scholarly journals The Epistemology of “Contemporary Art” Noumenon

2020 ◽  
pp. 1-21
Author(s):  
Cheng Yuan
Keyword(s):  
Contemporary Art ◽  
Value Orientation ◽  
Theory And Practice ◽  
Human Beings ◽  
Cultural Experience ◽  
Chinese Contemporary Art ◽  
The World ◽  
Cognitive Experience ◽  
And Behavior ◽  
Historic Approach

“Contemporary art” is universal, but in international commonality, Chinese contemporary art has its specific problems that it faces: this includes scientific falsification and critique of artistic conspiracy and deception, highlighting the contemporary nature of contemporary art’s cognitive function, and connecting relationship with theory and practice,history and logic between contemporary art and artistic phenomenology, such as “world 2,” “practice-spirit” and behavior, installation, etc., thus welcoming the world identity of “cognitive experience”and “spiritual practice.”From the above three parts, the article identifies, “contemporary art” is a view of problem consciousness, concept, and human beings’ independent personality and dignity. On the historical approach and value orientation, she is not only a historical uplift to the function of art cognition but also a historic approach and representation of the era of “cultural experience” and“civilized practice.”

The Sphere of the Human

2019 ◽  
pp. 267-322
Author(s):  
Helmuth Plessner ◽  
J. M. Bernstein
Keyword(s):  
Human Activity ◽  
Human Life ◽  
Human Beings ◽  
Psychological Experience ◽  
The World ◽  
Forms Of Life ◽  
And Behavior ◽  
The Way

“Centric positionality” is a form of organism-environment relation exhibited by animal forms of life. Human life is characterized not only by centric but also by excentric positionality—that is, the ability to take a position beyond the boundary of one’s own body. Excentric positionality is manifest in: the inner, psychological experience of human beings; the outer, physical being of their bodies and behavior; and the shared, intersubjective world that includes other human beings and is the basis of culture. In each of these three worlds, there is a duality symptomatic of excentric positionality. Three laws characterize excentric positionality: natural artificiality, or the natural need of humans for artificial supplements; mediated immediacy, or the way that contact with the world in human activity, experience, and expression is both transcendent and immanent, both putting humans directly in touch with things and keeping them at a distance; and the utopian standpoint, according to which humans can always take a critical or “negative” position regarding the contents of their experience or their life.

scholarly journals Los ‘apocalipsis silenciosos’ del arte contemporáneo como dispositivos transformadores de conciencia para la reparación de una memoria ecológica degradada

2020 ◽  
Vol 23 ◽  
pp. 230-246
Author(s):  
Ricardo González-García
Keyword(s):  
Contemporary Art ◽  
Human Beings ◽  
Capitalist System ◽  
Future Scenario ◽  
Raising Awareness ◽  
The Social ◽  
The World ◽  
El Sistema ◽  
Unlimited Growth ◽  
Arte Contemporáneo

Como una reunión simbólica de conciencia, toda gran obra de arte es un apocalipsis silencioso que, con sus significativas impresiones o interacciones, puede llegar a transformar la estructura social. Transfigurando el mundo mediante sus espacios de representación, es capaz de adquirir una capacidad profética que denuncia situaciones a fin de, como en el caso específico aquí ofrecido, reestablecer el equilibrio de los ecosistemas degradados por la huella que el ser humano ha impreso sobre ellos. Esta misma impronta antropocénica, auspiciada por la idea de progreso que confiere la utopía del crecimiento ilimitado propuesta por el sistema capitalista, paradójicamente podría llevar al ser humano a asistir al fin de su propia especie. Por esta razón, parte del arte contemporáneo lleva tiempo sumamente preocupado en concienciar a la sociedad y, así, frenar la llegada de un catastrófico escenario futuro. Debido a la urgencia de esta acuciante situación, se abordan diversas denuncias establecidas en las prácticas artísticas para cambiar la actitud de sus espectadores. Para ello, se proponen aquí dos vertientes: la de obras que muestran escenarios distópicos y la de otras más activistas que tratan de atajar la situación desde entornos concretos. As a symbolic gathering of conscience, every great artwork is a silent apocalypse that, with its significant impressions or interactions, can transform the social structure. Transfiguring the world through its spaces of representation, it is capable of acquiring a prophetic capacity that denounces situations in order to, as in the specific case offered here; restore the balance of ecosystems degraded by the footprint that human beings have printed on them. This same anthropocenic imprint, sponsored by the idea of progress that confers the utopia of unlimited growth proposed by the capitalist system, paradoxically could lead the human being to attend the end of his own species. For this reason, part of contemporary art has been extremely concerned about raising awareness in society and, thus, curbing the arrival of a catastrophic future scenario. Due to the urgency of this pressing situation, we complaints various complaints established in artistic practices to change the attitude of its spectators. To do this, we proposed two aspects here: that of works that show dystopian scenarios and that of other more activists which try to tackle the situation from specific environments.

The Geopolitics of the Personal

2019 ◽  
pp. 161-198
Author(s):  
Cairns Craig
Keyword(s):  
Contemporary Art ◽  
Human Beings ◽  
Modern History ◽  
Gabriel Marcel ◽  
The Past ◽  
Lack Of Control ◽  
The World ◽  
Human Individual ◽  
Territorial Rights

Christian existentialist philosophers, such as Gabriel Marcel, argued for a conception of the human individual not as an isolated subjectivity, as in Descartes’ cogito, but as born into and shaped by its relationships with others. ‘Being’ is necessarily ‘being with’. Spark’s plots dramatise, in characters such as Jean Brodie, the dangers of an isolating subjectivity that seeks to make the world conform to its own wishes in order to deny the fact they have been ‘thrown’ into a world they did not choose. In defiance of Sartre’s emphasis on the ability of human beings to choose their own future, Spark’s novels emphasise the historical and geographic ‘thrownness’ of her characters, their accidental arrival in situations they did not choose. These may be the geographical flashpoints of modern history, such as the Palestine of The Mandelbaum Gate, or the temporal eruption of the past into the present, as in Territorial Rights. It is this fundamental lack of control that leads Spark to insist that ridicule must be central to contemporary art, since ridicule not only challenges religious, political and ideological efforts to control events but challenges the presumptions of art itself when it seeks to shape the world.

6. The development of the materialist theory of history

2018 ◽  
pp. 39-45
Author(s):  
Peter Singer
Keyword(s):  
Human Activity ◽  
Crucial Role ◽  
Historical Data ◽  
World History ◽  
Theory And Practice ◽  
Human Beings ◽  
Practical Activity ◽  
The World ◽  
Theory Of History ◽  
Materialist Theory

For Marx the unity of theory and practice meant the resolution of theoretical problems by practical activity. ‘The development of the materialist theory of history’ examines how Marx came upon his theory of world history in which practical human activity, rather than thought, plays the crucial role. At this point in his life, Marx starts to make more use of historical data and less of abstract philosophical reasoning about the way the world should be, but his interest in alienation persists. The materialist conception of history tells us that humans are completely subject to forces they do not comprehend and are unable to control. These forces are the productive powers of human beings themselves.

scholarly journals Being in Cosmos: Sergei Dykov’s Visual Exploration of the Spirit of Altai

Religions ◽  
2021 ◽  
Vol 12 (6) ◽  
pp. 405
Author(s):  
Andrzej Rozwadowski
Keyword(s):  
Contemporary Art ◽  
Visual Language ◽  
Visual Exploration ◽  
Human Beings ◽  
The World ◽  
Key Concepts ◽  
Art Forms ◽  
Visual Artist ◽  
Human Animal

This article focuses on how shamanism and animism, two important features of Altaic ontology, can be expressed in art. This is discussed by exploring the art of Sergei Dykov, a contemporary Altaic (south Siberian) visual artist, whose art is part of a wider trend in modern Siberian art of rediscovering the conceptual potentials of indigenous Siberian values. Dykov is one of those artists whose fascination with Siberian culture is not limited to formal inspirations but who also seeks how to express these indigenous values in contemporary art forms. Drawing on Altaic folklore, its myths and beliefs, including shamanism, as well as ancient Siberian art forms, Dykov searches for a new visual language capable of expressing the Altaic perception of the world. For him, therefore, painting is significantly an intellectual project involving an attempt to understand the indigenous ontology of being in the world. The key concepts around which his art revolves are thus human-animal transformations, human and non-human beings’ relations, and the interconnectedness of the visible and nonvisible. The study was based on an analysis of a sample of his unpublished artworks.

scholarly journals "IMPACT OF MINIATURE PAINTING ON CONTEMPORARY ARTISTS OF RAJASTHAN"

2019 ◽  
Vol 7 (11) ◽  
pp. 204-206
Author(s):  
Indu Joshi ◽  
Kamal Kishore Kashyap
Keyword(s):  
Contemporary Art ◽  
Human Life ◽  
Psychological Effects ◽  
Human Beings ◽  
The World ◽  
Miniature Painting ◽  
The Creation ◽  
Indian Painting ◽  
Made In ◽  
Contemporary Artists

Contemporary art which believes in the creation of an unimaginable world by creating new forms of continuous form which has shaped its sensation by mixing multiple modes of expression and has also reduced the distance of art from other experimental disciplines. As a result, the creation of an artwork today has created a new way to express the psychological effects of human beings through pictures by creating musical melodies, perfume fragrances and many other environments.The influence or inspiration of something has always been behind any experiment or work in human life, in the same way, many contemporary artists, influenced by the Indian miniature, painting tradition, developed their own art style by creating new forms. At the same time, the work of inspiring the invaluable heritage of Indian painting in a changing environment. Contemporary artists have succeeded in creating amazing picture forms by blending contemporary and interactive shapes, by entering the world of miniature paintings made in small color, color, method, contemporary artists by entering the world of canvas and oil colors.A long list of artists who have attracted the whole world by creating such art forms is working in Rajasthan, which includes Chhotu Lal, Shail Chappell, Couple Kishore Upadhyay, Rameshwar Baruta, Lalit Shrama, Prabha Shah, Lalchand Marothia, Charan Sharma, Kiran Murdia etc. includes many names. समकालीन कला जो नित नवीन रूपों का सृजन कर एक अकल्पनीय संसार के सृजन में विश्वास रखती है जिसने अभिव्यक्ति के अनेक साधनों के मिश्रण से अपपनी अनुभूति को एक आकार प्रदान करने के साथ अन्य प्रयोगधर्मी विषयों से कला की दूरी को कम करने का भी कार्य किया है जिसका परिणाम है कि एक कलाकृति का निर्माण आज संगीत की धुन, इत्र की सुगंध एवं अन्य कई प्रकार के वातावरण का सृजन कर मनुष्य के मनोवैज्ञानिक प्रभावों को चित्रों के माध्यम से अभिव्यक्त करने का नवीन मार्ग प्रशस्थ हुआ।मनुष्य के जीवन में कोई भी प्रयोग या कार्य के पीछे हमेशा से ही किसी चीज का प्रभाव या प्रेरणा कार्य करती आयी है उसी प्रकार से अनेक समकालीन कलाकारों ने भारतीय लघु, चित्र परम्पपरा से प्रभावितत होकर अपनी कला शैली का विकास कर नवीन रूपों के सृजन के साथ-साथ भारतीय चित्रकला की अमूल्य धरोहर को बदलतते परिवेश में गति प्रदान करने का कार्य किया है। छोटे-छोटे पारस्परिक रूप-रंग, विधि में बने लघु चित्रों के संसार को समकालीन कलाकारों ने कैनवास एवं तैल रंगों की दुनियां में प्रवेश कराकर समकालीन एवं पारस्परिक आकारों के समिश्रण से अद्भुत चित्र रुपों की रचना करने में सफल रहा है। इस प्रकार के कला रूपों का सृजन कर सम्पूर्ण विश्व को आकर्षित करने वाले कलाकारों की एक लम्बी सूची राजस्थान में कार्यरत हैं जिसमें छोटू लाल, शैल चैपल, युगल किशोर उपाध्याय, रामेश्वर बरूटा, ललित श्र्मा, प्रभा शाह, लालचंद मरोठिया, चरन शर्मा, किरण मुर्डिया आदि अनेक नाम शामिल हैं।

scholarly journals TANTANGAN DAKWAH DALAM MEDIA TEKNOLOGI KOMUNIKASI DI ERA GLOBALISASI

2019 ◽  
Vol 38 (1) ◽  
pp. 143
Author(s):  
Rais Ribha Rifqi Hakim
Keyword(s):  
Information Age ◽  
The Other ◽  
Human Beings ◽  
Television Programs ◽  
National Network ◽  
Other Hand ◽  
The People ◽  
The World ◽  
The Media ◽  
And Behavior

<pre><em>The development of information technology has kemjauan very rapidly. The advancement has led mankind easier to relate to one another. Various information and events happening parts of the world with rapidly can be known by human beings on other continents. The era of globalization characterized by the rapid advancement of communication technology is also called information age. The world community, including Muslims today can enjoy television programs with a variety of impressions. The television broadcasts emanating not only from a national network, but also can follow the international network thanks to the satellite which is connected with the parabola in people's homes. Communication on one side convey information to others for ideas or ideas to others either use or not use the media while the media on the other hand want to change the mindset and behavior of the people. </em><em>Same with da'wah, Communication is the process of conveying information to others about ideas or ideas to other people both using the media and not using media while on the other hand they want to change people's mindsets and behavior. The function of da'wah and communication are also the same, namely to change someone with a specific purpose. The purpose of da'wah is to convey information and seek information to mad'u so that the material to be conveyed can be understood so that communication can be achieved. The da'i to mad’u's da'wah process is expected to have a psychological influence in improving Islamic teachings. However, the challenge of preaching in the information era has become more complex. With this required expertise in conveying his da'wah for the success of da'wah, including various treatments that are more profound and efficient.</em><em></em></pre><p> </p><p align="center">****</p><em>Perkembangan teknologi informasi mengalami kemajuan sangat pesat. Kemajuan tersebut telah mengantarkan umat manusia semakin mudah untuk berhubungan satu dengan lainnya. Berbagai infomasi dan peristiwa yang terjadi dibelahan dunia dengan secara cepat dapat diketahui oleh manusia pada benua yang lain. Era globalisasi yang ditandai oleh semakin majunya teknologi komunikasi juga disebut dengan era informasi. Masyarakat dunia termasuk umat Islam dewasa ini dapat menikmati acara televisi dengan berbagai tayangan. Siaran televisi tersebut bukan hanya terpancar dari jaringan yang bersifat nasional, tetapi juga dapat mengikuti jaringan internasional berkat adanya satelit yang dihubungkan dengan adanya parabola di rumah-rumah penduduk. Sama dengan dakwah, Komunikasi adalah proses menyampaikan informasi kepada orang lain terhadap gagasan atau ide kepada orang lain baik menggunakan media maupun tidak menggunakan media sedangkan disisi lain ingin mengubah pola pikir dan tingkah laku masyarakat. Fungsi dakwah dan komunikasi juga sama, yaitu untuk merubah seseorang dengan tujuan tertentu. Tujuan dakwah adalah untuk menyampaikan informasi dan mencari informasi kepada mad’u agar materi yang ingin disampaikan dapat dimengerti sehingga komunikasi yang dilaksanakan dapat tercapai. Proses dakwah yang dilakukan oleh da’i kepada mad’u diharapkan mempunyai pengaruh psikologis dalam meningkatkan ajaran Islam. Namun, tantangan berdakwah di era informasi menjadi lebih komplek. Dengan ini dibutuhkan kepiawaian da’i dalam menyampaikan dakwahnya demi keberhasilan dakwah, termasuk berbagai perlakuan yang lebih mendalam dan berdayaguna.</em>

scholarly journals Theme of madness in a short story “The System of Doctor Tarr and Professor Fether” by Edgar Allan Poe and in a similarly-named film by Claude Chabrol

2019 ◽  
Keyword(s):  
Short Story ◽  
Visual Images ◽  
Behavioral Characteristics ◽  
Human Consciousness ◽  
Cultural Experience ◽  
Philosophical Concept ◽  
Film Interpretation ◽  
Literary Forms ◽  
The World ◽  
And Behavior

The article considers the theme of madness as a cultural phenomenon in its romantic (Edgar Poe) and postmodern (Claude Chabrol) film interpretation. The study is based on the cultural and philosophical concept of madness grounded by Michel Foucault. The historical existence of madness phenomenon has two types of its perception distinguished, ‘cosmic’, which is the tragic madness of the world, and ‘critical’, which is peculiar to human consciousness and behavior, generating the ironic understanding. According to the philosopher, the cosmic and critical cultural experience of madness is embodied in visually plastic (pictorial) and verbal (literary) forms respectively. The verbal and literary specifics of creating an aesthetic image of madness within the romantic canon in Edgar Allan Poe’s story is compared with the peculiarities of the visual-sound plastic form of the images in Claude Chabrol’s film, created in the style of surrealism. In Poe’s story madness appears as a local phenomenon, a state of human consciousness determining the way of thinking and the specifics of behavior. The main way how the writer creates the characters includes their behavioral characteristics and speech. In Chabrol’s film interpretation the theme of madness unfolds gradually, being embodied in visual images, the pace of the film, the changing intraframe composition, the specific movement in the frame, the speed and rhythm of cutting, the color and sound of the film. Within the postmodernism aesthetics the director, inserting surrealistic Buñuel’s intertext, using the techniques of playing with the audience and varying interpretations of the end, focuses on the cosmic experience of madness, transforming Poe’s romantic-ironic interpretation into a understanding the “tragic madness of the world”.

scholarly journals Contemporary Colors in Artworks

2019 ◽  
Vol 4 (2) ◽  
pp. 20-27
Author(s):  
Aimi Atikah Roslan ◽  
◽  
Syed Alwi Syed Abu Bakar
Keyword(s):  
Contemporary Art ◽  
Theory And Practice ◽  
Common Language ◽  
Works Of Art ◽  
Integral Component ◽  
The World ◽  
The Subject ◽  
The Relationship

The purpose of this study is to discuss on contemporary colours in artwork. Contemporary colours have developed a bridge between theory and practice, particularly in the production of works of art. While other studies have been conducted on colours solely, this one focuses on the relationship between artwork and contemporary colours. This teaches the reader that contemporary colours are an integral component of the world of painting and design art. The study of contemporary colours employs artwork to address the subject about the significance of modern colours. As a result, the significance of modern colours has become significant that it has evolved into a movement within the context of contemporary art. This writing is an attempt to convey information about colours using a common language

The path of reflection into the world: Voices from the Guangzhou Triennial (2002‐08)1

2020 ◽  
Vol 7 (1) ◽  
pp. 47-71 ◽  
Author(s):  
Hu Bin
Keyword(s):  
Contemporary Art ◽  
Historical Perspective ◽  
Chinese Contemporary Art ◽  
Field Of Vision ◽  
Sudden Rise ◽  
The World ◽  
Interpretive System ◽  
The Right ◽  
Venice Biennale ◽  
Contemporary Artists

Biennial and triennial exhibitions were first established in western countries, gradually becoming a well-recognized formula that came to influence non-western nations. Biennial and triennial exhibitions rose in prominence beyond western boundaries as they strove for the right to speak on the international stage. The sudden rise of biennial and triennial exhibitions in China is closely linked to these concerns. It is generally accepted that China’s biennial exhibitions first entered into the international field of vision in 2000 with the Shanghai Biennale, closely followed in 2002 by the Guangzhou Triennial, which has garnered frequent mention internationally. Viewed from a historical perspective, the themes explored by the first three editions of the Guangzhou Triennial constituted a different set of ideas regarding the international predicament of Chinese contemporary art, while the featured artists in the latter two editions were not limited to China. The backdrop for these ideas was the frequent appearance of Chinese contemporary artists on such international platforms as the Venice Biennale beginning in 1993, and the tendencies and conditions of the selections for such appearances. Chinese contemporary artists at the time were excited to gain entry to these important international platforms, but at the same time, the ways in which they were interpreted and selected gave pause for reflection. This reflection was directed not just at the artists themselves, but at the response from the critical and curatorial realms. A very important matter within this was the need for China to establish its own interpretive system and internationalized platform. Below, I will follow a chronological path in outlining the gradual progression of the Guangzhou Triennial in regard to these themes, and the connections between them.

Sign in / Sign up

Export Citation Format

Share Document