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"Paragraphs on Conceptual Art"
Abstract
Artforum (June, 1967). The editor has written me that he is in favor of avoiding "the notion that the artist is a kind of ape that has to be explained by the civilized critic". This should be good news to both artists and apes. With this assurance I hope to justify his confidence. To use a baseball metaphor (one artist wanted to hit the ball out of the park, another to stay loose at the plate and hit the ball where it was pitched), I am grateful for the opportunity to strike out for myself. I will refer to the kind of art in which I am involved as conceptual art. In conceptual art the idea or concept is the most important aspect of the work. When an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes a machine that makes the art. This kind of art is not theoretical or illustrative of theories; it is intuitive, it is involved with all types of mental processes and it is purposeless. It is usually free from the dependence on the skill of the artist as a craftsman. It is the objective of the artist who is concerned with conceptual art to make his work mentally interesting to the spectator, and therefore usually he would want it to become emotionally dry. There is no reason to suppose, however, that the conceptual artist is out to bore the viewer. It is only the expectation of an emotional kick, to which one conditioned to expressionist art is accustomed, that would deter the viewer from perceiving this art. Conceptual art is not necessarily logical. The logic of a piece or series of pieces is a device that is used at times, only to be ruined. Logic may be used to camouflage the real intent of the artist, to lull the viewer into the belief that he understands the work, or to infer a paradoxical situation (such as logic vs. illogic). Some ideas are logical in conception and illogical perceptually. The ideas need not be complex. Most ideas that are successful are ludicrously simple. Successful ideas generally have the appearance of simplicity because they seem inevitable. In terms of ideas the artist is free even to surprise himself. Ideas are discovered by intuition. What the work of art looks like isn't too important. It has to look like something if it has physical form. No matter what form it may finally have it must begin with an idea. It is the process of conception and realization with which the artist is concerned. Once given physical reality by the artist the work is open to the perception of al, including the artist. (I use the word perception to mean the apprehension of the sense data, the objective understanding of the idea, and simultaneously a subjective interpretation of both). The work of art can be perceived only after it is completed.
... Algoritmik rastgelelik kullanılan sanatsal süreçlerde, düzen ve onun oluşturduğu parça dizileri düzensizliğe geçişi kolaylaştırmak için kullanılmaktadır. Karmaşıklığın ardındaki basit formlar çalışma alanını daraltır ve biçim araç olurken, bu düzenleme amaç olmaktadır (Lewitt, 1967). Sayısal tasarım araçları, sayma işlemlerini gerçekleştirme, parçaları düzenleme ve işleyebilme yeteneğine sahip olmaktadırlar. ...
... Dadaizm ve kavramsal sanat gibi akımlar, sanat eserlerinin fiziksel özelliklerinden ziyade kavramsal ve düşünsel boyutunu vurgulamıştır. Kavramsal sanat, sanatın sadece görsel bir ifade aracı olmaktan çıkıp, aynı zamanda bir düşünme ve iletişim aracı olarak da kullanılması fikrini benimsemiştir (Lewitt, 1967). Sayısal üretimlerde de benzer bir durum söz konusudur. ...
The field of Mereology offers an understanding of the object-oriented dynamics between component parts and theirholistic integrations. Within this framework, architectural form creates a rich landscape of possibilities stemmingfrom the complex interactions among various living and non-living elements. In this perspective, each entity operateswithin its own objective reality, contributing to the rich fabric of relationships that shape architectural form. In thisform-centric approach, deliberate design efforts are complemented by the influences of chance events andrandomness in the assembly of elements. The impact of randomness extends to traditional structural designprocesses, but this effect becomes more pronounced in digital computational environments. As we transition intodigital reality, the representation of objects gains independent significance from their physical counterparts. Here,randomness plays a decisive and constructive role in shaping the digital landscape and forming structures. In thiscontext, this study aims to elucidate the essence and consequences of randomness in the formation of architecturalform. Through meticulous examination of specific examples from form-finding studies, the goal is to determine theextent of randomness's influence.
... The figure who is identical with this school is Marcel Duchamp. In conceptual art, an idea or concept is the most important aspect of a work [1]. When an artist uses a conceptual art form, it means that all planning and decisions are made beforehand and their execution is a perfunctory affair [1]. ...
... In conceptual art, an idea or concept is the most important aspect of a work [1]. When an artist uses a conceptual art form, it means that all planning and decisions are made beforehand and their execution is a perfunctory affair [1]. In essence, conceptual art invites artists to put forward the image of the concept of the work. ...
... The character of contemporary art prioritizes the cognitive idea over the harmonious execution of its form. This is exemplified by the statement, "The idea or concept is the most important aspect of the work," which states that "the execution is a perfunctory affair" [28]. Tara creates work intended for a new form of regard "in conscious opposition to" a form of regard accepted as correct in the past [29]. ...
The gallery will select various forms of contemporary artworks based on a range of aesthetic criteria preferences ranging from concept, form, subject matter, relevance to social issues, symbolism, shocking materials, personal feelings, craftsmanship, innovation, current popularity, and others. The selection process for each exhibition dynamically considers these criteria, allowing the gallery to cater to market demands and introduce new aesthetic perspectives to advance Indonesian art. Therefore, this study aims to identify the parameters of aesthetic values used in collecting and exhibiting contemporary art in various galleries in Semarang and Yogyakarta, Indonesia. A descriptive qualitative method with a case study design explored art criticism, formalism, and deconstructivism. The sample population comprised contemporary art created by professional and emerging artists, which was exhibited between 2012 and 2022. Data were obtained from art samples, artists, appreciators, gallery owners, curators, and critics. Owners and curators were required to complete the questionnaire, followed by interviews, documentation, and observation. Conclusions were then drawn by examining the conceptual relationships in each choice of aesthetic value parameters selected by the gallery to identify aesthetic characteristics. The results showed preferences for contemporary reality, uniqueness attached to complex and complicated form processing, technical skills, and exploration of local idioms. Semarang Gallery presented art with unique dimensions beyond mainstream aesthetics. Intellectual ideas can be seen in Andy Dewantoro's 'Isolation', a work demonstrating a metalinguistic concept. The convention of landscape painting, typically characterized by vibrant colours, is challenged and interrogated through scenes rendered solely in black, white, and grey. The artistic mode of art at Semarang Gallery was also more innovative than that of Sangkring Art Space and Kiniko Art, which had several repetitions. Meanwhile, Sangkring Art Space and Kiniko Art focused more on the beauty of visualization than the criticality of visualization. The visual aesthetic in Nurhidayat's "Erotique, Toxique, Exotique" and Anton Afganial's "Uncertainty" present a visual aesthetic that emphasizes poetic functions. These paintings are complex, unified, and intense.
... This is particularly applicable in the upper-level comprehensive studios where generative and implementive aspects of design need to be reconciled. In parametrically defined BIM environments, students can explore designs that are native to the world of constructionthat do not have to be translated or reinvented as a result of the progression from a conceptual idea to a real product [figs 6,7,8]. However, to be effective, this method has to approach design from a perspective characterized by inductive thinking, from particular to global, from the precedence to a qualitatively new design. ...
... The core of Conceptual Art tendency is: "The idea, planning and production process of the artwork were seen as more important than the actual result" or "The idea or concept behind the work of art became more important than the actual technical skill or aesthetic". [4,8] Considering the current situation of Vietnamese architecture, the theories related to conceptual aspect in general are still a new topic that has not received adequate attention from scholars. However, in recent years, many studies concerning this subject have clearly shown much improvement. ...
Each country's architecture has its own characteristics in cultural expression, they were created based on traditional values that passed down from generation to generation. Despite a complicated historical background with wartime and acculturation with foreign countries, ancient Vietnamese still formed their own independent cultural notions leading to the traditional architecture with graceful form and distinctive characteristics. Simultaneously, to create spiritual values for architecture, they cleverly metaphorized spiritual messages and cultural notions into traditional architecture's form. This paper will focus on analysing and presenting outstanding characteristics belonging to intangible aspects of traditional architecture in the Northern Delta, as a typical representation of Vietnamese architecture in the period preceding cultural exchange with the Western world. We believe that they have practical values and are suitable for the current era in such a way that contemporary Vietnamese architecture can inherit to create its own identity without falling too far into mechanically imitate traditional architecture's details and forms as it does today.
... Sol LeWitt, the first to use the term "conceptual art" in an article in 1967, wrote primarily about the separation between coming up with an idea for a project and executing it. 19 The division of labor into two steps that he wrote about is not dissimilar to Lurçat's conception of weaving, first prepared by cartoon painters, then executed by craftsmen. 20 This way of working was completely foreign to Lupas. ...
... In his 1967 "Paragraphs on Conceptual Art," the separation between conception and execution is clear. 15 In keeping with Aristotelian tradition, the idea comes from the artist's head and is realized by the craftsman. Nothing disrupts the relationship between the plan and its execution, which one might call transparent. ...
... The artists who refine their prompts and train the AI with their own data, such as Peter the Roman, are operating similarly to earlier systems artists such as Manfred Mohr, the computational artist or the conceptual artist Sol LeWitt, both of whom used rules to produce work. LeWitt famously stated in the Artforum article Paragraphs on Conceptual Art (1967), 'In conceptual art the idea or concept is the most important aspect of the work' and 'The idea becomes a machine that makes the art' (LeWitt 1967). He demonstrated this in his wall drawings, which he developed as a set of instructions, which were then executed by others as drawings or wall paintings. ...
The distribution of authorship in the age of machine learning or artificial intelligence (AI) suggests a taxonomic system that places art objects along a spectrum in terms of authorship: from pure human creation, which draws directly from the interior world of affect, emotions and ideas, through to co-evolved works created with tools and collective production and finally to works that are largely devoid of human involvement. Human and machine production can be distinguished in terms of motivation, with human production being driven by consciousness and the processing of subjective experience and machinic production being driven by algorithms and the processing of data. However, the expansion of AI entangles the artist in ever more complex webs of production and dissemination, whereby the boundaries between the work of the artist and the work of the networked technologies are increasingly distributed and obscured. From this perspective, AI-generated works are not solely the products of an independent machinic agency but operate in the middle of the spectrum of authorship between human and machine, as they are the consequences of a highly distributed model of production that sit across the algorithms and the underlying information systems and data that support them and the artists who both contribute and extract value. This highly distributed state further transforms the role of the artist from the creator of objects containing aesthetic and conceptual potential to the translator and curator of such objects.
... Ultimately, the definition of art remains a multifaceted and contested concept, reflecting the diverse and dynamic nature of artistic expression. Conceptual art transcends physical properties, focusing on the underlying idea that serves as the foundation for the artwork, as noted by Lewitt (1996, cited in Boden, 2012. This perspective challenges traditional definitions of art, which are no longer seen as standalone concepts. ...
The interplay of architecture and visual arts significantly shapes the built environment. While conceptual art, specifically visual arts, has garnered substantial attention in the contemporary art world, its roots in African art and traditional architecture have been largely overlooked. The prevailing narrative situates conceptual art as a solely European phenomenon, neglecting the contributions of African cultures. This article seeks to address this knowledge gap by examining the classification of traditional Igbo residential buildings in SouthEast Nigeria within the context of visual arts. The primary objective is to enhance the synergy between architectural and visual arts disciplines. An in-depth study of various traditional Igbo residential buildings in the SouthEastern geopolitical zone was conducted to achieve this. By investigating the visual arts context of traditional Igbo architecture, this research highlights the significance of African art and traditional architecture in the development of conceptual art, fosters a deeper understanding of the interconnections between architecture and visual arts and contributes to a more inclusive narrative of art history, acknowledging the influence of African cultures on modern art movements.
... It is because of this precondition that the genius remains in the room even if an artwork works to dissolve that relation through critique; a lazy example on my part, but this is evident in Warhol's appeals to mass production that inevitably turned up the spotlight on the "manager" of the factory, or as Helen Molesworth lampooned Sol LeWitt's famous line, "The idea becomes a machine that makes the art": "But machines do not make LeWitt's wall drawings; assistants do." 15 In other words, (cultural) production, even in a collective form, can fall prey to the individuation made embodied in the gesture, not to mention the hierarchies produced by the fluctuations in variable capital in the art sector. Among other things, this of course reduces possibilities for solidarity; as Fred Moten has remarked, "Individuation is the incarceration of difference." ...
This article argues that, by looking to the generalization of a certain kind of artistic or creative character in paradigms of work, there is a view onto a different kind of relationship between culture and militant action and fugitivity. Here, the term destituent art is proposed to sketch out a form of cultural production that does or might lay waste not only to institutional targets of critique but also to the structurally immanent belief in institutional reform that underlies the aesthetics of that critique. It is an invitation to reconsider some key myths that structure art discourse (even if they appear as objects of critique) and an appeal to read that discursivity as not just productive but potentially destituent. To do so, the author reads operaismo's rereading of Marx against Marxism alongside theorizations of destituent insurrection through the subject of the artist. Some recent social movements in New York City targeting art institutions are analyzed to consider this connection. Like Colectivo Situaciones’ discussion of destituent insurrection as a grammar that unifies surplus populations through their expressions of refusal (the riot, the strike, the commune) that are simultaneously modes of reorganizing forms of life, a destituent art would not signal a turn to a productive pessimism—that all creative work is already subsumed—but that the cultivation of destituent power actualizes and is actualized by the aesthetic production of places of action.
... The underlying reason for such disparities is the lack of geo-specific context. 27 Most AI models are trained on datasets that predominantly reflect Western, urban, and industrialized perspectives, often marginalizing other crucial global narratives. ...
This research delves into the potential of implementing artificial intelligence in architecture. It specifically provides a critical assessment of AI-enabled workflows, encompassing creative ideation, representation, materiality, and critical thinking, facilitated by prompt-based generative processes. In this context, the paper provides an examination of the concept of hybrid human–machine intelligence. In an era characterized by pervasive data bias and engineered injustices, the concept of hybrid intelligence emerges as a critical tool, enabling the transcendence of preconceived stereotypes, clichés, and linguistic prejudices. This paper not only explores the applied and generative capacities of AI-enabled workflows but also suggests fundamental approaches that can enhance the creative process and confront the embedded biases and injustices within data-driven systems.
... When an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair. (LeWitt 1967) In other words, the idea or concept behind a work is more important than the actual artwork. This very notion already poses a challenge to copyright law because the subject of copyright protection is the expression of a creative idea, rather than the idea itself (Article 2, WIPO Copyright Treaty). ...
The conservation of works of contemporary art is a complex endeavour and involves a variety of actors. As well as the artist, museums, collectors, gallerists and conservators are involved in activities relating to conservation. It is not self-evident that all of them will have the same interests when dealing with a contemporary artwork. Conflicts can occur in relation to the conditions of ownership, access, display, and integrity of the artwork. In order to manage a divergence of expectations, it is essential for parties to trust that they will work according to shared values and beliefs. This chapter explores the relationship between artists and museums in terms of trust and control and considers the role that contracts can play to manage expectations of artists and museums, and to regulate aspects of the conservation of contemporary artwork currently not addressed by copyright law. Drawing on literature from the fields of sociology and art, we explore how trust and control influence the relationship between the artist and the museum. Legal doctrinal methods help us to explain how copyright law applies to aspects of the conservation of contemporary art, and what provisions contracts could include to address parties’ expectations.
The text and software experiments on international law and technology collected in this volume produce an irritating echo. It is an irritating echo because, at times, the algorithmic attempts to modify, create, and translate legal texts reveal residual traces of reality which rigorous and systematic legal processes aimed to eradicate. Conversely, it is also irritating because, at times, the algorithmic engagement with law surpasses the lawyer’s desire to reduce reality into legal form by ruthlessly succeeding with the expulsion of any non-technological elements from the realm of legal language.
Основною ціллю є насамперед огляд особливостей використання у творчості молодого українського композитора Романа Григорів (р.н. 1984) техніки концептуальної музики на прикладі деяких з його творів та ознайомлення з самим напрямом концептуальної музики, що відобразилося також у розкритті філософського та мистецького підґрунтя цього новітнього композиторського напряму. Результатами дослідження є зокрема аналіз твору «The Voice of Hell’s Arrow», створеного для струнного оркестру «Київська камерата» та уламків детонованої російської ракети БМ-27 «Ураган», який був детально досліджений за наступними параметрами аналізу: фактура, гармонія, семіотичні компоненти тематичного матеріалу, драматургічний розвиток, форма та деякі аспекти оркестрової техніки. В контексті техніки концептуальної музики були також розглянуті наступні твори композитора: ‘археологічна’ опера «CHORNOBYLDORF» та опера GAIA-24. Сформульовані основні визначення, дотичні напряму концептуальної музики, з урахуванням філософських та хронологічних контекстів досліджуваного явища. Наукова новизна полягає у виборі творів, які на момент створення статті ще не були дослідженими в аспекті напряму концептуальної музики у вимірі музикознавчо-наукової сфери. Важливим є звернення українського композитора Романа Гри-горів до техніки концептуальної музики є важливим кроком до інтеграції українського музичного контенту у світовий музикознавчий простір, а музичні приклади, увага яким приділена у статті, є також унікальними в плані обраної тематики, тому що вони безпосередньо стосуються актуальних подій війни в Україні і таким чином звертають на себе увагу і як приклади творів концептуального напряму національного значення, і як приклади творів світового значення, враховуючи вагомий вплив на світ цієї війни.
Can games be used to communicate theoretical knowledge that is relevant to game studies? Like conceptual works of art, some games are designed to convey intellectually significant ideas in ways that are not exclusively linguistic. Drawing from art theory, we argue that the kinds of ideas one can experience practically and first- hand through ‘conceptual games’ can be of three kinds: socio-political, philosophical, or self-reflexive. Conceptual games that take a self-reflexive stance in particular communicate knowledge about games themselves, about their expressive conventions and their relationships to players’ expectations. While the quality of being self-reflexive does not by itself grant a game the status of a theoretical contribution to game studies, there are self-reflexive games that explicitly address theories and texts in the field. Among the few existing examples of self-reflexive games that were deliberately developed as scholarly contributions to game studies, Doors (the game) (Gualeni & Van de Mosselaer 2021) is discussed and analyzed as a particularly relevant case study.
The extended family system in the Ghanaian culture is akin to the growth of a gourd or calabash vine. This parallel assertion underpins the common bond and belonging of family members, emphasizing the necessity of mutual responsibility, care, and cooperation. Each gourd contributes to the vine’s health, just as each family member contributes to the well-being and stability of the extended family. The basic concept of this study is to depict the extended family system philosophically utilizing various bottle types. The study utilised a qualitative research approach and a descriptive research design with Marshall’s Aesthetico Action research cycle. To maintain consistent supplies of these bottles, a one-of-a-kind mould was constructed using one original bottle as a template. The tangible conceptual artistic composition was created by combining clay, iron rods in the form of metallic rings, acrylic paints, and glazes. Their composition highlights the contrasts in resilience, temperament, charm, perspective, affluence, age, intrinsic attributes, and other characteristics among extended family members and stresses the underlying cohesiveness. Results revealed that art in the form of ceramic sculpture composition can serve as a conduit pipe to establishing family standards of identity, loyalty, and responsibility; thus projecting the significance of artistry in socio-cultural dynamics.
The main purpose of this study is to examine the use of ceramic material as a means of expression in experimental art practices, especially in process-based production approach, and to explain how the consistency differences of ceramic clay can be handled as the speech act of the material through personal practices. In line with this aim, a literature review was conducted to understand the interactions between ceramic material and experimental art.
Although experimental art attracts considerable attention today, it has been determined that there is a lack of analyses in the literature on its relationship with ceramics and the role of ceramic clay in experimental art. In this context, it is aimed to contribute to the literature by explaining how ceramic clay facilitates the dynamic dialogue between the artist and the material with its unique properties and formal transformations. Within the scope of the research, qualitative research method was used and the artworks of Gabriel Orozco, Funda Susamoğlu, Ömer Emre Yavuz and Héctor Zamora, who produced works suitable for the subject, were analysed. These analyses reveal how the texture, plasticity and the reactions of ceramic clay to physical interventions contribute to the formation of aesthetic results.
Furthermore, the contribution of randomness, a fundamental element of experimental practice, to form through the interaction between artist and material is emphasised. In addition, how the consistency of ceramic clay can be handled in experimental art as the speech act of the material is explained through examples of personal works. As a result of the research, it is stated that ceramics is used not only as a tool in artistic practices, but also as an intellectual and sensory language. It is emphasised that ceramics plays an active role in the creative process and offers new possibilities to the artist. In doing so, it is emphasised that the understanding of ceramics in contemporary art should change and at the same time, material-based dialogue should be preferred more as a method to reach innovative artistic expressions.
In the twenty-first century to answer the question “Is it art at all?” has become a matter of heteronomy. The work of art is subject to historical accidentalities that define aesthetic criteria. Meanwhile, beauty is no longer part of the definition of art. John Fowles’s novel The Collector engages the reader with the story of a kidnapping, a postmodern enterprise where reality and fiction overlap, making it impossible for the reader to distinguish the boundaries of each. However, the dynamic relationship of Miranda and Clegg can also be read as the historical clash between the modernist avant-gardes versus the postmodern conceptual art, with Miranda’s final death symbolizing the end of art.
This paper is an evaluation of the issues raised in my own “Making Explicit What has Been Implicit: A Call for a Conceptual Theory of Cartography,” and Matthew Edney’s “Making Explicit the Implicit, Idealized Understanding of ‘Map’ and ‘Cartography’: An Anti-Universalist Response to Mark Denil” (both published in Cartographic Perspectives 98, 2022). In the first of these articles I make some proposals about how to go about investigating how a map reader decides that a given artifact is a map, and what that decision means for the user’s relationship with the artifact. In the second, Edney vigorously rejects my argument as, variously: irrelevant, reactionary, subversive, pernicious, obvious, and trite. What are Edney and I arguing about? Does the map / not map question I raise even exist and, if so, does it matter? Is Edney correct in dismissing it, and are his reasons for dismissing it valid? This paper examines some of the salient points raised in the Denil / Edney controversy, with an eye to the pragmatic, real-world ramifications of each writer’s positions.
Метою статті є всесторонній огляд процесу виникнення та становлення концептуальної музики як нового мистецького напряму у контексті його взаємодії з іншими видами мистецтв. У якості методів дослідження були використані: історичний, філософський, джерелознавчий, описовий методи та метод аналізу. Новизна статті є в тому, що на тему досліджуваного явища в україномовному середовищі практично ще немає наукових робіт. Висновки. Концептуальне мистецтво сформувалося на базі дадаїзму, в умовах взаємодії мистецтв. Вибір концепт-ідеї як основного визначального параметру напряму концептуальної музики обумовлює можливість залучення інших видів мистецтв, серед яких найрозповсюдженішими є візуальні: скульптура, живопис, інсталяція і т.д. Подібні приклади поєднань були характерні для митців спільноти FLUXUS, серед яких були не тільки музиканти, а й художники, скульптори, письменники, філософи, поети, що і зумовлювало тенденцію до створення змішаних проектів. Як приклади у статті розглянуті твори представників спільноти FLUXUS: Йоко Оно (Voice piece to soprano to Simone Morris, 1961), Ла Монте Янга (Chambers street loft concerts, 1961), Джорджа Брехта (Realization music, 1963). Також матеріалом для аналізу послугували концептуальні твори сучасних композиторів: Йоханнеса Крайдлера (Charts music, 2009; Fremdarbeit, 2009), Петра Валека (Election of a president, 2023), Аарона Ізраїль Левіна (Videogame Vespers, 2023) та Дмитра Демченко (DNIPROMETRO, 2017). Цифрові технології, у свою чергу, посилили цю схильність до взаємодії мистецтв у концептуальній музиці та розширили можливості поєднань завдяки комп’ютерним опціям, що характерно для багатьох сучасних творів концептуальної музики.
Este artículo interroga la relación dinámica entre el diseño gráfico y el arte conceptual en la obra del artista californiano David Horvitz (1982), a quien hemos entrevistado a través de correo electrónico. Presentado en diversos formatos, como proyectos compartidos en red, publicaciones o libros de artista, objetos y carteles tipográficos, en su trabajo cristalizan muchas de las tendencias contemporáneas, como la digitalización del arte conceptual, la exploración de elementos semióticos o el fomento de la participación del espectador en la obra de arte.
Introduction: Ana Mendieta (1985-1948) is one of contemporary art history's most influential female artists. Her work encompasses land art, performance art, and body art. Ana Mendieta's art is dynamic and brings significant emotional reactions to the audience because of her unique and sophisticated strategies, such as working in open spaces and unusual places, and her interdisciplinary aspects. This study aims to analyze and examine national identity's representation in this artist's works, emphasizing the piece "Image from Yagul" from the Silueta series. "Image from Yagul, "created in 1973, is considered the first work in the Silueta series. Generally, this collection, created between 1973 and 1981, encompasses over 200 works and is considered this artist's most significant collection. The study's main question is what this artist's attitude and tendency toward the representation of national identity in her works are, specifically in the abovementioned work. The research method is descriptive-analytical, and the method of collecting library data is taking notes and reading images. In addition, the findings were analyzed qualitatively. According to the findings of the study, the piece "Image from Yagul" from the Silueta series represents Mendieta's cultural approaches, ideological principles, and national and sexual pride, clearly revealing to the society "where" and "who" she was. This piece of work, as well as representing the content of gender identity and the metaphor of returning to the earth as a goddess, womb, and mother, reflects different dimensions of national identities, including the historical, geographical, cultural, ethnic, religious, literary and mythological of Cuba.
Theoretical background: Some topics can be mentioned as the current research's background. In terms of foreign studies, the following issues can be noted: (Pavleska, 2021); (Baker, 2016); (Aldegani, 2016); (Alvarado, 2015); (Finkelstein, 2012); (Best, 2007); (Blocker, 1999). Although among internal studies, no independent research has been conducted on Ana Mendieta, there are references to her in the following sources: (Najafi & Shirazi, 2019); (Najafi, 2017); (Arbabzadeh et al., 2017); (Nadaliyan, 2011). Considering the background, independent research on Analyzing the national identity's representation in Ana Mendieta's works by emphasizing the Silueta series and also independent research on the piece "Image from Yagul" from this collection has not been conducted, and the author has not seen any research on this topic.
Purpose and question of the research: This study aims to analyze and examine how national identity is reflected in the works of the Cuban-American artist Ana Mendieta by emphasizing the piece "Image from Yagul" from the Silueta series. Moreover, this study intends to address the question of Ana Mendieta's attitude and tendency toward national identity reflection (representation) in her works, particularly the work mentioned in the Silueta series.
Research Methodology: This article's research method is descriptive-analytical. The method of collecting library data is through taking notes and reading images. The data analysis method is contentive, qualitative, and based on a sociological approach to reflection (representation). The study samples are Ana Mendieta's works, a Cuban-American female artist, emphasizing the piece "Image from Yagul" from the Silueta series.
Analysis and discussion: In the short years in which Ana Mendieta was artistically active, she created a unique collection in an uncommon language. When she left her family and country (Cuba) as a teenager, she faced discrimination and felt like an illegitimate person in a racist society in the United States. Due to this issue, she had a complex conflict with the contents of racial and gender differences, which was reflected in his artworks. Mendieta's only remaining painting from her student days, the painting of a portrait of a brown-skinned woman, is a reflection of these cultural and racial conflicts oner. She also showed these feelings and inner manifestations after giving up painting, continuing her interdisciplinary art path, and creating significant pieces, including "Grass on the Woman" and "The Death of a Chicken," considered her first body art and her first performance art pieces, respectively. In the following, she made use of the body explicitly and implicitly as the center of identical aspects, including gender, race, and ethnicity, and along with her previous works, she represented her natural roots and her origin and homeland, Cuba, through the whole Silueta series. Along with representing the content of gender identity and the metaphor of returning to the earth as a goddess, womb, and mother, the Silueta series, which begins with the word "Image from Yagul, "reflects various aspects of the national identity of Cuba. In this work, Mendieta uses identical elements to revive her identity and roots while condemning exploitation and decentralization and rising to resistance and rebellion against foreigners' dominance.
Мета статті полягає в дослідженні феномену сучасної концептуальної каліграфії в Китаї та її інтеграція в глобальний художній контекст. Важливо визначити особливості виникнення та розвитку цього мистецького напряму на тлі глобалізаційних процесів та інтеграції китайського мистецтва в міжнародний контекст. Традиційне мистецтво китайського письма поступово набуває рис концептуального мистецтва, коли пріоритет надається ідеї та концепції твору. Для розуміння визначення категорії «концептуальне мистецтво», аналізуються проведені дослідницькі пошуки кураторів, які працюють з сучасною каліграфією, а також дослідження Солома Левітта, Пітера Осборна та ін. Концептуалізм фокусується на ідеї твору, а не на його зовнішній формі чи естетиці, в сучасному мистецтві пріоритет належить концепції, а не формі, звучить критика об’єктно-орієнтованого підходу та розширюються межі візуального мистецтва за рахунок використання нових медіа. В статті аналізується творчість провідних китайських митців та їх проектів, які працюють на перетині традиційного мистецтва письма та ідей концептуалізму. Показано, як вони трансформують канони класичної каліграфії, поєднуючи її з інсталяцією, відеоартом, перформансом. Аналізуються прийоми деконструкції традиційних уявлень про письмо як мистецтво форми. Входячи в сучасний арт-простір традиційне мистецтво китайської каліграфії набуває рис концептуального мистецтва, де пріоритет надається ідеї та концепції твору, проте зберігаються філософські впливи та традиційні уявлення про естетику цього мистецтва. Встановлено, що сучасна каліграфія Китаю виходить за рамки технічного вправляння, набуваючи концептуального та ментального виміру. Вона інтегрується в міжнародний арт-простір, стаючи органічною частиною глобального мистецького дискурсу. Це свідчить про глибинні трансформації китайської культурної ідентичності.
This essay surveys the shifting emotional regimes in Western art from the eighteenth century into the twenty-first, concentrating on the place accorded social affections. In particular, it calls attention to a significant change underway in recent decades as the suppression of the full range of emotions instigated by modernism has been challenged and the tender emotions re-embraced. Important contemporary artists, such as Hank Willis Thomas and Emily Hass, are invoking and exploring themes of love, care, empathy, and concern and, in many cases, making creative use of them to advance social, political, and environmental justice.
I consider predictive processing (PP) from the perspective of an artist who also conducts scientific research into art and perception. This paper presents artworks I have made and statements from other artists that exemplify some of PP's core principles. But it also raises questions about the extent to which current applications of PP theory provide a comprehensive account of art experience. Prediction error minimization, a key mechanism of PP, has been proposed as a cause of positive aesthetic affect because artworks offer opportunities for reward through disambiguation and learning. However, there are many cases where prediction errors proliferate in art experiences in a way that enhances aesthetic affect. Here I suggest the inability of our perceptual systems to minimize prediction errors when beholding certain artworks can evoke heightened states of fascination and exhilaration. Moreover, powerful artworks provide opportunities for maximizing prediction errors, within certain bounds, by evoking states of paradox, contradiction and illogicality. I conclude that beholding such artworks can intensify our sense of being by making us more alive to the world.
This article is part of the theme issue ‘Art, aesthetics and predictive processing: theoretical and empirical perspectives’.
Belgian Solutions is a photography project by Brussels-based German artist David Helbich. His works include sound art, performances, and conceptual works. Belgian Solutions belongs to this latter category. ‘Conceptual art’ might be an unexpected categorization as the output of the Belgian Solutions project entirely consists of photographs of actual Belgian solutions. However, Helbich’s project is not about the aesthetics of the pictures. Rather, the focus of the project is the creation of a new concept: ‘Belgian solution’. The photographs are not artificial creations, but they document actual instances of Belgian solutions found in Belgium.
It is hard to describe in words what a Belgian solution exactly entails. It is not impossible, of course, but a quicker route to understanding it is by just looking at a few Belgian solution pictures, especially if you are familiar with Belgium and how people solve things there.
Many examples of Belgian solutions involve traffic signs. For instance, one Belgian solution is a sign for a road diversion. The sign contains an arrow directed towards the right: ‘→’. However, the sign is supposed to point to the left. The solution created here is achieved by the use of two differently coloured tapes. The background colour of the sign is orange and the arrow is black. The arrow pointing to the right is therefore taped over by orange tape, while a new arrow, pointing to the left, is created by two pieces of black tape. The result is both laughably very clever and—more importantly—kind of absurd.
This paper overviews the development of the notion of trans-disciplinarity in Lithuania and its neighbouring contexts, and makes an attempt to identify its current relation to science and art. The paper analyses the ways in which artistic research, without being a discipline in its own right, can nonetheless both provide a basis for the doctoral studies in arts, and liberate it from the traditions and disciplines of the humanities and other sciences. Furthermore, the paper argues that doctoral studies in arts are inherently transdisciplinary and thus able to accommodate the traditional traits of the doctorate studies in the areas as different as humanities, social sciences, and even natural sciences. Lastly, the paper builds the case for artistic research as both the basis for the doc- toral studies in arts and a unique research paradigm, itself able to produce new research traditions.
There are spells in the world: incantations that can transform reality through the power of procedural utterances. The marriage vow, the courtroom sentence, the shaman’s curse: these words are codes that change reality. (Finn 90) Introduction As a child, stories on magic were “opportunities to escape from reality” (Brugué and Llompart 1), or what Rosengren and Hickling describe as being part of a set of “causal belief systems” (77). As an adult, magic is typically seen as being “pure fantasy” (Rosengren and Hickling 75), while Bever argues that magic is something lost to time and materialism, and alternatively a skill that Yeats believed that anyone could develop with practice. The etymology of the word magic originates from magein, a Greek word used to describe “the science and religion of the priests of Zoroaster”, or, according to philologist Skeat, from Greek megas (great), thus signifying "the great science” (Melton 956). Not to be confused with sleight of hand or illusion, magic is traditionally associated with learned people, held in high esteem, who use supernatural or unseen forces to cause change in people and affect events. To use magic these people perform rituals and ceremonies associated with religion and spirituality and include people who may identify as Priests, Witches, Magicians, Wiccans, and Druids (Otto and Stausberg). Magic as Technology and Technology as Magic Although written accounts of the rituals and ceremonies performed by the Druids are rare, because they followed an oral tradition and didn’t record knowledge in a written form (Aldhouse-Green 19), they are believed to have considered magic as a practical technology to be used for such purposes as repelling enemies and divining lost items. They curse and blight humans and districts, raise storms and fogs, cause glamour and delusion, confer invisibility, inflict thirst and confusion on enemy warriors, transform people into animal shape or into stone, subdue and bind them with incantations, and raise magical barriers to halt attackers. (Hutton 33) Similarly, a common theme in The History of Magic by Chris Gosden is that magic is akin to science or mathematics—something to be utilised as a tool when there is a need, as well as being used to perform important rituals and ceremonies. In TechGnosis: Myth, Magic & Mysticism in the Age of Information, Davis discusses ideas on Technomysticism, and Thacker says that “the history of technology—from hieroglyphics to computer code—is itself inseparable from the often ambiguous exchanges with something nonhuman, something otherworldly, something divine. Technology, it seems, is religion by other means, then as now” (159). Written language, communication, speech, and instruction has always been used to transform the ordinary in people’s lives. In TechGnosis, Davis (32) cites Couliano (104): historians have been wrong in concluding that magic disappeared with the advent of 'quantitative science.’ The latter has simply substituted itself for a part of magic while extending its dreams and its goals by means of technology. Electricity, rapid transport, radio and television, the airplane, and the computer have merely carried into effect the promises first formulated by magic, resulting from the supernatural processes of the magician: to produce light, to move instantaneously from one point in space to another, to communicate with faraway regions of space, to fly through the air, and to have an infallible memory at one’s disposal. Non-Fungible Tokens (NFTs) In early 2021, at the height of the pandemic meta-crisis, blockchain and NFTs became well known (Umar et al. 1) and Crypto Art became the hot new money-making scheme for a small percentage of ‘artists’ and tech-bros alike. The popularity of Crypto Art continued until initial interest waned and Ether (ETH) started disappearing in the manner of a classic disappearing coin magic trick. In short, ETH is a type of cryptocurrency similar to Bitcoin. NFT is an acronym for Non-Fungible Token. An NFT is “a cryptographic digital asset that can be uniquely identified within its smart contract” (Myers, Proof of Work 316). The word Non-Fungible indicates that this token is unique and therefore cannot be substituted for a similar token. An example of something being fungible is being able to swap coins of the same denomination. The coins are different tokens but can be easily swapped and are worth the same as each other. Hackl, Lueth, and Bartolo define an NFT as “a digital asset that is unique and singular, backed by blockchain technology to ensure authenticity and ownership. An NFT can be bought, sold, traded, or collected” (7). Blockchain For the newcomer, blockchain can seem impenetrable and based on a type of esoterica or secret knowledge known only to an initiate of a certain type of programming (Cassino 22). The origins of blockchain can be found in the research article “How to Time-Stamp a Digital Document”, published by the Journal of Cryptology in 1991 by Haber, a cryptographer, and Stornetta, a physicist. They were attempting to answer “epistemological problems of how we trust what we believe to be true in a digital age” (Franceschet 310). Subsequently, in 2008, Satoshi Nakamoto wrote The White Paper, a document that describes the radical idea of Bitcoin or “Magic Internet Money” (Droitcour). As defined by Myers (Proof of Work 314), a blockchain is “a series of blocks of validated transactions, each linked to its predecessor by its cryptographic hash”. They go on to say that “Bitcoin’s innovation was not to produce a blockchain, which is essentially just a Merkle list, it was to produce a blockchain in a securely decentralised way”. In other words, blockchain is essentially a permanent record and secure database of information. The secure and permanent nature of blockchain is comparable to a chapter of the Akashic records: a metaphysical idea described as an infinite database where information on everything that has ever happened is stored. It is a mental plane where information is recorded and immutable for all time (Nash). The information stored in this infinite database is available to people who are familiar with the correct rituals and spells to access this knowledge. Blockchain Smart Contracts Blockchain smart contracts are written by a developer and stored on the blockchain. They contain the metadata required to set out the terms of the contract. IBM describes a smart contract as “programs stored on a blockchain that run when predetermined conditions are met”. There are several advantages of using a smart contract. Blockchain is a permanent and transparent record, archived using decentralised peer-to-peer Distributed Ledger Technology (DLT). This technology safeguards the security of a decentralised digital database because it eliminates the intermediary and reduces the chance of fraud, gives hackers fewer opportunities to access the information, and increases the stability of the system (Srivastava). They go on to say that “it is an emerging and revolutionary technology that is attracting a lot of public attention due to its capability to reduce risks and fraud in a scalable manner”. Despite being a dry subject, blockchain is frequently associated with magic. One example is Faustino, Maria, and Marques describing a “quasi-religious romanticism of the crypto-community towards blockchain technologies” (67), with Satoshi represented as King Arthur. The set of instructions that make up the blockchain smart contracts and NFTs tell the program, database, or computer what needs to happen. These instructions are similar to a recipe or spell. This “sourcery” is what Chun (19) describes when talking about the technological magic that mere mortals are unable to comprehend. “We believe in the power of code as a set of magical symbols linking the invisible and visible, echoing our long cultural tradition of logos, or language as an underlying system of order and reason, and its power as a kind of sourcery” (Finn 714). NFTs as a Conceptual Medium In a “massively distributed electronic ritual” (Myers, Proof of Work 100), NFTs became better-known with the sale of Beeple’s Everydays: The First 5000 Days by Christie’s for US$69,346,250. Because of the “thousandfold return” (Wang et al. 1) on the rapidly expanding market in October 2021, most people at that time viewed NFTs and cryptocurrencies as the latest cash cow; some artists saw them as a method to become financially independent, cut out the gallery intermediary, and be compensated on resales (Belk 5). In addition to the financial considerations, a small number of artists saw the conceptual potential of NFTs. Rhea Myers, a conceptual artist, has been using the blockchain as a conceptual medium for over 10 years. Myers describes themselves as “an artist, hacker and writer” (Myers, Bio). A recent work by Myers, titled Is Art (Token), made in 2023 as an Ethereum ERC-721 Token (NFT), is made using a digital image with text that says “this token is art”. The word ‘is’ is emphasised in a maroon colour that differentiates it from the rest in dark grey. The following is the didactic for the artwork. Own the creative power of a crypto artist. Is Art (Token) takes the artist’s power of nomination, of naming something as art, and delegates it to the artwork’s owner. Their assertion of its art or non-art status is secured and guaranteed by the power of the blockchain. Based on a common and understandable misunderstanding of how Is Art (2014) works, this is the first in a series of editions that inscribe ongoing and contemporary concerns onto this exemplar of a past or perhaps not yet realized blockchain artworld. (Myers, is art editions). This is a simple example of their work. A lot of Myers’s work appears to be uncomplicated but hides subtle levels of sophistication that use all the tools available to conceptual artists by questioning the notion of what art is—a hallmark of conceptual art (Goldie and Schellekens 22). Sol LeWitt, in Paragraphs on Conceptual Art, was the first to use the term, and described it by saying “the idea itself, even if not made visual, is as much a work of art as any finished product”. According to Bailey, the most influential American conceptual artists of the 1960s were Lucy Lippard, Sol LeWitt, and Joseph Kosuth, “despite deriving from radically diverse insights about the reason for calling it ‘Conceptual Art’” (8). Instruction-Based Art Artist Claudia Hart employs the instructions used to create an NFT as a medium and artwork in Digital Combines, a new genre the artist has proposed, that joins physical, digital, and virtual media together. The NFT, in a digital combine, functions as a type of glue that holds different elements of the work together. New media rely on digital technology to communicate with the viewer. Digital combines take this one step further—the media are held together by an invisible instruction linked to the object or installation with a QR code that magically takes the viewer to the NFT via a “portal to the cloud” (Hart, Digital Combine Paintings). QR codes are something we all became familiar with during the on-and-off lockdown phase of the pandemic (Morrison et al. 1). Denso Wave Inc., the inventor of the Quick Response Code or QR Code, describes them as being a scannable graphic that is “capable of handling several dozen to several hundred times more information than a conventional bar code that can only store up to 20 digits”. QR Codes were made available to the public in 1994, are easily detected by readers at nearly any size, and can be reconfigured to fit a variety of different shapes. A “QR Code is capable of handling all types of data, such as numeric and alphabetic characters, Kanji, Kana, Hiragana, symbols, binary, and control codes. Up to 7,089 characters can be encoded in one symbol” (Denso Wave). Similar to ideas used by the American conceptual artists of the 1960s, QR codes and NFTs are used in digital combines as conceptual tools. Analogous to Sol LeWitt’s wall drawings, the instruction is the medium and part of the artwork. An example of a Wall Drawing made by Sol LeWitt is as follows: Wall Drawing 11A wall divided horizontally and vertically into four equal parts. Within each part, three of the four kinds of lines are superimposed.(Sol LeWitt, May 1969; MASS MoCA, 2023) The act or intention of using an NFT as a medium in art-making transforms it from being solely a financial contract, which NFTs are widely known for, to an artistic medium or a standalone artwork. The interdisciplinary artist Sue Beyer uses Machine Learning and NFTs as conceptual media in her digital combines. Beyer’s use of machine learning corresponds to the automatic writing that André Breton and Philippe Soupault of the Surrealists were exploring from 1918 to 1924 when they wrote Les Champs Magnétiques (Magnetic Fields) (Bohn 7). Automatic writing was popular amongst the spiritualist movement that evolved from the 1840s to the early 1900s in Europe and the United States (Gosden 399). Michael Riffaterre (221; in Bohn 8) talks about how automatic writing differs from ordinary texts. Automatic writing takes a “total departure from logic, temporality, and referentiality”, in addition to violating “the rules of verisimilitude and the representation of the real”. Bohn adds that although “normal syntax is respected, they make only limited sense”. An artificial intelligence (AI) hallucination, or what Chintapali (1) describes as “distorted reality”, can be seen in the following paragraph that Deep Story provided after entering the prompt ‘Sue Beyer’ in March 2022. None of these sentences have any basis in truth about the person Sue Beyer from Melbourne, Australia. Suddenly runs to Jen from the bedroom window, her face smoking, her glasses shattering. Michaels (30) stands on the bed, pale and irritated. Dear Mister Shut Up! Sue’s loft – later – Sue is on the phone, looking upset. There is a new bruise on her face. There is a distinction between AI and machine learning. According to ChatGPT 3.5, “Machine Learning is a subset of AI that focuses on enabling computers to learn and make predictions or decisions without being explicitly programmed. It involves the development of algorithms and statistical models that allow machines to automatically learn from data, identify patterns, and make informed decisions or predictions”. Using the story generator Deep Story, Beyer uses the element of chance inherent in Machine Learning to create a biography on herself written by the alien other of AI. The paragraphs that Deep Story produces are nonsensical statements and made-up fantasies of what Beyer suspects AI wants the artist to hear. Like a psychic medium or oracle, providing wisdom and advice to a petitioner, the words tumble out of the story generator like a chaotic prediction meant to be deciphered at a later time. This element of chance might be a short-lived occurrence as machine learning is evolving and getting smarter exponentially, the potential of which is becoming very evident just from empirical observation. Something that originated in early modernist science fiction is quickly becoming a reality in our time. A Metamodern Spell Casting Metamodernism is an evolving term that emerged from a series of global catastrophes that occurred from the mid-1990s onwards. The term tolerates the concurrent use of ideas that arise in modernism and postmodernism without discord. It uses oppositional aspects or concepts in art-making and other cultural production that form what Dember calls a “complicated feeling” (Dember). These ideas in oscillation allow metamodernism to move beyond these fixed terms and encompass a wide range of cultural tendencies that reflect what is known collectively as a structure of feeling (van den Akker et al.). The oppositional media used in a digital combine oscillate with each other and also form meaning between each other, relating to material and immaterial concepts. These amalgamations place “technology and culture in mutual interrogation to produce new ways of seeing the world as it unfolds around us” (Myers Studio Ltd.). The use of the oppositional aspects of technology and culture indicates that Myers’s work can also be firmly placed within the domain of metamodernism. Advancements in AI over the years since the pandemic are overwhelming. In episode 23 of the MIT podcast Business Lab, Justice stated that “Covid-19 has accelerated the pace of digital in many ways, across many types of technologies.” They go on to say that “this is where we are starting to experience such a rapid pace of exponential change that it’s very difficult for most people to understand the progress” (MIT Technology Review Insights). Similarly, in 2021 NFTs burst forth in popularity in reaction to various conditions arising from the pandemic meta-crisis. A similar effect was seen around cryptocurrencies after the Global Financial Crisis (GFC) in 2007-2008 (Aliber and Zoega). “The popularity of cryptocurrencies represents in no small part a reaction to the financial crisis and austerity. That reaction takes the form of a retreat from conventional economic and political action and represents at least an economic occult” (Myers, Proof of Work 100). When a traumatic event occurs, like a pandemic, people turn to God, spirituality (Tumminio Hansen), or possibly the occult to look for answers. NFTs took on the role of precursor, promising access to untold riches, esoteric knowledge, and the comforting feeling of being part of the NFT cult. Similar to the effect of what Sutcliffe (15) calls spiritual “occultures” like “long-standing occult societies or New Age healers”, people can be lured by “the promise of secret knowledge”, which “can assist the deceptions of false gurus and create opportunities for cultic exploitation”. Conclusion NFTs are a metamodern spell casting, their popularity borne by the meta-crisis of the pandemic; they are made using magical instruction that oscillates between finance and conceptual abstraction, materialism and socialist idealism, financial ledger, and artistic medium. The metadata in the smart contract of the NFT provide instruction that combines the tangible and intangible. This oscillation, present in metamodern artmaking, creates and maintains a liminal space between these ideas, objects, and media. The in-between space allows for the perpetual transmutation of one thing to another. These ideas are a work in progress and additional exploration is necessary. An NFT is a new medium available to artists that does not physically exist but can be used to create meaning or to glue or hold objects together in a digital combine. Further investigation into the ontological aspects of this medium is required. The smart contract can be viewed as a recipe for the spell or incantation that, like instruction-based art, transforms an object from one thing to another. The blockchain that the NFT is housed in is a liminal space. The contract is stored on the threshold waiting for someone to view or purchase the NFT and turn the objects displayed in the gallery space into a digital combine. 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This document collects the contributions of the KM3NeT collaboration to the ICRC2023 conference, held from July 26 to August 3, 2023, in Nagoya, Japan. KM3NeT submitted 38 contributions to ICRC2023, on neutrino- and multimessenger astronomy, neutrino oscillation physics, cosmic ray physics, searches for dark matter and exotics, calibration, technical detector descriptions, and art. Proceedings are published in Proceedings of Science.
This article does not attempt to paint a complete picture of Michael Wolters (b.1971) as composer, teacher or researcher. Rather, it is a collection of comments and reflections drawn from a number of recent conversations with him. In these conversations we considered the work he has produced across his career, with a particular focus on his ideas about conceptual working, his outsider position and the essential part that accessibility plays in his creative decision-making.
The religious nature of Joseph Beuys’ works was ignored or intentionally avoided by mainstream criticism since his artistic practice was ridiculed for its potential spirituality. It is argued that Beuys’ works are work meditations on the issues of potential ego in totemic art, which are frequent topics of theological concern. For example, what is the nature of our consciousness after death, and how does it relate to the consciousness of others? Beuys’ conceptual artworks reveal his engagement with the “witchcraft etiquette” of totemic art and his exploration of theological questions such as the relation between human consciousness and divinity, the role of sacrifice and resurrection, and the meaning of self-awareness. In other words, we can draw inspiration from the theological theories of Alfred North Whitehead and Georg Wilhelm Friedrich Hegel to examine Beuys’ choice of conceptual art through the lens of his deep self-consciousness of totem worship. In general, Beuys’ works pose an important question: how can we awaken our chaotic consciousness to new or forgotten sprouts which may rejuvenate our existence in the world?
ResearchGate has not been able to resolve any references for this publication.