scholarly journals Kajian Strukturalisme dalam Melahirkan Sebuah Karya Seni

2021 ◽  
Vol 5 (2) ◽  
Author(s):  
Mukhsin Patriansah
Keyword(s):  
Structural Theory ◽  
Human Being ◽  
Work Of Art ◽  
Human Speech ◽  
Works Of Art ◽  
Normal Humans ◽  
Theory Of Language ◽  
Basic Ability

Structuralism for its adherents assumes that in humans there is a basic ability inherited genetically, so that this ability exists in all normal humans, namely the ability to structure, to structure, construct a structure, or attach a certain structure to the symptoms that it faces . The above statement assumes that every human being has the ability to create works of art from existing phenomena and is able to analyze the phenomena or phenomena with a structured method. Structural theory of language above that makes Levi-Strauss managed to see something behind the manifestation of human work. A work of art is a representation of students seeing phenomena or issues in their environment. This phenomenon makes artists feel touched and arouse and tickle their feelings to express it through the medium of art. Behind the manifestation of human work in it contains the value and meaning to be conveyed. These values and meanings have unconsciously shaped someone's ideas or thoughts. Thus it can be said that anything in this world according to Levi-Satruss's view is a system that has structures that govern it. In Structuralism the signifiant order or marker precedes meaning, in other words that talking about the existence of humans is actually not as a subject, on the contrary the existence and structure itself speaks of itself through human speech about existence.

scholarly journals “Kajian Strukturalisme dalam Melahirkan Sebuah Karya Seni”

2020 ◽  
Vol 5 (2) ◽  
Author(s):  
Mukhsin Patriansyah
Keyword(s):  
Structural Theory ◽  
Human Being ◽  
Work Of Art ◽  
Human Speech ◽  
Works Of Art ◽  
Normal Humans ◽  
Theory Of Language ◽  
Basic Ability

<p align="center"><strong>Abstract</strong></p><p><em>Structuralism for its adherents assumes that in humans there is a basic ability inherited genetically, so that this ability exists in all normal humans, namely the ability to structure, to structure, construct a structure, or attach a certain structure to the symptoms that it faces . The above statement assumes that every human being has the ability to create works of art from existing phenomena and is able to analyze the phenomena or phenomena with a structured method. Structural theory of language above that makes Levi-Strauss managed to see something behind the manifestation of human work. A work of art is a representation of students seeing phenomena or issues in their environment. This phenomenon makes artists feel touched and arouse and tickle their feelings to express it through the medium of art. Behind the manifestation of human work in it contains the value and meaning to be conveyed. These values and meanings have unconsciously shaped someone's ideas or thoughts. Thus it can be said that anything in this world according to Levi-Satruss's view is a system that has structures that govern it. In Structuralism the signifiant order or marker precedes meaning, in other words that talking about the existence of humans is actually not as a subject, on the contrary the existence and structure itself speaks of itself through human speech about existence.</em><em></em><br /> <strong><em>Keywords :</em></strong><em> Structuralism, Phenomenon, Significant, and Symbols</em><em></em></p><p align="center"><strong>Abstrak</strong></p><p><em>Strukturalisme bagi para penganutnya beranggapan bahwa dalam diri manusia terdapat kemampuan dasar yang diwariskan secara genetis, sehingga kemampuan ini ada pada semua manusia yang normal, yaitu kemampuan untuk strukturing, untuk menstruktur, menyusun suatu struktur, atau menempelkan suatu struktur tertentu pada gejala-gejala yang dihadapinya. Pernyataan di atas memiliki asumsi bahwa setiap manusia memiliki kemampuan untuk menciptakan karya seni dari fenomena yang ada dan mampu menganalisis gejala-gejala atau fenomena-fenomena tersebut dengan metode yang terstruktur. Teori struktural bahasa di atas yang membuat levi-Strauss berhasil melihat sesuatu di balik perwujudan karya manusia. Sebuah karya seni merupakan representasi dari siseniman melihat fenomena-fenomena atau isu-isu yang ada di lingkungannya. Fenomena tersebut yang membuat seniman merasa tersentuh dan menggugah serta mengelitik perasaannya untuk mengekspresikannya melalui medium seni.</em> <em>Di balik wujud karya manusia tersebut di dalamnya mengandung nilai dan makna yang hendak di sampaikan. Nilai dan makna tersebut secara tidak sadar telah membentuk ide gagasan atau pemikiran seseorang. Dengan demikian dapat dikatakan bahwa apapun di dunia ini menurut pandangan Levi-Satruss merupakan sistem yang memiliki struktur-struktur yang mengaturnya. Dalam Strukturalisme tatanan signifiant atau penanda mendahului makna, dengan kata lain bahwa berbicara tentang adanya manusia sebenarnya bukanlah sebagai subjek, sebaliknya adanya dan struktur itu sendiri berbicara tentang dirinya melalui pembicaraan manusia tentang adanya.</em></p><strong><em>Kata kunci :</em></strong><em> Strukturalisme, Fenomena, Signifiant, dan Simbol</em>

Dangerous Art

2020 ◽  
Author(s):  
James Harold
Keyword(s):  
Point Of View ◽  
Moral Evaluation ◽  
Human Being ◽  
Work Of Art ◽  
The Real ◽  
Careful Scrutiny ◽  
Works Of Art ◽  
Moral Standards ◽  
Moral Point ◽  
The Relationship

This book takes up the problem of judging works of art using moral standards. When we say that a work is racist, or morally dangerous, what do we mean? The book is divided into two parts. The first part takes up the moral question on its own. What could it mean to say that a work of art (rather than, say, a human being) is immoral? The second part steps back and asks about how moral evaluation fits into the larger task of evaluating artworks. If an artwork is immoral, what does that tell us about how to value the artwork? The overall approach of the book is moderately skeptical. The book argues that many of the reasons given for thinking that works of art are immoral do not stand up to careful scrutiny. It further tries to show that even when works of art are rightly condemned from a moral point of view, the relationship between that moral flaw and their value as artworks is complex. The book defends a moderate version of autonomism between morality and aesthetics. But the real purpose of the book is to highlight the complexities and difficulties in evaluating artworks morally—many philosophers of art have simply assumed that artworks can be evaluated morally and proceeded as though such assessments were unproblematic.

Works of art sign-symbolic interpretation in the structure of a teenage pupil’s social-cultural competence

2020 ◽  
Vol 44 (3) ◽  
pp. 99-108
Author(s):  
L. Gontovaya ◽  
Keyword(s):  
Cultural Competence ◽  
Primary School ◽  
Subject Area ◽  
Artistic Expression ◽  
Human Being ◽  
Work Of Art ◽  
Spiritual World ◽  
Works Of Art ◽  
Symbolic Interpretation ◽  
Key Competences

The article is dedicated to the problem of forming socio-cultural competence of pupils of of primary school in the process of learning artistic culture as well as to one of the criteria of its multicomponent structure – sign-symbolic interpretation of a literature work of art. In the article special attention is paid to the criticism of the competency approach in education, the necessity in specifying and limiting its theoretical highlighting based on the specifics of the subjects of the educational cycle. The assumption is offered that it’s the peculiarity of every subject area that will allow to single out its advantages in forming certain competences. One of the key competences of a modern pupil is being observed, socio-cultural in particular. Its integrative character and cross-subject qualities in scientific approaches are emphasised. This reflects the complexity of the phenomenon. As one of the most important for this competence artistic culture and art are considered. Due to peculiarities of artistic expression as symbolization of a human being spiritual world artistic culture and art influence both social and value-sensational statements of a teenager.

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

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”).

»Die durch das Bild angegebene Regel«. Die Ersetzung des Schemas durch das Symbol in der Sprachphilosophie der Reden an die deutsche Nation

2020 ◽  
Vol 48 ◽  
pp. 90-108
Author(s):  
Tamás Hankovszky ◽  
Keyword(s):  
Philosophy Of Language ◽  
Point Of View ◽  
Human Being ◽  
Abstract Concepts ◽  
German Nation ◽  
The Subject ◽  
Theory Of Language

According to the early Fichte, designation of mental concepts and highly abstract concepts happens by means of ‘schemata’. Through an unconscious mechanism, we transfer the name of a sensible thing into a supersensible object. Fichte looked upon this process as a source of mistakes. In Addresses to the German Nation, he changes his conception and puts symbols or actual images in the place of schemata. These images don’t unify sensible and supersensible notions as schemata do, rather they draw an analogy between these notions. This analogy guides the subject in creating a notion. The word initiates and inspires the process for creating a notion. Furthermore, the word shows through the image, in what way we should set in motion our capacity of representation. So the word does not offer abstract rules for the reason but gives an image which contains the rules of procedure.From my point of view, Fichte modified his theory of language not only to deal with problems immanent to the philosophy of language. He aimed to construct a philosophy of language which was much more consistent with the view of the human being and the conception of intersubjectivity according to the Wissenschaftslehre. The modified philosophy of language proves more convincingly that basically when we understand speeches of others we neither apprehend perfect meanings nor receives ideas of others more or less passively but we re-create or re-produce thoughts of the speakers.Nach dem frühen Fichte bezeichnet die Sprache die „geistigen“ und die „sehr abstrakten“ Begriffe mit Hilfe von Schemata. Ein unbewusster Mechanismus überträgt den Namen sinnlicher Gegenstände auf übersinnliche. In diesem Verfahren sah Fichte eine Quelle von Fehlern. Die Reden modifizieren diese Theorie so, dass die Schemata durch Symbole bzw. Bilder ersetzt werden. Sie vereinigen nicht wie die Schemata sinnliche und übersinnliche Vorstellungen, sondern stellen eine Analogie zwischen ihnen her. Diese Analogie weist darauf hin, welche Vorstellung ein Subjekt bilden muss. Das Wort gibt einen Anlass und eine Anleitung zur Vorstellungsbildung und die von ihm bereitgestellte Information zeigt zugleich, wie wir unser Vorstellungsvermögen in Bewegung setzen müssen. Es teilt dabei keine abstrakten Regeln mit, sondern bietet in einem Bild Anweisung für das Gemüt. Nach meiner These änderte Fichte seine Sprachlehre nicht nur, um ein immanentes sprachphilosophisches Problem lösen zu können. Sein Ziel war es wohl auch, eine Sprachphilosophie zu schaffen, die besser dem Menschenbild der Wissenschaftslehre und ihrer Intersubjektivitätslehre entspricht, als die frühere. Die revidierte Sprachphilosophie kann überzeugender belegen, dass wir beim Verstehen der Sprache anderer Menschen nicht ausgemachte Bedeutungseinheiten begreifen und nicht Gedanken von außen aufnehmen, sondern diejenigen Gedanken re-produzieren und re-konstruieren, die auch der Redner gedacht und ausgesprochen hat.

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.

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