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.

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