The primary flows undergirding these orientations are entropy and negentropy. This deceptively simple state of affairs necessitates the deployment of some technical terms in order to substantiate the significance of art to politics. We begin with the binaries of our historical moment: life and death possess a specific arrangement under capitalism. If art is open, if it is available to a multiplicity of meanings and purposes that extend beyond usefulness or value, then our question becomes: how do we properly grasp its openness given that we live within a highly-regulated society? Accordingly, the operative question of this writing is as follows: When is art’s openness-its rejection of familiar or articulable meanings, its non-didactic tendencies, its abstract alienness-a radical openness? We might also ask, when is the blurriness 2 of art regressive, when does it behave as a holding space subsumed by our unspoken forces, all non-explicative aspects inscribed by reigning ideologies and codes of value? 3 If it is not highlighted or brought to the fore, what keeps it from being neglected, or otherwise assumed to run with the grain of ongoing politics? Is there an antagonistic incoherence that does not immediately surrender to the operations of interpellative logic? Every commodity and media is marked by the forces of its production-and yet the persistence of these forces denies any self-evidency. It is precisely this duality of openness and closure in art that gives it both affirmative and critical political capacity. 1 While their trajectories of meaning are dependent upon the codes and regularities of a given site, meaning is not limited to these conjunctions, as the artwork is equally open to interpretive frameworks beyond those within which it was conceived.Īny convention or framing structure plays the dual role of enabling openness-availing new potential meanings and uses against the noise of infinite possibility-while also closing otherwise contiguous relationships, such as the indeterminate web of context, reference, necessity, and intuition that precede the work of art. It is already well-argued that artworks open fields of conceptual possibility, becoming closed only through conventions of authorial intent and social context. In relation to the viewer, the images become a manifestation of life itself.The only thing more arbitrary than an ending is a beginning. The aesthetic experience of these images is varied and depends on the tensions that arise in direct contact with them, on the holistic perception of the work and discovering it layer by layer. Due to the collective consciousness, such a creative process has an indirect impact on human consciousness, for example through the emotional and intellectual states of the creator that accompanies him during his work. A characteristic feature of such events is, for example, that they are determined post factum. The specificity of this medium is the direct simultaneity of the aesthetic experience that takes place during the painting itself and its transcendence when communing with a work of art. It is applicable wherever one works with the probability of possible states of a given system.įor the purposes of the humanities, this concept has been adopted as a thesis describing physical events in nature, the transformations of which can be observed, for example, in painting. The concept of Entropy was introduced by Rudolf Clausius in 1865 and is still one of the basic concepts in physics, probability theory, information theory, mathematics and many other areas of theoretical and applied sciences.
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