vineri, 21 martie 2014

Estetica si arta contemporana...

A fost odata ca niciodata o discutie despre estetica, in care eu am sustinut ca pentru unele creatii de arta contemporana, arta digitala, arta conceptuala este nepotrivit sa afirmi ca ai o traire estetica, ca ai si o satisfactie intelectuala... expectantele estetice iti pot limita experienta artei...
Dar de unde mi se trage?
Oare am inteles bine termenii?
Mai jos sunt cautarile ce au urmat.

1. Boris Groys Introduction—Global Conceptualism Revisited
It makes sense to reflect for a moment upon this shift from aesthetics to poetics and rhetoric. The aesthetic attitude is basically that of the spectator. Aesthetics as a philosophical tradition and a university discipline relates to art and reflects upon art from the perspective of the art spectator—or one could also say from the perspective of the art consumer. Spectators mostly expect an aesthetic experience from art. Since the time of Kant, we know that this experience can be one of beauty or of the sublime. It can be an experience of sensual pleasure. But it can also be an anti-aesthetic experience of displeasure, or of frustration provoked by an artwork that lacks all the qualities which an affirmative aesthetics expects it to possess. It can be the experience of a utopian vision that could lead away from present conditions to a new society in which beauty reigns. Or, to formulate this differently, it could be a redistribution of the sensible, one that refigures the spectator’s terms of vision by showing certain things and giving access to certain voices that were previously concealed or obscured. But, because the commercialization of art already undermines any possible utopian perspective, it can also be a demonstration of the impossibility of positive aesthetic experience within a society based on oppression and exploitation. As we know, these seemingly contradictory aesthetic experiences can be equally enjoyable. However, to experience aesthetic enjoyment of any kind, a spectator has to be aesthetically educated. This education necessarily reflects the social and cultural milieus into which the spectator was born and in which he or she lives. In other words, an aesthetic attitude presupposes the subordination of art production to art consumption—and likewise, the subordination of artistic theory and practice to a sociological perspective.
2. Chiar am spus ca nu poti avea o experienta estetica fata de o formula matematica, dar se pare ca poti

Researchers who have been prominent in the field combine principles from perceptual psychology, evolutionary biology, neurological deficits, and functional brain anatomy in order to address the evolutionary meaning of beauty that may be the essence of art.[5] It is felt that neuroscience is a very promising path for the search for the quantified evaluation of art.[6] With the aim of discovering general rules about aesthetics, one approach is the observation of subjects viewing art and the exploration of the mechanics of vision.[6] It is proposed that pleasing sensations are derived from the repeated activation of neurons due to primitive visual stimuli such as horizontal and vertical lines. In addition to the generation of theories to explain this, such as Ramachandran's set of laws, it is important to use neuroscience to determine and understand the neurological mechanisms involved.
4. Greenberg si estetica modernista ( DIARMUID COSTELLO Greenberg’s Kant and the Fate of Aesthetics in Contemporary Art Theory)
For Greenberg, it was above all aesthetic judgment, by which he meant judgments of taste, and the distinctive kind of experience he associated with such judgments, that underwrote the value of art “as art.” Not surprisingly, in view of this identification of art with taste and aesthetic experience, Greenberg characterized modernism as a heightened tendency toward aesthetic value, and the foregrounding of such value, in art: “Modernism defines itself in the long run not as a ‘movement,’
much less a program, but rather as a kind of bias or tropism: towards aesthetic value, aesthetic value as such and as ultimate. The specificity of Modernism lies in its being so heightened a tropism in this regard.” The conceptual cornerstone of modernism, as Greenberg theorized it, was “medium-specificity”: the self-reflexive investigation of the constraints of a specific medium through the ongoing practice of the discipline in question.

luni, 8 aprilie 2013

Ce inseamna un "desen bun" ?

 Textul se gaseste pe Luquet Archives  aici

Does Practice Make Perfect? Children’s and Adults’ Constructions of Graphic Merit and Development: A Crosscultural Study 

David Pariser, Concordia University
Anna Kindler, University of British Columbia.
Axel van den Berg, McGill University
Belidson Dias, University of Brasilia
Wan Chen Liu, National Changhua University of Education
" This paper touches on many topics related to child art, but primarily addresses two: the “real nature” of graphic development as it exists in some absolute sense, and various people’s notions of what they believe graphic development actually looks like. This abstract entity—the “true” nature of graphic development––is present mostly as an absence, but its presence is nevertheless felt, for it is a foil against which to measure the quantified judgments of judges from three different countries of what constitute better and worse drawings. And as these drawings have been collected from a cross-age sample of children, adolescents, naïve, and art trained adults alike, it is an easy step to organize these judgments of good, bad, and indifferent drawings into the implied outlines of a graphic-developmental path, one where the ultimate telos is a mystical and perhaps unknowable entity called a “good drawing.”

joi, 4 aprilie 2013

luni, 25 februarie 2013

Solomon Marcus despre educatie si reforma educatiei

 Un articol in concordanta cu opinia mea despre educatie.

Solomon Marcus: Educatia, un bolnav cu diagnostic controversat

(...)Rani deschise ale educatiei
Iata cateva (categorii de) astfel de rani: a) ignorarea nevoilor si drepturilor fundamentale ale copilului si adolescentului; b) ignorarea imperativelor societatii globalizate actuale; c) absenta educarii unei frecventari adecvate a televiziunii si internetului, care, din acest motiv, raman in mare masura antieducationale; d) persistenta unei mentalitati inapoiate la multi parinti, educatori si factori de decizie, in ceea ce priveste obiectul educatiei; e) incapacitatea educarii unui comportament bazat pe valori umane; f) incapacitatea depasirii reprezentarilor fragmentare, impuse de organizarea pe discipline care nu prea comunica intre ele; g) persistenta unor programe de invatamant peste care s-a asezat de mult rugina si care rateaza cele mai spectaculoase evenimente ale istoriei stiintei din ultimii 150 de ani; h) manuale in mare parte plictisitoare, neatractive, uneori neinteligibile ; i) val puternic, un adevarat tsunami antieducational pe care strada, mass media, viata publica  il produc si care saboteaza in mare masura actiunea scolii; j) numar crescand de familii incapabile sa ilustreze, sa confirme intelepciunea celor « sapte ani de-acasa ».  Aceste aspecte patologice ale educatiei sunt strans legate intre ele, teritoriul fiecaruia se intersecteaza cu teritoriile celorlalte.
Nevoile si drepturile fundamentale ale copilului si adolescentului
Exceptand nevoile de adapost, imbracaminte si hrana, copilul si adolescentul nu-si constientizeaza nevoile, nu le pot exprima si nu pot revendica satisfacerea lor. Ca si in cazul animalelor, adultii trebuie sa preia aceasta responsabilitate. Numai ca acest lucru nu prea se intampla. De exemplu, o urmarire atenta a comportamentului unui copil, de la cea mai frageda varsta, ne dezvaluie nevoia sa de a intelege ce se intampla in jurul sau si cu sine. Toate simturile sale sunt in alerta, curiozitatea sa nu are margini, el se afla intr-o continua dinamica, in care jocul este expresia nevoii sale de libertate, de observare si experiment. Intrebarea « de ce? » il obsedeaza, dar pe multi parinti si educatori ii enerveaza. Incercari, greseli si esecuri fac parte din ceea ce este pentru el aventura cunoasterii, dar dreptul de a gresi si de a esua chiar in mod repetat este o componenta obligatorie a activitatii sale de explorare a mediului ambiant, este pretul inevitabil pe care trebuie sa-l plateasca pentru a dobandi capacitatea de a gandi cu capul sau si de a nu se pierde atunci cand se afla in situatii inedite. Daca am tine seama de acest fapt, n-am mai diaboliza greseala si esecul, acordandu-le un statut general de infractiune, am sti sa distingem intre greselile negative si cele provenite din actiunea de cautare, din asumarea unui risc.(...)

joi, 7 februarie 2013

Pentru cei care sunt interesati de Istoria Artei

Si stiu si engleza...
Lectii de Istoria Artei sub forma video le gasiti la KHAN Academy aici:

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