Art and reality

2019

This thesis seeks to answer a basic question of the philosophy of art: What is art? After examining the answers provided to this question by several art theories, it proposes that the definition of art offered by Arthur Danto is the one that most conforms to the reality of art, although it suffers from certain imperfections and insufficiencies. On the basis of this critical conclusion and through a careful analysis of what is categorized as art in the present time, it attempts to modify Danto’s definition and to transfigure it into a new one, capable of better conforming to the reality of art. It firstly introduces the contemporary situation of art and the existing art theories which didn’t successfully do sufficient justice to the totality of what is considered as artistic. Through a critical examination of these theories, it tries to show that the sufficient and necessary conditions for being art that they propose are either not sufficient or not necessary. It then tries to clear ...

2019

Cette these cherche a repondre a une question fondamentale de la philosophie de l'art: qu'est-ce que l'art? Apres avoir examine les reponses des plusieurs theories de l’art, il propose que la definition de l’art proposee par Arthur Danto soit celle qui se conforme le plus a la realite de l’art, bien qu’elle souffre de certaines imperfections et insuffisances. Sur la base de cette conclusion critique ainsi que d'une analyse minutieuse de ce qui est considere actuellement comme un art, il tente de modifier la definition de Danto et de la transformer en une nouvelle definition, capable de mieux se conformer a la realite des phenomenes artistiques. La these d’abord presente la situation actuelle de l’art et les theories de l’art existantes qui n’ont pas reussi a rendre suffisamment justice a la totalite de ce qui est considere comme artistique. Par un regards critique de ces theories, la these tente de montrer que les conditions pour etre l’art qu’elles proposent sont so...

Contemporary art is aesthetically very attentive to subjects of different nature. We can watch this aesthetic attention both in following the ways of traditional genres and in discovering some new ways to express human meanings of things. Since times when ready-made objects were fully institutionalized as creations of art traditional and newly discovered modes of creativity in relation to things were set as equal within the artworld. Painting and graphics are dealing with different surfaces creating their new visual qualities with lines and colours, sculpture is doing the same with volume, ready-mades and installations are doing the same changing regimes of human contacts with classes of artifacts. When mixed and combined in the whole of contemporary art as aesthetic experience this relation to subjects turns reflection on subiectum esse, the only reality of actual existence possible to be ruled by a human subject. Subjective reality of artifacts turns the analogue of subjective reality of a human being that contemplates subjective mode of existence in its ontological qualities compared with mentally revealed concepts and signs dealing with being itself, esse tantum. This presentation is dedicated to limits ad unlimitedness of possible meanings of subjects in contemporary art.

2017

Focusing on the relations between art and research, this single topic issue was the result of several conversations held over the last few years between members of the CAIRE, the Experimental Art and Research Cluster. Founded by four research groups at the UAB, UB, UPF and UOC together with the HANGAR artistic production and research between in Barcelona, the objective of the CAIRE is precisely to contribute toward artistic research by capitalizing on its specific and unique features. In this respect, taking advantage of the framework offered by the symposium Questioning Aesthetics: Arts Research & Aesthetics, which took place from 20th to 22nd June 2017 at the Palau Virreina in Barcelona, organized by the UAB, the Transdisciplinary Aesthetics Foundation and Banco Sabadell Foundation, we issued an open call for articles that focus on the relation between the Arts and Research, which, after the peer-review process, ended up as this node of the journal Artnodes. Therefore, the first five articles are written by authors who took part at the aforementioned symposium at the time, while the rest of the articles in the single topic issue come from other writers who share their experiences and reflections with us from a range of different perspectives and approaches. The end result fulfils the desire expressed in the original open call for articles, in which we highlighted the diversity of approaches that exist in relation to the nature of the interrelation between art and research, including research for art, research on art, and finally, research in art, which is claimed by many to be the most genuine type of artistic research. Moreover, the selection of the articles published here in one way or another relates to the four lines specified in the open call, linked both to the theoretical perspective for and on artistic http://artnodes.uoc.edu artnodes

C. Neamțu et alii (eds), When Ancient Everyday Life Becomes UNESCO Heritage. The Scanning, Digital Restoration and Contextualization of Dacian Artefacts from Orăștie Mountains, 2016

Online Journal of Communication and Media Technologies

This essay focuses on the relational embodiment of art & communication that, it is fair to say, that it implicates problematic crossroads between memory and contemplation. If we see art as, I believe one should, as inter-subjective communication emanating from the primary necessities, which in turn arise from ontological concerns then we should pay attention to the relationship between art and communication. This essay is structured in three pats dealing with different instinctive and notional aspects of the subject. 1/ Attention-Intention -Relation.2/ Inside-Outside-Presence.3/ Memory-Visual Culture-Notion.

This article discusses one particular change in the development of Art in the twentieth century – the creation of Art as a reply to such questions as " Are there any substantial features of the work of art? " , " What is the difference between the works of art and nonartistic reality? " , " What does constitute the work of art as such? " Some contemporary artworks tell us merely about the nature of art. The attempt to conceive the works that belong to Biotechnological art, Social art, and Participatory art includes also a reflection on the question about the reasons which allow attributing these works to art. Creation includes consideration of what is possible in the art and notes on art history. The artworks combine the creation of artwork as such and questioning its content, meaning, form, and style. Art is perceived as an investigation of the status of the art object and the role of the artist himself.

Modernity puts the artist in the peculiar position of having to justify him or herself in a social and economic environment whose values privilege logic and reason in an efficient and calculable space. The appropriation of religious asceticism by capitalist culture perpetuates a social scene in which all individuals are expected to live by a pious value system that emphasizes submission and the denial of pleasures and frivolities. This logic pushes for an ordering of human behavior to maintain only its purposeful, necessary, and true components. It is in this pragmatic and ascetic space that the artist is forced to argue his or her usefulness and legitimacy to the community. In looking at this act of rationalization, I will take three concise steps to map the dual function of the rational and irrational elements of legitimizing art and what space art has occupied because of this act of legitimization. First the paper will examine the diminished position the artist has because of the marginalization of art that the capitalist economy turns to commodity, and science views with skepticism. Second, it will take the Futurist movement as a hyperbolic example of avant-garde attempts to legitimize the artist through an ideological stance perpetuated by manifestos. Their redefinition of the role of the artist as almost a facilitator for a spectator-driven art rationalizes the marginalized position capitalist economies assign them while conceptually undermining the bourgeois commoditization of art. Lastly, the paper will reflect on this renegotiated position of the artist removed from his or her singular, autonomous, and heroic role in an attempt to fulfill the avant-garde desire to collapse art and life that Relational Aesthetics adopts in order to bring art to the everyday social experience.

Journal of the Institute of Engineering, 2019

Philosophers of different ages have made rigorous attempts to define art aiming to establish a set of characteristics applicable to all kinds of fine arts. However to point a definite meaning of art is elusive task. Similarly the question whether art can be didactic to provide knowledge, or insight is as old as philosophy itself. Art can be appreciated, enjoyed and loved for the powerful emotional values it reflects to the beholders. The production of art deals with creativity, imagination and innate ability of an artist. Art evolves from the culture that inspires artistic expression and art is born from the inner necessity of the artist. To determine the coherent ontological status of works of art has been a problematic issue despite the consistent philosophical practices. The metaphysical categorization of art as "the imaginary experience of the total activity" of the artist recreated by competent viewer is not all inclusive perception of art. The more liberal outlook of art as abstract cultural entities that are created at certain time through human activities seems convincing and relevant.

Sociology of the Arts, 2018