Aesthetic intention, technology and the art praxis

The traditional conception of art is about sensual beauty and refined taste; modern art on the other hand has introduced an entirely unexpected dimension to the visual arts, namely that of 'revelatory narrative'. Classical art aspires to present works which can be appreciated as sensually beautiful; modern art, when it succeeds, presents us instead with the unsettling narrative. This radical difference in artistic purpose is something relatively new, and not yet fully appreciated or understood.

Each art style is replaced by a new one when time comes. Yet the newness and uniqueness of modernism was criticized as bizarre; unnecessary and unwanted distortion of image. This Sudden change to indirect representation of ideas left viewers miserable and raised questions on style and representation. Appreciation of clear and swiftly revealed formations of meaning and its mystery, fine and strong lines with defined objects and narration were easier to grasp by people from non art backgrounds while indirect and distorted representations were blamed as ambiguous, impure, and flavorless. Distortion was the major debate area between untrained eyes and modern artists. The idea of distortion has murdered the beauty of pure forms and is 'non-art' but for artists it was far from meaningless, it was a new way to represent their own ideas and subjects. The bridge between 'Untrained eyes' and 'Trained artists' is a rough path to cross where different opinions are given to explain and justify art. Modern art was more about developing and exploring different perspectives rather than comparing it with originality. By exploring debate around modern art mere an act of distortion or an important element for representation through the examination of the conversation of Pherozshah Rustomji Mehta and Jyoti Bhatt in 'Kumar' periodical my paper argues that art practice or art styles cannot be compared within but are to look for individuality and to see, develop and understand surroundings in other ways.

SITE ZONES , 2023

5th ASIA PACIFIC International Modern Sciences Congress , 2021

This research aims to create a theme that emphasizes the 'different' by following the path taken by the concepts of object, value and worthlessness in the artistic process, accompanied by prominent artistic examples of civilizations, periods and understandings. For this purpose, the relevance of the definitions made by social science disciplines (philosophy, sociology, linguistics) to art is emphasized. Here, the object, which is raw, unprocessed or amorphous in nature, is first perceived as objective reality by art organizations, processed by the artist, distilled from his imagination, metamorphosed and formally referred to as an 'art object'; Afterwards, the semantic layers made on this 'art object' and the processes of transforming it into a 'representational object' and adding value are observed. Briefly, the history of artistic periods that created artificial art objects from natural objects is evaluated. This entire process covers the times from the beginning of human history to the present Postmodern years. The 'art that adds value to the object' part of the process in question is a limestone bust from the Ancient Egyptian Civilization (3000-300 BC); A collection of terracotta sculptures from the Chinese Empire Civilization Period (300 BC-1900 AD); It creates an example of a marble sculpture from the Antiquity (Greek-Roman Civilization) Period (900 BC-300 AD) and a canvas painting from the European Baroque Period (17th century AD). The part of 'contemporary art that makes the object worthless' is the Postmodern Period, which has made its influence felt in the art world from the second half of the 20th century to the present day. Here, too, a sculpture by one of the contemporary British artists Damien Hirst (1965-) and an installation by Chinese artist Ai Weiwei (1957-) are examined regarding the Postmodern Period. Therefore, this research, by gathering under the same roof the examples of works of art that 'add value to the object', which refers to the long historical process, and the examples of contemporary art 'work' of the last seventy years that make the object worthless, the different; It refers to the 'Postmodern Situation' and the 'small narratives' set against the 'grand narratives' of thousands of years. It is hoped that the results obtained from this study, which emphasizes contemporary art (Postmodernism) by revealing the historical and periodical differences of the art field, can contribute to the field.

Journal of Arts and Humanities, 2017

Art is a creative phenomenon which changes constantly, not just insofar as it is being created continually, but also in the very meaning of ‘art.’ Finding a suitable definition of art is no easy task and it has been the subject of much inquiry throughout artistic expression. This paper suggests a crucial distinction between ‘art forms’ and ‘forms of art’ is necessary in order to better understand art. The latter of these corresponds to that which we would typically call art such as painting, singing, etc. The former corresponds to the form out of which these take shape, movement, speech, etc. With this distinction set out, it becomes clearer that art and the aesthetic is rooted in the properties of the ‘thing’ such as the color, shape, and the texture, rather than the product of creation itself. Thus, the future of art will bring a new aesthetic in which these properties become recognized as art and as such there will be an aesthetic of everyday life.

This is a study of more than 3,000 pages, 12 Chapters, that took about 45 years to write. The author had to research many fields of knowledge: philosophy, (phenomenology, ethics and linguistics in particular), psychology, (cognitive and developmental in particular) sociology, anthropology, science (neurology, genetics and microbiology in particular) thus it is truly an interdisciplinary approach intended to correct many fallacies that are erected and preserved institutionally in the history of art. In practice, these fallacies dispalce human energies, human resources, and tax-payers money for they confuse the criteria for allocating governmental resources, such as the National Endowment for the Arts and Humanities. The purpose is to open the field of possibilities for the creative mind, provide opportunities for artist to pay attention to the reality of the world,place their consciousness onto the right endeavors, make art that will improve human values and help change the world. and for the government, invest money on the true creative potential values that serve the genetic intelligence of the human species.

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.

The glory of art lies in struggle. The beauty of art lies in the competitive spirit of making and contemplating the meaning of art. This visceral quality if I may say so is that the very expression that makes art conceivable and possible is in its sense of movement. One can liken such movement to that realm of aesthetic experience that we call sport. In other words, in most cases sport requires active physical movements of the body in relation to various tools and obstacles. Yet, if we analyse art, one might find the same thing. I would go so far as to say that the work of art is a sporting image or object, a muscular sport if you will. As a corollary, the sports act and event may be considered, nay experienced as a kind of artwork. But what of the meaning in art? What use is struggle…why should struggle be noble? For that implies pain is the highest good. The torment of the mind. Its trickery and thuggery, its axioms that lead to war, strife and struggle. Struggle is noble you say? But so is tranquillity and peace. Art is possibly a nexus of these conflicting and contrasting intellectual and emotional modalities. Is art the ultimate control of mind? Think how art has its roots in prehistoric magic hunts, pagan idol worship, religious art of the West and East which persisted for hundreds of years, then the Renaissance and the rise of secularism, followed by a plethora of modern art movements and then the great complexity of the current age and you have a clear expression in all its multifarious forms of the dual that exists between the modalities of light and dark, peace and war. In this art is most powerful as the expression of an age or an epoch. What makes it even more profound and excellent is this usually emanates from a single individual, so that the personal and subjective can also have collective and objective outcomes. In respect of the above, one could say that the meaning of art lies in its fundamental connection to these metaphysical and philosophical concerns, but at the same time, it requires some or other sensual component and to that end are purely aesthetic. This connection could be explained philosophically as the Hegelian idea that art is the sensuous embodiment of idea. Or less philosophically that there is a dialectic between form and content. The question is, is there a one to one logical correspondence between stuff and meanings, that is between form and content? A deeper question yet: Is there an origin from whence these apparent dualities emanate, a transcendent point. This triad is significant, but like the Tree of Life, each aspect and node is nullified and naught as there is just the Infinite (Ein Sof). In relation to art, though secularism is the new order, underlying it is the age-old relationship between religion and art. In fact, one might go so far as to maintain that the very impetus of idolatry whether in pagan, official Roman Christdom (inclusive of Islam and the religions of the East), the secular elevation of the human mind and body as intrinsically the ultimate end and such aesthetics as corresponding to a latent (and sometimes blatant) ideological set of beliefs, ideals, metaphysics, politics and so on. Another way of putting the above is to borrow the quantum idea of complementary and apply that to the arts. That is, one might envisage an inverse graph where one axis is the aesthetic

International Journal of Cultural Policy, 2010

(Peer-reviewed Journal) Art Style, Art & Culture International Magazine, 2019

[Peer-reviewed article by two scientific committee members of the magazine] This essay seeks to provide an idea of the basis of the main theories of contemporary art criticism. It begins with the assumed knowledge and tradition of the Academies of Fine Art, with their ideal of beauty and classical structure. The importance of such traditional references has its origin in the Renaissance in the 16th century, in Florence with Giorgio Vasari (1511-74), in Haarlem with Karel van Manda (1548-1606) and, above all, in Paris with Charles Lebrun (1619-1690) of the French Royal Academy, which established the first strict rules for the fine arts and was a reference for Europe as a whole. Academies of Fine Art were established in the major European capitals, and from the 19th century, in the Americas and worldwide. The themes and rules presented over the course of history always related to the functions of art and the legacy of classical thought as tradition. However, values and ruptures, ethics, ideologies and political ideals, and the progress of science have conditioned the fundamental importance of the renewal of Western thought. This essay concerns the decline of tradition in the arts, the lack of ideologies guiding modern art, and the transition to contemporary art. The main theories that marked this transition period-20th and 21st century-are analyzed with respect to the art, its criticism, and the theories to the understanding and transformative sense of artistic creation. Such creativity usually appears strange or transgressive to the public and primarily to be seeking a legitimation of the artist's autonomy of choice and freedom of thought. On the whole, this essay presents the main aesthetics notions relating to the critical analysis of traditional European cultures and, more recently, American ones too. American culture, in which the languages of art are based, is analyzed for its effect on occidental philosophy. Both theories of art and contemporary aesthetics are emphasized so as to better understand the work of art's current aim with regard to the discernment of theoretical, prescriptive, and ideological thinking in the visual arts. Cite as: Wagner, Christiane. 2019. “What Matters in Contemporary Art? A Brief Statement on the Analysis and Evaluation of Works of Art.” Art Style, Art & Culture International Magazine, nº 1, (March): 68-82. DOI: https://doi.org/10.5281/zenodo.5168105