Signs of Non-Objectivity in Bulgarian Sculpture

2020 ◽  
Vol 4 (1) ◽  
Author(s):  
Ilko Nikolchev ◽  
Keyword(s):  
Real World ◽  
Creative Process ◽  
Urban Spaces ◽  
Land Art ◽  
Environmental Art ◽  
Work Of Art ◽  
Site Specific ◽  
Avant Garde ◽  
The World ◽  
The Mind

The non-objective work of art is unrelated to real-world objects. The essence of non-objective art is that the work completes in the mind of the viewer, and he creates his own interpretation. In this sense, the viewer is involved in the creative process and interacts with the work of art. The expressive means and techniques of nonobjective sculpture are at the heart of some of the most avant-garde art movements, such as minimalism, land-art, site-specific art and environmental art. Some examples of non-objective sculpture flow from symposium sculpture, which later evolves into urban spaces. The first international symposiums, where Bulgarian authors work with their foreign colleagues and get acquainted with various artistic practices, influence the Bulgarian sculpture. The non-objective sculpture has its manifestations in Bulgarian art, though later. The works of some Bulgarian authors play an important role in the changes in the Bulgarian sculpture and in the integration into the world processes.

Carl Michael von Hausswolff

2008 ◽  
Vol 13 (1) ◽  
pp. 21-29 ◽  
Author(s):  
Daniela Cascella
Keyword(s):  
Visual Arts ◽  
Installation Art ◽  
Site Specific ◽  
Sound Installation ◽  
Avant Garde ◽  
Wide Range ◽  
The World ◽  
Art Photography ◽  
Conceptual Research ◽  
Audio Production

AbstractFor over twenty years, Swedish artist Carl Michael von Hausswolff (born 1956 in Linköping) has been giving shape to a range of works which push the boundaries of sound experimentation and reach out into installation art, photography, video, performance and curating projects. Stemming from his experiments with tape and investigations into EVP (Electronic Voice Phenomena) throughout the 1980s and 1990s, and setting up a number of ongoing collaborations with artist Leif Elggren and with a wide range of experimental musicians in the collective, site-specific sound installation freq_out, von Hausswolff's work spans the undefined territory between sound and the visual arts – he has done so, also by organising exhibitions such as the 2nd Göteborg Biennial in 2003. His audio production, using devices such as oscillators, tone generators, microphones attached to electricity circuits, is inextricably linked to his visual and conceptual research, always addressing issues of borders, interior/exterior, liminal states and hidden fluxes of energies. At the forefront of international experimentation, his work has been featured in some of the most important exhibitions and museums in the world, and his audio pieces have been published by the most remarkable avant-garde labels.

scholarly journals Embodiment and the Philosophy of Mind

1998 ◽  
Vol 43 ◽  
pp. 35-51 ◽  
Author(s):  
Andy Clark
Keyword(s):  
Problem Solving ◽  
Real World ◽  
Philosophy Of Mind ◽  
Local Environment ◽  
Inner Model ◽  
The World ◽  
Cognitive Scientist ◽  
Biological Problem ◽  
The Mind

Cognitive science is in some sense the science of the mind. But an increasingly influential theme, in recent years, has been the role of the physical body, and of the local environment, in promoting adaptive success. No right-minded cognitive scientist, to be sure, ever claimed that body and world were completely irrelevant to the understanding of mind. But there was, nonetheless, an unmistakeable tendency to marginalize such factors: to dwell on inner complexity whilst simplifying or ignoring the complex inner-outer interplays that characterize the bulk of basic biological problem-solving. This tendency was expressed in, for example, the development of planning algorithms that treated real-world action as merely a way of implementing solutions arrived at by pure cognition (more recent work, by contrast, allows such actions to play important computational and problem-solving roles). It also surfaced in David Marr's depiction of the task of vision as the construction of a detailed threedimensional image of the visual scene. For possession of such a rich inner model effectively allows the system to ‘throw away’ the world and to focus subsequent computational activity on the inner model alone.

scholarly journals The Phenomenon of World Image in Fine Arts

2021 ◽  
pp. 14-17
Author(s):  
Natal’ya L. Varova
Keyword(s):  
Creative Process ◽  
Fine Arts ◽  
Self Awareness ◽  
Modern Times ◽  
The World ◽  
The Creation ◽  
The Mind ◽  
Artistic Image ◽  
Material Form ◽  
World Image

The article shows that the basis of the achievements of the Modern Times art is the formation of the idea of the world in the mind of the artist. The attractor, the assemblage point of the phenomenon is the completeness of the experience of the multidimensional composition of being. The phenomenon of the image of the world is formed in voluntary acts of self-awareness throughout the artist’s life. In the creative process, the development of an ideal artistic image and the creation of a material form of its embodiment occur in relation to the phenomenon of the image of the world.

Introduction

2020 ◽  
pp. 171-182
Author(s):  
Gillian Knoll
Keyword(s):  
Dynamic Process ◽  
Creative Process ◽  
Daily Life ◽  
Collaborative Work ◽  
Kenneth Burke ◽  
Work Of Art ◽  
Twelfth Night ◽  
The World ◽  
The Subject

Part III studies characters who conceive of desire as a dynamic process of mutual creation. These introductory pages explore the world-making capacities of the metaphor ‘Love is a Collaborative Work of Art,’ which conceptualises love as artfully creating a reality. This creative process often invites a third entity—a filter, a buffer, or an instrument—that mediates between the subject and object of desire. When Kenneth Burke writes about the role of instruments in daily life, he emphasises the instrument’s ontological connection, its potential fusion, with the subject who deploys it. This section explores this dynamic connection in the collaborative work of art that is Shakespeare’s Cesario. In Twelfth Night, Cesario is an ongoing process rather than a finished product. An erotic subject, object, and instrument, Cesario keeps becoming Cesario through his/their continued exchanges with Orsino and Olivia.

The Russian Futuristic Experiment: the Language of the Poetic Resistance

2020 ◽  
Vol 29 (2) ◽  
pp. 261-272
Author(s):  
Magdalena Kostova-Panayotova
Keyword(s):  
Nineteenth Century ◽  
20Th Century ◽  
Artistic Expression ◽  
Poetic Language ◽  
Creative Mind ◽  
Avant Garde ◽  
The World ◽  
Poetic Text ◽  
The Subject ◽  
The Mind

The main Avant-garde trend in the first third of the 20th century, Futurism, through its various groups and creative personalities, upholds its own conception of art and creator, strives to give a contemporary image of the world, to reveal the hidden essence of things, the inner relation of the elements. According to Futurism, art is meant to change lives, but not as it seems in the writings of nineteenth-century realists: by influencing the rational and changing the mind of the reader. The development of a new artistic expression, in a new poetic language, the use of contemporary forms of artistic conditionality have become major tasks for the generation of poets and artists from the 1910s. Poet futurists reduce the language of literature to its traditional understandings, neglect its inherent rules and laws, because they accept it as something external to the subject, which impedes the expression of its essence. From the depiction of the object to its expression - this is how the break in the creative mind of the futuristic author can be characterized. The linguistic revolution, effected with poetic means by the futurists, is a desperate and utopian attempt to acquire the organic integrity of the world, thirsting for its transformation. Thanks to futurism, the register of poetic techniques was expanded in the 20th century and directions were created for the creation of new expressive means of writing poetic text.

scholarly journals Sustained representation of perspectival shape

2020 ◽  
Vol 117 (26) ◽  
pp. 14873-14882 ◽  
Author(s):  
Jorge Morales ◽  
Axel Bax ◽  
Chaz Firestone
Keyword(s):  
Real World ◽  
Empirical Test ◽  
Three Dimensional ◽  
Paradigm Case ◽  
Foundational Principle ◽  
The World ◽  
Heated Debate ◽  
Dual Character ◽  
The Mind ◽  
Objective Shape

Arguably the most foundational principle in perception research is that our experience of the world goes beyond the retinal image; we perceive the distal environment itself, not the proximal stimulation it causes. Shape may be the paradigm case of such “unconscious inference”: When a coin is rotated in depth, we infer the circular object it truly is, discarding the perspectival ellipse projected on our eyes. But is this really the fate of such perspectival shapes? Or does a tilted coin retain an elliptical appearance even when we know it’s circular? This question has generated heated debate from Locke and Hume to the present; but whereas extant arguments rely primarily on introspection, this problem is also open to empirical test. If tilted coins bear a representational similarity to elliptical objects, then a circular coin should, when rotated, impair search for a distal ellipse. Here, nine experiments demonstrate that this is so, suggesting that perspectival shapes persist in the mind far longer than traditionally assumed. Subjects saw search arrays of three-dimensional “coins,” and simply had to locate a distally elliptical coin. Surprisingly, rotated circular coins slowed search for elliptical targets, even when subjects clearly knew the rotated coins were circular. This pattern arose with static and dynamic cues, couldn’t be explained by strategic responding or unfamiliarity, generalized across shape classes, and occurred even with sustained viewing. Finally, these effects extended beyond artificial displays to real-world objects viewed in naturalistic, full-cue conditions. We conclude that objects have a remarkably persistent dual character: their objective shape “out there,” and their perspectival shape “from here.”

scholarly journals The conjunction of art and life: Ontology of the site

2015 ◽  
Vol 7 (2) ◽  
pp. 223-230
Author(s):  
Bojana Matejić
Keyword(s):  
Common Denominator ◽  
Use Value ◽  
Political Theatre ◽  
Site Specific ◽  
Avant Garde ◽  
The World ◽  
The Common

Art becoming life and its relative convergence to the ideality of autarky (aὐtάrceia), implies a maxim which coincides with the emancipatory promise of Art. NEO-Marxist authors have prescribed this maxim to Marx's early works, particularly to the thesis from his Economic and Philosophic Manuscripts of 1844, and elaborated it further on these grounds. This maxim has been applied by many avant-garde movements up to the contemporary moment: Bertold Brecht's political theatre, Guy Debord's situationism, site-specific art, fluxus, Joseph Beuys's social sculpture, etc. The common denominator of all these avant-garde practices is the imperative of an affirmation of their use-value - their realisation at the site of their own production, as opposed to the abstractness of their placement in the world. The site of this production is the site of the very production of sociability. Accordingly, the aim of this paper is to examine the maxim art becoming life in the wake of Badiou's ontology of the site by using the example of the modality of site-specific works in the conditions of contemporaneity.

scholarly journals Estetiche della percezione

2007 ◽  
Keyword(s):  
Work Of Art ◽  
Symbolic Form ◽  
The Third ◽  
The Arts ◽  
The World ◽  
Lively Debate ◽  
The Mind ◽  
Contemporary Artists

This book is a continuation of the lively debate launched in Dall'oggetto estetico all'oggetto artistico which the same editors published with Firenze University Press. The argument of the book is the organic link connecting the two thematic axes that define the ambit of aesthetics: the theory of perception and reflection on the arts. The apparent tautology of the title is intended to stress how the interpenetration of perception and work of art is structural and organic, thus calling up the theoretical urgency of this problem for an effective understanding of the dynamics of the sense of art as a "symbolic form" in which the relation between the mind and the world is embodied in an exemplary manner. The book is divided into three sections. The first presents nuclei of reflection emerging from unconventional contemporary perspectives. The second addresses various angles of the theory of perception. Finally, the third part explores several cases in which contemporary artists have tackled the link between expressive practice and the articulation of perception.

Metacinema

2021 ◽  
Keyword(s):  
Film Studies ◽  
Critical Study ◽  
Everyday Experience ◽  
Work Of Art ◽  
Avant Garde ◽  
Cultural Phenomenon ◽  
Global Cinema ◽  
The World ◽  
First Time ◽  
Selection Of

When a work of art shows an interest in its own status as a work of art—either by reference to itself or to other works—we have become accustomed to calling this move “meta.” While scholars and critics have, for decades, referred to reflexivity in films, it is only here, for the first time, that a group of leading and emerging film theorists joins to directly and systematically address with clarity and rigor the meanings and implications of the meta for cinema. In ten new essays and a selection of vital canonical works, contributors chart, explore, and advance the ways in which metacinema is at once a mode of filmmaking and a heuristic for studying cinematic attributes. What we have here, then, is not just an engagement with certain practices and concepts in widespread use in the movies (from Hollywood to global cinema, from documentary to the experimental and avant-garde), but also the development of a veritable and vital new genre of film studies. Since metacinema has become an increasingly prominent cultural phenomenon—a kind of art and logic familiar to everyday experience around the world—its abundance and pervasiveness draws our attention. With more and more films expressing reflexivity, recursion, reference to other films, mise en abîme, seriality, and exhibiting related intertextual traits, the time is overdue for the kind of capacious yet nuanced critical study now in hand.

scholarly journals Passivity and leveling Husserl, Heidegger and Hugo Ball

2016 ◽  
Vol 27 (1) ◽  
pp. 225-236
Author(s):  
Dragan Prole
Keyword(s):  
Martin Heidegger ◽  
Work Of Art ◽  
Avant Garde ◽  
Passive Synthesis ◽  
The World ◽  
Average Work ◽  
Important Trait ◽  
The Common ◽  
Forms Of Knowledge

The first part of this paper explores the kinship in diagnosis of contemporaneity of Hugo Ball and Martin Heidegger. Both thinkers recognize leveling as an important trait of their age. In Ball?s terms, leveling is identified with the apocalyptic abolishment of humanity. That happens by equalizing all of human creation, which becomes possible only after the abolishment of the hierarchy of values, thanks to which it was previously possible to distinguish a work of art from an average work. With Heidegger, leveling is equated with the perverted forms of curiosity. Unlike the former forms of curiosity, coupled by the common desire for deeper insight, modern curiosity is fairly superficial, let loose with no boundaries to all the impressions which supersede the expected and already seen. In the second part of the paper, Husserl?s term of passive synthesis is examined, so we can observe the intervention of phenomenology from the perspective of deconstruction of the effects of leveling. I conclude with a warning that we cannot protect ourselves from the world to which we are exposed by natural subjectivity and conventional forms of knowledge. Which insight leads us to revert to the sources of subjectivity, the idea common to both the avant-garde and the phenomenologists.

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