Artistic Creativity and Human Evolution – Art Theory and the Work of André Leroi-Gourhan

2013 ◽  
Vol 58 (2) ◽  
pp. 107-121
Author(s):  
Konstantinos Vassiliou
Keyword(s):  
Contemporary Art ◽  
Human Evolution ◽  
Art History ◽  
Art Theory ◽  
Artistic Creativity ◽  
The Third ◽  
Modern Age ◽  
Fourth Part ◽  
Artistic Theory ◽  
Analytical Tools

Der vorliegende Beitrag untersucht das Werk André Leroi-Gourhans und insbesondere seine zweibändige Monographie Le geste et la parole auf ihre kunsttheoretische Relevanz; so werden zentrale Debatten über künstlerische Kreativität behandelt und untersucht, inwiefern Leroi-Gourhan zu ihnen beitragen kann. Nach einer einführenden Darstellung einiger allgemeiner Prämissen von Leroi-Gourhan (I) wird in einem zweiten Teil (II) gezeigt, dass seine Theorie der »Rhythmen« wertvolle Einsichten in die Debatte um »Kunstwollen« und Materialismus bereithält. Der dritte Abschnitt (III) diskutiert Leroi-Gourhans Werk im Kontext der Debatte um Industrialisierung und audiovisuelle Kultur in ihrem Gegensatz zu handwerklicher Kreativität. Schließlich (IV) werden Leroi-Gourhans Schlussfolgerungen bezüglich Wahrnehung und Digitalität mit einigen Aspekten zeitgenössischer Kunsttheorie verbunden. Im Ganzen soll gezeigt werden, dass Leroi-Gourhans Werk ein flexibles analytisches Instrumentarium bereithält, um menschliche Evolution und Kunstgeschichte zusammenzudenken und Kreativität im Kontext der allgemeinen kulturellen und technologischen Verschiebungen nach der Moderne zu untersuchen.<br><br>This article relates the work of André Leroi-Gourhan and mostly his two-volume ok Le geste et la parole to art theory. More specifically, it is concerned with central debates on artistic creativity and examines how Leroi-Gourhan can contribute to them. After presenting some general premises of Leroi-Gourhan’s work (I), its second part (II) argues that his theory on ›rhythms‹ supplies valuable insights to the debate of Kunstwollen and materialism. The third part (III) discusses his work within the debate of industrialization and audiovisual culture as opposed to manual and artisanal creativity. The fourth part (IV) links Leroi-Gourhan’s conclusions on perception and digitality with some aspects of contemporary art theory. On the whole, this article argues that Leroi-Gourhans’s work provides flexible analytical tools in order to think art history and human evolution in conjunction, as well as a specifi c framework for examining creativity within the general cultural and technological shifts after the modern age. The conclusions of this essay shed some light on Leroi-Gourhan’s theories on art and offer some methodological perspectives to contemporary artistic theory.

scholarly journals THE IDENTITY AS AN ART PHENOMENON

2021 ◽  
Vol 5 (43) ◽  
Author(s):  
A. Zinenko
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
Art Criticism ◽  
Organizational Design ◽  
Cross Cultural ◽  
Research Subject ◽  
Art Theory ◽  
Teaching Activities ◽  
Hermeneutic Phenomenological ◽  
The Past

The research subject is the study of the Phenomenon of identity and its reflection in contemporary Ukrainian art. The purpose of the work is to investigate the specifics of the Phenomenon's reflection of identity in contemporary Ukrainian art. The work methodology is based on chronological and scientific comprehensiveness, art history, historical, philosophical, and culturological approaches, ontological, axiological, hermeneutic, phenomenological, cross-cultural, and method of art analysis. The work results allow us to understand the evolution of researchers' views in various fields on the Phenomenon of identity and its application in contemporary art approaches. The results' scope is today's artistic practices, history, art theory, and art criticism, teaching activities for students and graduate students of creative specialties. Findings. The Phenomenon of identity in contemporary art means that problem of its reflection in the art exists and begins to be understandable. Some conclusions about the correctness of the direction of practices and patterns to a new search identity approach can be made considering foreign experience. Simultaneously, a society that interacts with contemporary art in the latest cultural projects and what principles of such participation should be taken into account in organizational, design, exhibition, and interpretive activities. The proof that modern contemporary art in its various manifestations is deeply rooted in the socio-cultural process, and therefore has different forms of identity, is closely connected with the past and present of Ukraine. Appeal to the past in art - preserving memory, rethinks symbols and signs, gives new life to archaic images and techniques; art is turned to the present, reflecting on reality. Presenting society's moods and problems accumulate the achievements of Ukraine as an independent country.Keywords: contemporary art, identity, Ukraine, the beginning of XXI century. 

The Basic Paradigm Shift in Contemporary Art

2020 ◽  
pp. 1-29
Keyword(s):  
Everyday Life ◽  
Contemporary Art ◽  
Art History ◽  
Paradigm Shift ◽  
Life Science ◽  
Modern Art ◽  
Art Theory ◽  
Social Politics ◽  
The Social ◽  
The Difference

The difference between modern and contemporary art, which in the present enters the names of art museums, is based on the notions formed in art theory and art history: whereas modern art is tied to aesthetics, artistic autonomy, author, and the concept of stable and finished artwork, the more fluid and conceptual contemporary art foregrounds the links of the art with the social, politics, economy, everyday life, science, and media. This chapter aims to explore media-shaped contemporary art projects in terms of art services that are algorithmic, cognitive, and conceptual. The service presupposes a problem, a challenge, or an order to be solved or carried out. The artist as a service performer is always faced with a certain task, challenged to solve it in a sequence of steps, chosen as economically as possible. The service therefore ends with a solution of the problem (or its removal) and not with the manufacturing of a finished object.

Conclusion

2017 ◽  
Author(s):  
Catherine M. Soussloff
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
Comparative Approach ◽  
Art Theory

Using a comparative approach grounded in art history and aesthetics, this book simultaneously explores the meaning of painting for Foucault’s philosophy and for contemporary art theory, proposing the relevance of painting for ethics and art media today.

Foucault on Painting

2017 ◽  
Author(s):  
Catherine M. Soussloff
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
Digital Age ◽  
Art Theory

Catherine M. Soussloff argues that Michel Foucault’s sustained engagement with European art history critically addresses present concerns about the mediated nature of the image in the digital age. She explores the meaning of painting for Foucault’s philosophy, and for contemporary art theory, proposing a new relevance for a Foucauldian view of ethics and the pleasures and predicaments of contemporary existence.

scholarly journals Map of Art Development of Batu City in Indonesia

2020 ◽  
Author(s):  
Lilik Indrawati
Keyword(s):  
Data Analysis ◽  
Contemporary Art ◽  
Art History ◽  
Initial Period ◽  
The Third ◽  
Current Period ◽  
Interactive Data Analysis ◽  
Interactive Data ◽  
The City

This research is a follow-up to the study entitled ”Historical Mapping of the Development of Modern and Contemporary Art in Malang”, conducted by researchers in 2016. From the results of the study, it appears that in several periods of the development of arts in Malang, a noted Batu art figure was recorded, a trend seen since 1982. In addition, this research identifies the work of Batu artists as having a style with distinctive characteristics, namely the so-called ”Batu realism style”. This study seeks to map the stages of the development of arts in Batu City from the initial period to the current situation. This study used a qualitative approach by utilizing the data sources of Batu artists, Malang cultureists, curators from the city of Malang, curators, documents and art loci in Batu, whose data analysis utilizes interactive data analysis. The map of the development of arts in Batu has been started since the ”Beginning” period, where the initial period was identified as an embryo of the development of Batu art which is still in the form of motivation that appears on a group of young Batu people who are inspired by illustrations, garden exterior decoration, and some aesthetic works from some seniors in Batu. Mapping can be noted from the development of Batu City arts is its existence and development since: (a) the ”Batu Seni Pondok” period, starting in the 1980’s, (b) the ”Raos Gallery” period, starting in the 1989’s, and (c) the ”Current” period, which is recorded as the third generation since the ”Pondok Seni Batu” where each period with variations in its development has implications for the development of art in East Java and in Indonesia. Keywords: modern art, contemporary art, art history

Concepts “Monumental” and “Miniature” in Art: History and Modernity

2021 ◽  
Vol 66 (1) ◽  
pp. 87-108
Author(s):  
Maryna Varakuta ◽  
Daryna Kupina
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
Significant Degree ◽  
Artistic Creativity ◽  
Artistic Creation ◽  
Common Basis ◽  
Creative Achievement ◽  
Different Types ◽  
The Relationship ◽  
Aesthetic Preferences

"The article deals with the issue about the relationship between the notions of “monumental” and “miniature” in various types of art. A very conditional division of these notions is noted. These notions are characteristic of artistic creativity in general and, as a result, determine the genre definitions of creative achievement in each of the types of art. It has been established that the results of this process are directly embodied in the genre system of musical art, which is influenced by the action of general trends and reflects general processes with a significant degree of mediation. It is noted that the manifestation of “monumental” and “miniature” in different types of art is characterized by a common basis, but different ways of embodiment, which are explained by the various systems of artistic creation means. The historical variability of the notions “monumental” and “miniature” is traced in accordance with the change in aesthetic preferences of a particular historical era. The tendency of unification of the notions “monumental” and “miniature” in the system of contemporary art as special concepts, the mixing of which sets out the pluralism of postmodern cultural space (the idea of space in space), is indicated. Keywords: art, monumental, miniature, genre system, means of expression. "

Sarakhsi’s Doctrine of Juristic Preference (Istihsan) as a Methodological Approach Toward Worldly Affairs (Ahkam al-Dunya)

1988 ◽  
Vol 5 (2) ◽  
pp. 181-203
Author(s):  
Husain Kassim
Keyword(s):  
Methodological Approach ◽  
The Third ◽  
Fourth Part

In the present investigation, we shall develop systematically Sarakhsrsdoctrine of Juristic preference from his Mabsut, Usul and Bab al-Muwada'aof Sharh al-Siyar al Kabir and demonstrate how Sarakhsi establishes itsrelevance as a methodological approach toward worldly affairs.The investigation is carried out in four parts:In the first part, we shall relate Sarakhsi’s doctrine of juristic preference(istihan) with his concept of treaties (muwada'a). According to Sarakhsimuwada'a is an autonomous discipline and its main focus is worldly affairsas relations (muamalat) of Muslims with other nations.In the second part, it is investigated how Sarakhsi strives to see thejustification for the application of the doctrine of juristic preference to itindependently of the doctrine of systematic reasoning (qiyas) by establishingthe ’illa (effective reasoning) of the doctrine of juristic preference on the basisof asl derived from the Qur’an and Hadith.In the third part, we shall discuss how Sarakhsi systematizes the doctrineof juristic preference by analyzing the ’illa employed by it in various formsand shows that it is connected with asl.Finally, in the fourth part, we shall show how Sarakhsi justifies theemployment of the doctrine of juristic preference as a methodological approachtoward muwadah and worldly affairs ...

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.

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