of art (the picture or the sound of the music) that constitutes the objectivity: i.e. if a work of art is exteroceptively perceivable, then an aesthetic statement involving it is objective. Some writers, however (usually philosophical idealists) have held that in genuine works of art there is manifested an ultimate spiritual Reality (it might be called God) which we apprehend when we appreciate such works. On this theory, an aesthetic statement (“This picture is beautiful”) has an objective reference if the subject of it (the work of art) succeeds in expressing or communicating such a supersensible Reality: if it fails to do so, then the statement is subjective, i.e. it can be analysed completely into a statement about our feelings or emotions (e.g. “I like this picture”).

Re-Cyclings: Shifting Time, Changing Genre in the Moving Museum

2014 ◽  
Vol 46 (3) ◽  
pp. 101-117
Author(s):  
Susanne Foellmer
Keyword(s):  
Performing Arts ◽  
Work Of Art ◽  
Visual And Performing Arts ◽  
Art Objects ◽  
The Status ◽  
Presence And Absence

This essay examines changes in apparatuses of visual and performing arts, taking as an example a museum presentation of Trisha Brown's project Floor of the Forest. The ontology of both the work of art and the dance exhibited in the museum, where presence and absence interact, is explored against criteria of temporality and theatricality. The position of the recipient is a focus of particular attention, undergoing transformations between the status of visitor (beholder) and audience (spectator) and as such actively involved in bringing forth art as such. Furthermore it is proposed, in particular in this example, that the interrelationships between recipients and actors or art objects can generate haunting choreographies which emphasize the indeterminate nature and progressive disintegration of artistic genres and attempt to intertwine divergent modes of presence in visual and performing arts.

Essay. Cultural property: a museum director's perspective

1998 ◽  
Vol 7 (2) ◽  
pp. 438-445 ◽  
Author(s):  
GD Lowry
Keyword(s):  
Cultural Property ◽  
Property A ◽  
Work Of Art ◽  
Works Of Art ◽  
The Relationship ◽  
The Way

This essay explores a number of issues concerning the relationship between works of art and cultural property. From the perspective of a museum director, it posits an ontological distinction between the idea of a work of art and the concept of cultural property. The essay concludes by arguing that to the extent that nations place restrictions on the export of their art, they inevitably affect the way their culture is understood and perceived abroad and so alter the larger metanarrative of culture.

Mobile objects in Sophie Calle’s Fantômes and Prenez soin de vous

2018 ◽  
Vol 29 (1) ◽  
pp. 70-78 ◽  
Author(s):  
Natalie Edwards
Keyword(s):  
Contemporary Culture ◽  
Work Of Art ◽  
Mobile Objects ◽  
Works Of Art ◽  
The Spectator ◽  
Contemporary Artist

The mobility of people and objects is a central motif in the work of contemporary artist Sophie Calle. In this article, I compare two of Calle’s exhibitions that take a particularly unusual approach to mobility. In Fantômes and Prenez soin de vous, the objects are an email and works of art and their mobility arises from their displacement. In both exhibitions, Calle obliges the spectator to look at other people looking at the artefacts, which I refer to as the ‘double look’. In this article, I analyse how this technique serves to question the notion of a unitary, individual artist behind each work of art, how it questions the parameters of spectatorship, and how it challenges understandings of intimacy in contemporary culture.

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