Art Theory, Art Filosophy,contemporaneous Practices

Podemos desconocer lo que tenemos cerca. Normalmente ignoramos lo más próximo: estamos acostumbrados, no nos causa extrañeza, ni admiración; por eso no nos hacemos preguntas. La pregunta que entraña una pretensión de saber, de averiguar, presupone la admiración: una extrañeza y una cierta maravilla. Maravillarse es advertir que no entendemos. La maravilla nos hace ver en lo ordinario algo insólito. Los filósofos de la antigua Grecia dijeron que la investigación y la filosofía nacieron de la admiración. Hoy en día se acepta que la humanidad posee un alto nivel de conocimiento científico, y eso la hace poderosa. Es cierto, pero dudamos si el edificio del saber humano es «seguro». Su prestigio ¿no se desplomaría si el hombre solo lo hubiera soñado, si fuera mera invención de nuestro deseo de seguridad?

Estas conferencias son, antes que nada, un intento de
presentar una contribución a la historia de las ideas; y dado que el término suele utilizarse en un sentido más vago del que yo deseo atribuirle, parece necesario, antes de entrar en la materia central que nos ocupa, hacer una breve descripción de la esfera, objetivos y métodos del tipo de investigación general para la que reservo esta denominación. Por historia de las ideas entiendo algo que es, a la vez, más específico y menos restrictivo que la historia de la filosofía.

Prendendo spunto dalle fotografie che appartengono a lavori come Paesaggi di cartone, Kodachrome e Still Life,realizzati da Luigi Ghirri tra il 1973 e il 1979, l’articolo sposta la loro lettura sul versante della «scienza senza nome» di Aby Warburg.
Moving from the photographs taken from series Paesaggi di cartone, Kodachrome and Still Life, produced by Luigi Ghirri between 1973 and 1978, the article shift their interpretation towards Aby Warburg’s “nameless science”.

Resumo: Arte como Religião é uma resposta poética à descrença nas 'Instituições que se dizem religiosas', mas que propagam a discriminação e intolerância social ao invés de alteridade. Uma investigação filosófica sobre o conceito de Religião e a sua relação com a Arte, associada à releitura artística do que vem a ser religioso, realizada através de uma instalação e performances. Um convite à reflexão e revisão de valores sociais, através da prática de rituais artísticos.

O propósito do presente artigo é trazer à luz breves considerações sobre os problemas inerentes à leitura e fruição da obra de arte contemporânea. Considerada por alguns críticos como uma arte de difícil acesso, onde os paradigmas e cânones tradicionais não são adequados ao seu entendimento. Essa a arte exige um novo olhar e uma postura dinâmica entre a obra comtemplada e o contemplador da obra, onde produção e interpretação estabelecem uma relação dialética. Pois, a obra de arte é necessariamente um estímulo a um processo de interpretação que por sua vez é o resultado de um processo de formação e de conhecimento ativo e pessoal.



Palavras-chave: arte contemporânea, arte conceitual, crítica e interpretação da arte



Abstract



The aim of this article is bring a briefly introduction about problems related to reading and interpretation of contemporary art work. Considered na artwork of difficult access by many critics, where the paradigms and traditional canons are not appropriated for this understanding. Thus artwork requires a new look and new dynamics posture berween the contemplate artwork and contemplator. Production and interpretation establish a dialectical relationship, once the artwork is a stimulus a process of training and active personal knowledge.

Keywords: contemporary art, conceptual art, criticism and interpretation of art

As they exist in their contemporaneous hubris!
Donations accepted at->https://1drv.ms/u/s!ApcspsqQAspIimwqeiBIin8ktjZN?e=e8eUQ0

https://beyondtribalism.blogspot.com/2022/05/as-they-exist-in-their-contemporaneous.html

Have what ever reasons you choose.
The reality and depths of the wretched destitution and unwanted misery reside in the fabric of this soulless civic, seeking the solution which their pain has numbed to an anesthetized dystopia avoidance for fear of losing this miserable existence's sensations-the sum total of their cherished being.

The sacred vernacular and colloquial that's used more for signifying and social posturing that became a cultural censor and consensus, than a clarifying analysis of 'what is', it is bastardized and prostituted worse than the human representations of those terms.

More insidious is the herd "bravado" that exists in defining what and who is by that vain and feckless 'sacred vernacular and colloquial' that allows shows of social consensus of performance cultural angst for comfort in the absence of engagement in moralistic grand standing in amoralistic circumstances!

As some have asked of my identity...

But first, to answer the comments of my verbalisms. It can be prose, which gives neutered, reductionist facts of instruction-or hopefully-information. Or it can be an abstract art that affects and forces us to no longer be detached, but emotionally engaged. I see that an "artist" is unconcerned of the value others will place on what's been created. Much as the MGM logo states, ARS GRATIA ARTIS [art for the sake of art], I attempt to cohere, if not adhere to the spirit of that dictum.

I do it for those souls living in muttering resentment to their secular overlords leverage of economic or emotional power over them. I do it for those inspiring souls, who-for me-were prematurely aborted by their Icarus lifestyles that were a misfit for their time and place. For these and others who aren't allowed or unable to have such a platform to procreate into the moment, I do this.
--------------------------------------
Speaking of 'procreation', I will address the defamations about my 'identity'. Unlike those who bind themselves to their provincial place in this time and space, I've come to see myself as an extrapolated, metamorphic reincarnation of the history of my birth date's agelessness heralding of endings/beginning of things. I am the progeny of the eruption of Vesuvius which buried Pompeii, the bringing to end of Rome by the Goths, the brutality done to the Huguenots in France, the winds of Hurricane Andrew upon the shores of southern Florida-the announcement/pronouncement of the change's advent-historically and seasonally. What dominated before was no more. I unconsciously, at first, and now more compulsively consciously now am and have been that irrepressible new moment which is an inherent challenge to those of smug presumption of what is in form and substance. THAT IS WHO I AM, beyond the identifiable an from the anonymous and anomalous.
                                      ---------------------------------
https://www.classifiedads.com/churches/3d5wjxbcd3c6z

Organizada por el Grupo de Investigación UCM 970903 - Arte, tecnología y compromiso social (ARTECO) de la Facultad de Bellas Artes de la UCM, celebrada en Madrid entre el 15 y 16 de diciembre de 2020, con la comunicación oral de Fran Sabariego Uceda, 'La deriva rural, residuo y radiactividad en Andújar'.

This essay focus on the impact of contemporary practices of self representation, also known as selfie, in the traditional forms of fruition of the artistic object. The many transformations of the ontological role of the artistic object, resulting in the last decade from the appearance of new concepts of “visual conviviality” have led us to read again the famous essay by Walter Benjamin, The Work of Art in the Age of Mechanical Reproduction. In fact, behind the phenomenon the recurring Selfiesation of the world we witness a clear injunction of the subject/observer on the «aura» and power of the artistic object. This clear desacralisation promotes the symbolic empowerment of the subject in detriment of the «aura» of the artistic object, changing its nature and bringing us to the unconscious arenas the social swarms do represent. This fact has led to the resurgence of threatening phenomena of denunciation of “degenerative art” under a growing and overwhelming aesthetic hygienism.

RESUMO Este ensaio pretende analisar o impacto das coetâneas práticas de auto-representação, vulgo selfie, nas tradicionais formas de fruição do objecto artístico. As inúmeras transformações do papel ontológico do objecto artístico, decorrentes, na última década, do surgimento de novos conceitos de "socialização visual", obrigam a uma releitura do célebre ensaio de Walter Benjamin, A Obra de Arte na Era da Sua Reprodutibilidade Técnica. Com efeito, por detrás do fenómeno que a recorrente selfiezação do mundo impõe, assiste-se hoje a uma clara injunção do sujeito/observador sobre a «aura» e poder do objecto artístico. Esta notória dessacralização promove o empoderamento icónico do sujeito em detrimento da «aura» do objecto artístico, descaracterizando-o e remetendo-o para as inconscientes arenas que os enxames sociais representam. Este facto, tem motivado o ressurgimento de ameaçadores fenómenos de denuncia de "arte degenerada", promovidos por um renovado e avassalador higienismo estético.

ABSTRACT This essay focus on the impact of contemporary practices of self-representation, also known as selfie, in the traditional forms of fruition of the artistic object. The many transformations of the ontological role of the artistic object, resulting in the last decade from the appearance of new concepts of "visual conviviality" have led us to read again the famous essay by Walter Benjamin, The Work of Art in the Age of Mechanical Reproduction. In fact, behind the phenomenon the recurring Selfiesation of the world we witness a clear injunction of the subject/observer on the «aura» and power of the artistic object. This clear desacralisation promotes the symbolic empowerment of the subject in detriment of the «aura» of the artistic object, changing its nature and bringing us to the unconscious arenas the social swarms do represent. This fact has led to the resurgence of threatening phenomena of denunciation of "degenerative art" under a growing and overwhelming aesthetic hygienism.