In my last post I concluded that we observe the following, today, in Late-Modernity:
1. Artists have reached a plateau of confusion and absurdity. Henceforth most everyone thinks that art is "whatever" one decides it to be.
2013-07-22
2013-07-21
Worldviews versus propaganda or art versus advertisement.
My last series of posts dwelled on "the meaning of art", "the great
Modernist bungle" and how scientific visualizations came to surpass
visual artists' productions in their role at depicting the views of the
men of knowledge of the day about what reality is all about.
Before jumping in the fray of contemporary art creation and what it entails to be a real artist,
Before jumping in the fray of contemporary art creation and what it entails to be a real artist,
2013-06-22
About the meaning of art.
"Long distance history" finds its roots, most often, in chance archaeological discoveries. Those discoveries, at least regarding art productions, relate to objects that go as far back in time as one hundred thousand years (very rough approximation based on the present state of our knowledge). This distance could well be pushed back further down in time after more chance discoveries in the future. But objects spanning one hundred thousand years of artistic practice should suffice, for us here, to come to valid conclusions regarding what is art.
2012-04-21
2012-03-28
Pleasure and the polarities of humanity.
I'm firmly convinced that the premise of a healthy thinking resides in the recognition that the societal and the individual are the two polarities of humanity. They are interdependent. They need each other. But at the same time their interactions are fraught with conflict and that conflict acts in a similar fashion as the collisions between the polarities of electricity. The result is a burst of energy that powers the movement forward of their constitutive unity. That means that change in human affairs is powered by the collisions between the societal and the individual.
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