Thesis: Aesthetic resources contribute broadly to the human endeavor of progress, self-understanding, and science, beyond the immediate experience of art. Aesthetic Resources are frameworks, concepts, and modes of expression in art, literature, and philosophy that capture the imagination and the intellect through the senses. The role of art is to inspire the future: the romance of the sea, the open road, space.
The arts are a hallmark of civilization, but can their benefit be crystallized as aesthetic resources that can be mobilized to new situations? How can aesthetic resources help in moments of crisis?
A worldwide social identity crisis has been provoked by pandemic recovery, politics, equity, and environmental sustainability. Philosophical and aesthetic resources can help. Understanding art as a reflection of who we are as individuals and groups, this talk explores conceptualizations of art, with examples, in different periodizations from the 1800s to the present. A marquis definition as to what constitutes an artwork is Adorno’s, for whom the work must promulgate its own natural law and engage in novel materials manipulation. For many theorists, art is the pressing of our self-concept into concrete materiality (whether pyramids, sculpture, or painting). What do contemporary periodizations of art mean to our current and forward-looking self-concept? Recent eras include the neo-avant-gardes of 1945, the conceptual art of the 1960s, and post-conceptual art starting in the 1970s, produced generatively with found materials, the digital domain, and audience interactivity. What is the now-current idea of art? Is today’s Baudelairian flâneur and Balzacian modern hero incarnated in the quantum aesthetic imaginary and the digital cryptocitizen? Far from an “end of art” thesis sometimes attributed to Hegel, aesthetic practices are more relevant than ever. Individually and societally, we are reinventing creative energy and productive imagination in venues from science, technology, health, and biology to the arts.
Beyond the visual: The Body in Contemporary ArtDeborahJ
When we think of the Body in Contemporary Art we could consider a number of different and relevant aspects. For instance, the body - the human form - is central in art, traditionally the body was often used to explore allegory, beauty and sexuality and so on. But in the twentieth century there was a significant shift in both how the body was perceived, and how it was used to create art across a range of media, from painting and sculpture to installation, photography, video art, performance and participatory art. By considering the different roles played by the body in art, we can identify that there has been a shift from being the subject, for example, in a portraiture, to becoming an active presence in live and participatory events. Alongside this there has also been a significant transformation of the role of the audience, broadly speaking, from passive viewer to active participant.
Art As Idea, The Roots Of Conceptual ArtJames Clegg
This document provides an introduction to conceptual art and its roots in earlier avant-garde movements like Dada, Situationism, and Happenings. It discusses how artists like Yves Klein, Piero Manzoni, and Robert Rauschenberg began treating ideas as works of art. Key figures in conceptual art included Sol LeWitt, On Kawara, Joseph Kosuth, and groups like Art & Language who took ideas and language as their primary artistic medium. The document traces the philosophical influences on conceptual art from thinkers like Henri Lefebvre and situates major conceptual works in historical context.
Land Art is an outdoor art movement that began in the 1960s using natural and synthetic materials like rocks, wood, and leaves to create sculptures in open, public spaces. These sculptures were left to erode naturally over time and could only be experienced through photographs. British artist Richard Shilling creates ephemeral sculptures entirely from natural materials found on-site that often only last a few minutes before weathering away. He was inspired by Andy Goldsworthy, another British artist known for his sculptures incorporating natural elements like snow, ice, leaves, and rocks that are documented photographically before disappearing.
The document provides a list of terms related to the visual arts organized under the headings of line, shape/form, color, texture, space, value, principles, themes, technique/form, and style or period. It includes words like blurred, broken, curved, and diagonal under line; amorphous, biomorphic, closed, and geometric under shape/form; brash, bright, calm, and cool under color; actual, bumpy, corrugated, and furry under texture; ambiguous, deep, flat, and negative/positive under space; dark, light, and medium under value; balance, contrast, emphasis, and harmony under principles; adoration, children, cityscape, and mythology under
Seth Clark creates collages focused on deteriorating architecture that appear dignified in their state of ruin. Louise McRae incorporates discarded building materials and environmental debris into sculptural wall assemblages. Vasco Mourao illustrates densely detailed fictional cities that incorporate real buildings.
The document discusses several contemporary artists from 1990-2000 including Felix Gonzalez-Torres, Mark Dion, Rachel Whiteread, and William Kentridge. It provides background information on their works, artistic strategies and themes relating to identity politics, institutional critique, the abject body, drawing and erasure techniques. Specific works mentioned include Gonzalez-Torres's candies installations, Dion's mixed media pieces, Whiteread's concrete casting of a house, and Kentridge's animated charcoal drawings.
This document contains 6 lesson plans for teaching art criticism and aesthetics using the Feldman method. The lesson plans cover a range of topics from introducing the Feldman method to analyzing messages and meanings in artworks. They are designed for middle school and high school students and aim to develop students' skills in describing, analyzing, interpreting and judging works of art.
Beyond the visual: The Body in Contemporary ArtDeborahJ
When we think of the Body in Contemporary Art we could consider a number of different and relevant aspects. For instance, the body - the human form - is central in art, traditionally the body was often used to explore allegory, beauty and sexuality and so on. But in the twentieth century there was a significant shift in both how the body was perceived, and how it was used to create art across a range of media, from painting and sculpture to installation, photography, video art, performance and participatory art. By considering the different roles played by the body in art, we can identify that there has been a shift from being the subject, for example, in a portraiture, to becoming an active presence in live and participatory events. Alongside this there has also been a significant transformation of the role of the audience, broadly speaking, from passive viewer to active participant.
Art As Idea, The Roots Of Conceptual ArtJames Clegg
This document provides an introduction to conceptual art and its roots in earlier avant-garde movements like Dada, Situationism, and Happenings. It discusses how artists like Yves Klein, Piero Manzoni, and Robert Rauschenberg began treating ideas as works of art. Key figures in conceptual art included Sol LeWitt, On Kawara, Joseph Kosuth, and groups like Art & Language who took ideas and language as their primary artistic medium. The document traces the philosophical influences on conceptual art from thinkers like Henri Lefebvre and situates major conceptual works in historical context.
Land Art is an outdoor art movement that began in the 1960s using natural and synthetic materials like rocks, wood, and leaves to create sculptures in open, public spaces. These sculptures were left to erode naturally over time and could only be experienced through photographs. British artist Richard Shilling creates ephemeral sculptures entirely from natural materials found on-site that often only last a few minutes before weathering away. He was inspired by Andy Goldsworthy, another British artist known for his sculptures incorporating natural elements like snow, ice, leaves, and rocks that are documented photographically before disappearing.
The document provides a list of terms related to the visual arts organized under the headings of line, shape/form, color, texture, space, value, principles, themes, technique/form, and style or period. It includes words like blurred, broken, curved, and diagonal under line; amorphous, biomorphic, closed, and geometric under shape/form; brash, bright, calm, and cool under color; actual, bumpy, corrugated, and furry under texture; ambiguous, deep, flat, and negative/positive under space; dark, light, and medium under value; balance, contrast, emphasis, and harmony under principles; adoration, children, cityscape, and mythology under
Seth Clark creates collages focused on deteriorating architecture that appear dignified in their state of ruin. Louise McRae incorporates discarded building materials and environmental debris into sculptural wall assemblages. Vasco Mourao illustrates densely detailed fictional cities that incorporate real buildings.
The document discusses several contemporary artists from 1990-2000 including Felix Gonzalez-Torres, Mark Dion, Rachel Whiteread, and William Kentridge. It provides background information on their works, artistic strategies and themes relating to identity politics, institutional critique, the abject body, drawing and erasure techniques. Specific works mentioned include Gonzalez-Torres's candies installations, Dion's mixed media pieces, Whiteread's concrete casting of a house, and Kentridge's animated charcoal drawings.
This document contains 6 lesson plans for teaching art criticism and aesthetics using the Feldman method. The lesson plans cover a range of topics from introducing the Feldman method to analyzing messages and meanings in artworks. They are designed for middle school and high school students and aim to develop students' skills in describing, analyzing, interpreting and judging works of art.
Modern Art in Europe and the Americas 1900-1945smolinskiel
This document provides an overview of major art movements in Europe and the Americas from 1900-1945. It discusses Fauvism, Expressionism, Cubism, Futurism, Dada, De Stijl, Surrealism, and Art Deco. Key aspects covered include the optimism of the time period despite political and social upheaval, influential artists and patrons, and characteristics of each movement such as their use of color, form, and abstraction. Major works are cited from artists like Matisse, Picasso, Kandinsky, and others to illustrate styles and techniques.
This document provides an overview of American Pop Art, which originated in the 1950s-60s as a response to post-World War II consumer culture and the rise of mass media. Pop artists like Tom Wesselmann and George Segal embraced popular imagery and objects from advertisements and media rather than pursuing abstract expressionism. Wesselmann's still life paintings depicted idealized advertisements rather than objects, while Segal created life-sized plaster figures placed in real environments. Together, these pop artists reflected the new "mediated reality" constructed through mass consumerism and mass media in postwar America.
A slideshow connected to a lecture on twentieth-century artists whose work deals with issues of race and identity available at Art History Teaching Resources (http://arthistoryteachingresources.org/), written by Ellen Caldwell.
Cubism was an early 20th century abstract art style developed by Pablo Picasso and Georges Braque that revolutionized European painting and sculpture. It involved depicting subjects from multiple viewpoints to represent the subject in a multidimensional way. The two main phases were Analytic Cubism, which used monochromatic colors and focused on reducing forms to geometric shapes, and Synthetic Cubism, which introduced collage and a wider use of color. Cubism influenced many later artistic movements and fundamentally changed how visual art was conceived.
Pop Art was an art movement that began in the late 1950s and used imagery from popular culture and everyday life. Pop artists blurred the lines between fine art and commercial art by using images and styles from advertisements, consumer goods, celebrities and other mass media sources. Andy Warhol was one of the most famous Pop Artists, known for works like Campbell's Soup Cans that used repetition and appropriated popular images. Pop Art challenged definitions of art by treating popular objects as art and reflecting the culture of 1960s America through use of new materials, technologies and methods of production.
Where does the idea of judging art come fromcharlottefrost
The document discusses the history and development of art criticism. It outlines Edmund Feldman's 4-step technique for analyzing art from the 1970s, which includes description, analysis, interpretation, and judgment. The document then focuses on the concept of judgment in art criticism. It explores the philosophical roots of aesthetics and how philosophers like Hume and Kant debated the nature of taste and beauty. The document also discusses how criteria for evaluating art have changed over time as styles evolved. In the end, it questions whether modern rating systems can truly be considered art criticism.
The document provides an overview of early modern art in Europe and America between 1900-1945. It discusses several major artistic movements that emerged during this period like Fauvism, German Expressionism, Cubism, Futurism, Dada, and Surrealism. It summarizes the goals and styles of these movements, and provides context on how some influenced others. Key artists and their major works from each movement are also mentioned to understand their contributions to the development of modern art.
The document provides an overview of major art movements from the late 20th century into the 21st century. It discusses Post-Modern architecture in the 1970s that embraced eclectic styles and references to the past. It also summarizes key works like the Pompidou Center and the Louvre Pyramid. Contemporary art is described as pluralistic with a variety of styles from past and present. Conceptual art emphasized ideas over finished objects. Land art and environmental art incorporated nature. Post-Modern, Neo-Expressionist, and Post-Pop art referenced previous movements. Technology and performance art expanded artistic mediums. Artists addressed social and political issues through their work.
The document discusses several prehistoric painted caves in France and Spain that were inhabited 17,000 to 30,000 years ago during the Stone Age. The caves at Lascaux and Chauvet contain paintings of animals like horses, bulls, and rhinos created using pigments from the earth and illuminated with torches. While people may have lived in the caves, the purpose of the artwork remains unclear but provides insight into the lives and culture of prehistoric humans.
Symbolism originated in late 19th century France as an art movement that sought to express personal emotions and visions through non-naturalistic styles and mystical symbolism rather than a literal depiction of reality. Key characteristics of Symbolism included the use of symbolic subjects and metaphors over realistic representations to express themes of love, death, and the soul. Major Symbolist artists included Gustave Moreau, Odilon Redon, and Pierre Puvis de Chavannes who painted emotionally evocative works influenced by dreams, mythology, and mysticism. Symbolism had a significant impact on later artistic movements like Expressionism and Surrealism that also emphasized inner experience over outer reality.
Aesthetics is the branch of philosophy concerned with human values, the creation and perception of art, and the essence and laws of beauty. It deals with the most general principles of aesthetic cognition of the world through human activities like art. Aesthetic activity can take practical, artistic, technical, spiritual, cultural, emotional, and intellectual forms. It occurs on several levels from individual aesthetic perception and taste, to aesthetic ideals, doctrines, and views that shape a society's standards and direction.
Originally a literary movement, Surrealism explored dreams, the unconscious mind, and the intersection of reality and imagination. Inspired by World War I destruction and Sigmund Freud's theories of the mind, early Surrealist artists like Salvador Dali, Rene Magritte, and Joan Miro created works featuring illogical juxtapositions and impossible realities to represent inner psychic processes. Their surreal paintings, filled with dreamlike and disturbing images, became popular in France and other European countries in the 1920s.
Installation art transforms spaces using sculptural and other materials. It is not confined to galleries and can incorporate any media to create experiences in particular environments. Some installations are site-specific, designed specifically for the space. Land art or Earth art emerged in the 1960s-70s, using the landscape as the medium by sculpting directly in nature and allowing works to change over time.
about history of modern art.
trying to define Fauvism in a little presentation .. the art of early 20th century, or a little art movement of history...
This document provides instructions for a still life drawing exercise using chiaroscuro techniques. It recommends setting up a simple still life with directional lighting to create shadows and highlights. The instructions describe toning the paper with charcoal dust, then lightly sketching the composition and adding darks with charcoal while subtracting lights with an eraser. Finishing touches include ensuring outlines belong to objects or the background and leaving some objects extending off the edges. The goal is to create a naturalistic drawing using the subtractive and additive process.
Surrealism was a cultural movement that began in the 1920s known for its visual artworks and writings that incorporated unconscious thoughts and dreams. There were two main types of Surrealists - automatic Surrealists who painted freely without thought to show the subconscious, and veristic Surrealists like René Magritte and Salvador Dalí who used familiar everyday objects painted realistically to convey hidden meanings or metaphors. Dalí and Magritte were two of the most famous Surrealist artists known for works like Persistence of Memory and The Son of Man that placed common items in unusual dreamlike situations.
Modernism in Art: An Introduction: Salon des refusesJames Clegg
This course provides a critical introduction to modernist artistic movements starting from the Salon des Refusés in 1863. It examines Impressionism, Cubism, Futurism, Constructivism, Dada and other avant-garde styles in their historical and cultural contexts. The course structure includes 11 weeks covering these movements and their influence in reshaping representations of the modern world.
Modernism in Art: An Introduction; Dada and SurrealismJames Clegg
The document provides an overview of the Dada and Surrealist art movements that emerged in the early 20th century in response to World War I. It discusses key Dada and Surrealist artists like Malevich, Arp, Duchamp, Ernst, and Dali. It also summarizes some of the main ideas and techniques of these movements, such as using shock, nonsense, and irrationality to protest war and established institutions. Dada in particular questioned notions of art, originality, and the role of the artist. Surrealism explored ideas of chance, the unconscious mind, and psychic automatism. Both movements had a significant impact on modern art and cultural production.
Modern Art in Europe and the Americas 1900-1945smolinskiel
This document provides an overview of major art movements in Europe and the Americas from 1900-1945. It discusses Fauvism, Expressionism, Cubism, Futurism, Dada, De Stijl, Surrealism, and Art Deco. Key aspects covered include the optimism of the time period despite political and social upheaval, influential artists and patrons, and characteristics of each movement such as their use of color, form, and abstraction. Major works are cited from artists like Matisse, Picasso, Kandinsky, and others to illustrate styles and techniques.
This document provides an overview of American Pop Art, which originated in the 1950s-60s as a response to post-World War II consumer culture and the rise of mass media. Pop artists like Tom Wesselmann and George Segal embraced popular imagery and objects from advertisements and media rather than pursuing abstract expressionism. Wesselmann's still life paintings depicted idealized advertisements rather than objects, while Segal created life-sized plaster figures placed in real environments. Together, these pop artists reflected the new "mediated reality" constructed through mass consumerism and mass media in postwar America.
A slideshow connected to a lecture on twentieth-century artists whose work deals with issues of race and identity available at Art History Teaching Resources (http://arthistoryteachingresources.org/), written by Ellen Caldwell.
Cubism was an early 20th century abstract art style developed by Pablo Picasso and Georges Braque that revolutionized European painting and sculpture. It involved depicting subjects from multiple viewpoints to represent the subject in a multidimensional way. The two main phases were Analytic Cubism, which used monochromatic colors and focused on reducing forms to geometric shapes, and Synthetic Cubism, which introduced collage and a wider use of color. Cubism influenced many later artistic movements and fundamentally changed how visual art was conceived.
Pop Art was an art movement that began in the late 1950s and used imagery from popular culture and everyday life. Pop artists blurred the lines between fine art and commercial art by using images and styles from advertisements, consumer goods, celebrities and other mass media sources. Andy Warhol was one of the most famous Pop Artists, known for works like Campbell's Soup Cans that used repetition and appropriated popular images. Pop Art challenged definitions of art by treating popular objects as art and reflecting the culture of 1960s America through use of new materials, technologies and methods of production.
Where does the idea of judging art come fromcharlottefrost
The document discusses the history and development of art criticism. It outlines Edmund Feldman's 4-step technique for analyzing art from the 1970s, which includes description, analysis, interpretation, and judgment. The document then focuses on the concept of judgment in art criticism. It explores the philosophical roots of aesthetics and how philosophers like Hume and Kant debated the nature of taste and beauty. The document also discusses how criteria for evaluating art have changed over time as styles evolved. In the end, it questions whether modern rating systems can truly be considered art criticism.
The document provides an overview of early modern art in Europe and America between 1900-1945. It discusses several major artistic movements that emerged during this period like Fauvism, German Expressionism, Cubism, Futurism, Dada, and Surrealism. It summarizes the goals and styles of these movements, and provides context on how some influenced others. Key artists and their major works from each movement are also mentioned to understand their contributions to the development of modern art.
The document provides an overview of major art movements from the late 20th century into the 21st century. It discusses Post-Modern architecture in the 1970s that embraced eclectic styles and references to the past. It also summarizes key works like the Pompidou Center and the Louvre Pyramid. Contemporary art is described as pluralistic with a variety of styles from past and present. Conceptual art emphasized ideas over finished objects. Land art and environmental art incorporated nature. Post-Modern, Neo-Expressionist, and Post-Pop art referenced previous movements. Technology and performance art expanded artistic mediums. Artists addressed social and political issues through their work.
The document discusses several prehistoric painted caves in France and Spain that were inhabited 17,000 to 30,000 years ago during the Stone Age. The caves at Lascaux and Chauvet contain paintings of animals like horses, bulls, and rhinos created using pigments from the earth and illuminated with torches. While people may have lived in the caves, the purpose of the artwork remains unclear but provides insight into the lives and culture of prehistoric humans.
Symbolism originated in late 19th century France as an art movement that sought to express personal emotions and visions through non-naturalistic styles and mystical symbolism rather than a literal depiction of reality. Key characteristics of Symbolism included the use of symbolic subjects and metaphors over realistic representations to express themes of love, death, and the soul. Major Symbolist artists included Gustave Moreau, Odilon Redon, and Pierre Puvis de Chavannes who painted emotionally evocative works influenced by dreams, mythology, and mysticism. Symbolism had a significant impact on later artistic movements like Expressionism and Surrealism that also emphasized inner experience over outer reality.
Aesthetics is the branch of philosophy concerned with human values, the creation and perception of art, and the essence and laws of beauty. It deals with the most general principles of aesthetic cognition of the world through human activities like art. Aesthetic activity can take practical, artistic, technical, spiritual, cultural, emotional, and intellectual forms. It occurs on several levels from individual aesthetic perception and taste, to aesthetic ideals, doctrines, and views that shape a society's standards and direction.
Originally a literary movement, Surrealism explored dreams, the unconscious mind, and the intersection of reality and imagination. Inspired by World War I destruction and Sigmund Freud's theories of the mind, early Surrealist artists like Salvador Dali, Rene Magritte, and Joan Miro created works featuring illogical juxtapositions and impossible realities to represent inner psychic processes. Their surreal paintings, filled with dreamlike and disturbing images, became popular in France and other European countries in the 1920s.
Installation art transforms spaces using sculptural and other materials. It is not confined to galleries and can incorporate any media to create experiences in particular environments. Some installations are site-specific, designed specifically for the space. Land art or Earth art emerged in the 1960s-70s, using the landscape as the medium by sculpting directly in nature and allowing works to change over time.
about history of modern art.
trying to define Fauvism in a little presentation .. the art of early 20th century, or a little art movement of history...
This document provides instructions for a still life drawing exercise using chiaroscuro techniques. It recommends setting up a simple still life with directional lighting to create shadows and highlights. The instructions describe toning the paper with charcoal dust, then lightly sketching the composition and adding darks with charcoal while subtracting lights with an eraser. Finishing touches include ensuring outlines belong to objects or the background and leaving some objects extending off the edges. The goal is to create a naturalistic drawing using the subtractive and additive process.
Surrealism was a cultural movement that began in the 1920s known for its visual artworks and writings that incorporated unconscious thoughts and dreams. There were two main types of Surrealists - automatic Surrealists who painted freely without thought to show the subconscious, and veristic Surrealists like René Magritte and Salvador Dalí who used familiar everyday objects painted realistically to convey hidden meanings or metaphors. Dalí and Magritte were two of the most famous Surrealist artists known for works like Persistence of Memory and The Son of Man that placed common items in unusual dreamlike situations.
Modernism in Art: An Introduction: Salon des refusesJames Clegg
This course provides a critical introduction to modernist artistic movements starting from the Salon des Refusés in 1863. It examines Impressionism, Cubism, Futurism, Constructivism, Dada and other avant-garde styles in their historical and cultural contexts. The course structure includes 11 weeks covering these movements and their influence in reshaping representations of the modern world.
Modernism in Art: An Introduction; Dada and SurrealismJames Clegg
The document provides an overview of the Dada and Surrealist art movements that emerged in the early 20th century in response to World War I. It discusses key Dada and Surrealist artists like Malevich, Arp, Duchamp, Ernst, and Dali. It also summarizes some of the main ideas and techniques of these movements, such as using shock, nonsense, and irrationality to protest war and established institutions. Dada in particular questioned notions of art, originality, and the role of the artist. Surrealism explored ideas of chance, the unconscious mind, and psychic automatism. Both movements had a significant impact on modern art and cultural production.
The document provides an overview of developments in art during the 1920s, including the emergence of Dada and Surrealist movements. Dadaists like Hannah Hoch used photomontage to critique post-WWI German society. The Bauhaus school was also founded during this time with the goal of uniting art and industry. In 1924, Andre Breton published the first Surrealist manifesto, advocating the exploration of unconscious thought and dream imagery. Surrealist techniques like automatism and found objects aimed to access the subconscious mind.
This document provides an introduction to an art history course on contemporary art since 1945. It discusses how postwar art challenged expectations of what art should look like, moving away from traditional subjects and embracing abstraction. Modernism is defined as favoring non-representational forms and the autonomy of art. However, postmodernism emerged as a reaction against some tenets of modernism, incorporating eclectic styles and questioning notions of progress. The reading explores the development of avant-garde art and its relationship to social and political currents over this period.
Modern art began in the 1860s and lasted until the 1970s. It rejected traditional approaches and embraced new ways of seeing and new media like photography. Many new movements emerged during this time in response to world events and social changes. Artists experimented with color, form, abstraction, symbolism and incorporating new materials. Nearly every new movement was initially met with ridicule but eventually settled into history and influenced future generations of artists.
Modern art began around 1860 and lasted until around 1970, sparked by artists throwing out old styles and embracing experimentation. This led to movements like Impressionism, which painted outdoors and focused on light, color, and everyday subjects. Later, Symbolism, Fauvism, Expressionism, Cubism, Dada, Constructivism, Surrealism, and Abstract Expressionism emerged, each rejecting realistic styles and exploring new approaches to form, color, and subject matter. Pop Art of the 1960s celebrated popular culture, while Optical and Photorealism engaged with new technologies. Throughout, modern art reflected the changing world and new ways of seeing.
Modern art began in the 1860s and lasted until the 1970s, sparked by a rejection of traditional styles and an embrace of new experimentation. Artists focused on their direct experiences and emotions over academic conventions. Many new movements emerged, from Impressionism's loose brushwork to Cubism's fragmentation of form to Surrealism's exploration of the unconscious mind. Most new styles were initially met with ridicule but went on to influence generations of artists as they settled into art history. The 20th century saw unprecedented technological and social changes that modern art both reflected and helped people process.
Modern art began around 1860 and lasted until around 1970, sparked by artists throwing out old conventions and embracing experimentation. This led to new ways of seeing and representing the world directly through the artist's experiences. Many new styles emerged like Impressionism, Symbolism, Art Nouveau, Fauvism, Expressionism, Cubism, Dada, Constructivism, Surrealism, Abstract Expressionism, Pop Art, Optical Art, Photorealism and other avant-garde styles. Nearly every new style was initially met with ridicule but eventually settled into history, influencing future generations of artists.
This document discusses representational practices and feminist theories of art from a historical perspective. It examines how women artists have typically been represented, the media and genres commonly associated with women, and challenges to traditional definitions of art. Key points discussed include how Gentileschi's depiction of Judith differs from male artists, how context is needed to determine an artwork's originality rather than just examining the work itself, and how Kraft and Nochlin come to conclusions about women's art and feminist art in their writings.
The document discusses the relationship between art, science, and creativity. It argues that creativity in art is not fundamentally different than scientific creativity or other creative acts. It explores how computational tools can augment creative works and discusses examples like Pollock's fractal-like paintings. The document also examines how art and science have been historically interconnected through figures like Archimedes, Newton, Jacob, and Kekulé. It proposes creativity exists on the "edge of chaos" between order and disorder.
From Object to concept: environment, performance, and installation artDeborahJ
This document provides an overview of postmodern art movements that emerged in response to modernism, including minimalism, conceptual art, performance art, body art, earthworks, and installation art. It discusses how these genres emphasized ideas over visual forms, incorporated elements of theatre and audience participation, and challenged definitions of art. Key artists mentioned include Robert Morris, Joseph Kosuth, Vito Acconci, Chris Burden, Richard Serra, Michael Heizer, Robert Smithson, and Bruce Nauman. It also summarizes Michael Fried's criticism of minimalism and Rosalind Krauss' theory of sculpture's "expanded field."
The document summarizes artistic developments during the Industrial Age from 1850-1910, known as Realism and Modernism. It describes how Realist art aimed to depict ordinary society truthfully in response to industrialization. Artists like Courbet and Daumier portrayed everyday lives and social issues. Impressionism emerged in the 1870s with painters like Monet and Renoir using light, color, and spontaneous techniques to capture fleeting moments. Post-Impressionists such as Seurat, Cézanne, Gauguin, and Van Gogh further developed these techniques and explored new styles that influenced later abstract and surrealist art. The arts reflected both optimism about scientific progress during this era as well as doubts about its
PNU – CAD, Course of English for Art and Design (ARH 101) - Dr.docxLeilaniPoolsy
PNU – CAD, Course of English for Art and Design (ARH 101) - Dr. Serena Autiero
Page 1 of 4
Princess Nora bint Abdul Rahman University
College of Fine Arts and Design - Art History Department
Course of English for Art and Design (ARH 101)
Instructor: Dr. Serena Autiero
Reading 1 for Final Paper
ART THROUGH THE AGES
1. The Beginnings of Art
Art history, which begins around 30,000 B.C. with the earliest known cave paintings,
predates writing by about 26,500 years! That makes art history even older than history,
which begins with the birth of script around 3500 B.C. Along with archaeology, art
history is one of our primary windows into prehistory (everything before 3500 B.C.).
Cave paintings, prehistoric sculpture, and architecture together paint a vivid — although
incomplete — picture of Stone Age and Bronze Age life. Without art history, we would
know a lot less about our early ancestors.
With the beginning of history with the invention of script around 3500 B.C. the need for
art is still felt by humanity. And studying that art is still very important to understand the
past, since history is the diary of the past; this means that ancient peoples wrote about
themselves, so that we know their own interpretation of facts, not things as they were. Art
history is instead the mirror of the past. It shows us who we were, instead of telling us, as
history does. History is the study of wars and conquests, mass migrations, and political
and social experiments. Art history is a portrait of man’s inner life: his aspirations and
inspirations, his hopes and fears, his spirituality and sense of self.
2. The Great Ancient Civilizations
If we know who we were 10,000 years ago, we have a better sense of who we are today.
Even studying a few Ancient Greek vases can reveal a lot about modern society — if you
know how to look at and read the vases. Many Greek vases show us what ancient Greek
theater looked like; modern theater and cinema are the direct descendants of Greek
theater. Greek vases depict early musical instruments, dancers dancing, and athletes
competing in the ancient Olympics, the forerunner of the modern Olympic Games. Some
vases show us the role of women and men: Women carry vases called hydrias; men paint
those vases. Ancient art teaches us about past religions (which still affect our modern
religions) and the horrors of ancient war craft. Rameses II’s monument celebrating his
battle against the Hittites and Trajan’s Column, which depicts the Emperor Trajan’s
conquest of Dacia (modern day Romania), are enduring eyewitness accounts of ancient
battles that shaped nations and determined the languages we speak today. Art isn’t just
limited to paintings and sculptures. Architecture, another form of art, reveals the way
men and women responded to and survived in their environment, as well as how they
defined and defended themselves.
PNU – CAD, Course of English for Art and Design (ARH 101.
How Art Works: Week 5 The Rise of the ismsDeborahJ
This lecture will:
Examine how artists sought to find a language that would adequately express the changes and disruptions associated with modern life
Attempt to capture the dialectical relationship between each movement and its predecessors
Make connections between historical events and art genres
Encouraged you to think of styles as useful tools for exploration and analysis, rather than as hard and fast academic definitions, and to relate to the art itself rather than to a merely conceptual idea
Modernism was a loose collection of artistic movements and styles in the early 20th century that rejected historical styles and applied ornament. It embraced abstraction and believed that design and technology could transform society. Some key aspects of Modernism included Suprematism's use of basic geometric shapes, Constructivism's view of art as an instrument for social purposes, and the Bauhaus school's goal of combining all the arts in an ideal unity.
This document provides an overview of postmodernism in art, focusing on pop art and its critique of consumer culture from the 1960s onward. It discusses key pop artists like Andy Warhol and Roy Lichtenstein who drew from advertising and mass media images. The concept of the simulacrum is also introduced through the works of Baudrillard, where images and replicas lose their connection to reality. The document traces the development of postmodern thought and how it challenged modernist ideas about progress and historical narratives in art.
The document discusses various methods of presenting art, including realism, abstraction, symbolism, fauvism, dadaism, futurism, surrealism, and impressionism. Realism attempts to portray subjects truthfully without artistic conventions. Abstraction moves away from realistic representation and can include distortion, elongation, mangling, or cubism. Symbolism uses signs to represent ideas. Fauvism features bright colors and free form. Dadaism was a protest movement. Futurism aimed to depict speed and modern society. Surrealism reveals unconscious imagery. Impressionism emphasizes accurate depiction of light and movement.
The document provides an overview of the major art movements in the 20th century. It discusses how modern art reflected the changing times with cameras making realistic art obsolete and mass production making art marketable. Artists valued originality over beauty and would shock audiences if they couldn't please them. Key movements discussed include Fauvism, Cubism, Surrealism, Abstract Expressionism, Pop Art, and Post-Modernism. Major artists from each movement like Picasso, Kandinsky, Pollock, and Warhol are also mentioned.
The document provides an overview of major art movements from the 20th century, including Modern art, Cubism, Abstract art, Expressionism, Dada, Surrealism, Pop Art, and Post-Modernism. It summarizes key works and artists from each movement, such as Picasso's Les Demoiselles d'Avignon for Cubism and Warhol's Campbell's Soup Cans for Pop Art. The document traces how art evolved from realistic representations to more conceptual and interactive forms over the turbulent 20th century.
The document provides an overview of major art movements from the 20th century, including Modern art, Cubism, Abstract art, Expressionism, Dada, Surrealism, Abstract Expressionism, Pop Art, and Post-Modernism. It summarizes key works and artists from each movement, such as Picasso's Les Demoiselles d'Avignon for Cubism and Warhol's Campbell's Soup Cans for Pop Art. The document traces how art evolved from realistic representations to more conceptual and interactive forms over the turbulent 20th century.
Similar to Art Theory: Two Cultures Synthesis of Art and Science (20)
AI Health Agents: Longevity as a Service in the Web3 GenAI Quantum RevolutionMelanie Swan
Health Agents are a form of Math Agent as the concept of a personalized AI health advisor delivering “healthcare by app” instead of “sickcare by appointment.” Mobile devices
can check health 1000 times per minute as opposed to the standard one time per year doctor’s office visit, and model virtual patients in the digital twin app. As any AI agent, Health Agents “speak” natural language to humans and formal language to the computational infrastructure, possibly outputting the mathematics of personalized homeostatic health as part of their operation. Health Agents could facilitate the ability of physicians to oversee the health of thousands of individuals at a time. This could ease overstressed healthcare systems and contribute to physician well-being and the situation that (per the World Health Organization) more than half of the global population is still not covered by essential health services.
The computational infrastructure is becoming a vast interconnected fabric of formal methods, including per a major shift from 2d grids to 3d graphs in machine learning architectures
The implication is systems-level digital science at unprecedented scale for discovery in a diverse range of scientific disciplines
We know that we are in an AI take-off, what is new is that we are in a math take-off. A math take-off is using math as a formal language, beyond the human-facing math-as-math use case, for AI to interface with the computational infrastructure. The message of generative AI and LLMs (large language models like GPT) is not that they speak natural language to humans, but that they speak formal languages (programmatic code, mathematics, physics) to the computational infrastructure, implying the ability to create a much larger problem-solving apparatus for humanity-benefitting applications in biology, energy, and space science, however not without risk.
This document summarizes a presentation on quantum intelligence and socially responsible artificial intelligence. The key points are:
- Quantum intelligence refers to intelligence operating in the quantum realm, which may help with potential convergence of AI and quantum computing around 2030. Scale-free intelligence is formulated as a generic capacity for learning.
- AI adoption is happening rapidly through technologies like research copilots, AI engines, chips, and potential for software 2.0 with machine-written code. This may facilitate knowledge generation and problem solving.
- Socially responsible AI (SRAI) for well-being is proposed as a social and technological objective, to be realized through short-term regulation, medium-term value learning, and
The Human-AI Odyssey: Homerian Aspirations towards Non-labor IdentityMelanie Swan
The visionary progression in The Odyssey from shipbuilding to seafaring to advanced civilization informs contemporary tension in the human-AI relation forcing a broader articulation of human-identity beyond labor-identity. Edith Hall analyzes why one of the earliest known literatures, The Odyssey, remains a central cultural trope with numerous references in the storytelling vernacular of all eras, ranging from 1860s British theater to a highly-watched 1990 episode of The Simpsons. The argument is that The Odyssey provides a constant aspirational reference for human identity – who we think we are and where we are going on the epic journey of life, especially at the current crossroad in our relationship with technology.
The contemporary moment finds humanity, and the humanities, experiencing an identity crisis in the relationship with technology. Information science is having an ever more pervasive role in academia, and the machine economy continues to offload vast classes of tasks to labor-saving technology giving rise to two questions. First, at the level of labor-identity, humans wonder who they are as they have long defined their sense of self through their professional participation in the economy. Second, at the level of human-identity, with AI now performing cognitive labor in addition to physical labor, humans wonder if there is anything that remains uniquely human.
The effect of The Odyssey is to provide world-expanding imaginaries to change the way we see ourselves as subjects; in this way, Homer is an early modernist in reconfiguring our self-concept.
This work applies a philosophy (of literature)-aided information science method to discuss how Homer’s Odyssey persists as a literary imaginary to help us think through potential futures of human-AI flourishing as rapid automation continues to impact humanity. The intensity of the human-AI relation is likely to increase, which invites thought leadership to steward the transition to a potential AI abundance economy with fulfilling human-technology collaboration.
The shipbuilding-seafaring-advanced civilization progression in The Odyssey identifies that the human-AI relation is not one of the labor-identity-crisis of “robots stealing our jobs,” but rather one of the more difficult challenge of envisioning who we can be in the new larger world of human-AI partnership addressing a larger set of planetary-scale problems. Towards this new configuration of human-AI relation, the longer-term may hold radically different notions of identity, as we become physical-virtual hybrids, augmented post-disease entities in the health-faring, space-civilizing, energy-marshalling post-scarcity cultures of the future.
AdS Biology and Quantum Information ScienceMelanie Swan
Quantum Information Science is a fast-growing discipline advancing many areas of science such as cryptography, chemistry, finance, space science, and biology. In particular AdS/Biology, an interpretation of the AdS/CFT correspondence in biological systems, is showing promise in new biophysical mathematical models of topology (Chern-Simons (solvable QFT), knotting, and compaction). For example, one model of neurodegenerative disease takes a topological view of protein buildup (AB plaques and tau tangles in Alzheimer’s disease, alpha-synuclein in Parkinson’s disease, TDP-43 in ALS). AdS/Neuroscience methods are implicated in integrating multiscalar systems with different bulk-boundary space-time regimes (e.g. oncology tumors, fMRI + EEG imaging), entanglement (correlation) renormalization across scales (MERA, random tensor networks, melonic diagrams), entropy (possible system states), entanglement entropy (interrelated fluctuations and correlations across system tiers), and non-ergodicity (implied efficiency mechanisms since biology does not cycle through all possible configurations per temperature (thermotaxis), chemotaxis, and energy cues); Maxwell’s demon of biology (partition functions), conservation across system scales (biophysical gauge symmetry (system-wide conserved quantity)), and the presence of codes (DNA, codons, neural codes). A multiscalar AdS/CFT correspondence is mobilized in 4-tier ecosystem models (light-plankton-krill-whale and ion-synapse-neuron-network (AdS/Brain)).
Humanity’s constant project is expanding the range of attainable geography. Melville’s romance of the sea gives way to Kerouac’s romance of the road, and now the romance of space. In expanding into new geographies, markets (commerce) is the driving impulse, entailing a legal and judiciary system to order the new larger continuous marketplace, which brings a bigger overall scope of world under our control, and hence a new idea of who we are as subjects in this bigger domain.
Space Humanism is a concept of humanism based on the principles of inclusion, progress, and equity posited as a condition of possibility for a potential large-scale human movement into space. A philosophy of literature approach is used to contextualize Space Humanism, first through Melville-Foucault to articulate the mind-frame of extra-planetary geographies as one of human expansion, and second through posthuman philosophy extending from Shakespeare’s Renaissance humanism to contemporary enhancement-based theories of subjectivation.
Historical imaginaries outline subjectivation moments that have changed the whole notion who we are as humanity. Four examples are: the concept of the “new world” in Hegel’s philosophy, von Humboldt’s infographic maps, Baudelaire as the Painter of Modern Life, and Keats’s seeing the world in a new way upon reading an updated translation of Homer.
The reach to beyond-Earth geographies is a two-cultures project involving both arts and science. Technical competence is necessary to realize the aspirational, explorational, and survivalist aims of humanity pushing beyond planetary limits. Space was once a fantastic dream that is becoming quotidian with fourteen U.S. spaceports, six completed Blue Origin space tourist missions, and SpaceX having over 155 successful rocket launches including human space flights to and from the International Space Station. The notion of Space Human articulated through Shakespeare, Moby-Dick, and neuroenhancement informs the project of our reach to awaiting beyond-Earth geographies.
Quantum Information Science and Quantum Neuroscience.pptMelanie Swan
This document summarizes a presentation on quantum neuroscience given by Melanie Swan. It discusses how quantum effects may be relevant to neuroscience, outlines various research topics within quantum neuroscience like imaging and protein folding, and describes mathematical approaches like wavefunctions and topological data analysis that are being applied. It also provides background on the levels of organization in the brain from the nervous system down to ion channels, and reviews the current status of the connectome and motor neuron mapping projects in different organisms. Finally, it discusses modeling of neural signaling across scales using techniques like partial differential equations.
The document summarizes a presentation on quantum information and technologies. It discusses:
1) How quantum computing could enable solving problems in fields like space science, biology, and finance faster than classical computers by taking advantage of quantum properties like superposition and entanglement.
2) Some of the basic concepts in quantum information like qubits, qudits, wavefunctions, error correction, and different methods for building quantum computers like superconducting and optical approaches.
3) The status of quantum computing including cloud access to quantum processors with over 100 qubits now available from IBM, though fully error corrected quantum computers still remain in development.
Grammatology and Performativity: A Critical Theory of Silence: Silence is a crucial device for subversion, opposition, and socio-political commentary, the theoretical underpinnings of which are just starting to be understood. This work illuminates another position in the growing field of critical silence studies, theorizing silence as an asset whose ontological value has been lost in a world of literal and figurative noise. Part 1 philosophizes silence as a continuation of Derrida’s grammatology project. Such a grammatology of silence valorizes silent thinking over noisy speaking, and identifies the deconstructive binary pairing not as silence-speaking, but rather as silence-noise. Noise has a simultaneous physical-virtual existence as Shannon entropy calculates signal-to-noise ratios in modern communications networks. Part 2 employs the philosophy of noise to assess what is conceptually necessary to overcome noise in a critical theory of silence. Malaspina draws from Simondon to argue that noise is a form of individuation, essentially a living thing with unstoppable growth potential, not defined by a binary on-off switch but as a matter of gradation. Hence different theory resources are required to oppose it. Part 3 then develops a critical theory of silence to oppose noise in both its physical and virtual instantiations, with the two arms of a deeply human positive performativity (Szendy, Bennett) and a beyond-computational posthumanism (Puar). The result is a novel critical theory of silence as positive performativity that destabilizes noise and recoups the ontological status of silence as not merely an empty post-modern reification but a meaningful actuality.
Philosophy-aided Physics at the Boundary of Quantum-Classical Reality The philosophical themes of truth-knowledge and appearance-reality are used to interrogate the contemporary situation of the quantum-classical boundary, and more broadly the quantum-classical-relativistic stratification of physical scale boundaries. The contemporary moment finds us at breakneck pace in the industrial information revolution, digitizing remaining matter-based industries into a seamless exchange between physical-digital reality. Digitized news is giving way to digitized money and perhaps in the farther future, digitized mindfiles (such as personalized connectome files for precision medicine, autologous (own-DNA) stem cell therapies, and CRISPR for Alzheimer’s disease prevention). Our technologies are allowing us control over vast new domains, the relativistic with GPS and space-faring, and the quantum with quantum computing, harnessing the properties of superposition, entanglement, and interference. Philosophy provides critical thinking tools that can help us understand and master these rapid shifts in science and technology to avoid an Adornian instrumental reality (subsuming humanity under societal structures) and to maintain a Heideggerian backgrounded and enabling relation with technology (versus technology enframing us into mindless standing reserve).
The philosophical theme underlying the investigation of the scales of planets, persons, and particles is the relationship between truth and knowledge (or appearance and reality). The truth-knowledge problem is whether knowledge of the truth, true knowledge, the reality under the appearance, is even possible. Three salient moments in the history of the truth-knowledge problem are examined here. These are the German idealism of Kant and Hegel, the deconstructive postmodernism of Foucault and Derrida, and the unclear leanings of the current moment. The German idealism lens incorporates the self-knowing subject as agent into the truth and knowledge problem. The postmodernist view breaks with the subject and emphasizes the hidden opposites in the formulations, the constant reinterpretation of meaning, and porous boundaries. The contemporary moment wonders whether truth-knowledge boundaries still hold, in a Benjaminian view of non-identity between truth and knowledge, and truth increasingly being seen as a Foucauldian biopolitical manufactured quantity. Contemporaneity has a bimodal distribution of the subject: the hyperself (the constantly digitally represented selfie self) and the alienated post-subject subject.
These moments in the truth and knowledge debate inflect into the scale considerations of relativity, classicality, and quantum mechanics. Whereas general relativity and quantum mechanics are domains of universality, totality, and multiplicity, everyday classical reality is squeezed in as a belt between the two multiplicities as the concretion of drawing a triangle or tossing a ball. Recasting truth and k
Comprehensive philosophical programs arise within a historical context (for Hegel and Derrida in the democracy-shaping moments of the French Revolution (1789) and the student-worker protests (1968) in which French politics serve as a global harbinger of contemporary themes). In the Derrida-Hegel relationship, there is more rapprochement concerning core notions of difference, history, and meaning-assignation than may have been realized. In particular, Hegel’s philosophy, despite being assumed to be a totalizing system, in fact indicates precisely some of the same kinds of revised metaphysics-of-presence formulations that Derrida exhorts, namely those that are flexible, expansive, and include non-identity and identity.
A crucial Derrida-Hegel interchange is that of différance and difference. Derrida develops the notion directly from Hegel (“Différance,” “The Pit and the Pyramid”), but only draws from the Encyclopedia, not Hegel’s masterwork, the Phenomenology of Spirit. For Derrida, the “A” in différance is inspired by the form of the pyramid in the capitalized letter and in Hegel’s comparing the sign “to the Egyptian Pyramid” (“Différance,” p. 3). Derrida invokes the symbolism of the pyramid, antiquity, and Egyptian hieroglyphics as an early semiotic system. However, when considering Hegel’s central definition of difference in the dialectical progression of thesis-antithesis-synthesis in the Phenomenology of Spirit (§§159-163), the articulations of différance and difference are remarkably aligned.
Parallel formulations are also seen in history as a series of reinterpretable events, and indexical wrappers as a mechanism for meaning assignation. The thinkers examine the universal and the particular by exploring regulative mechanisms such as law (natural and social). In Glas, Derrida highlights not the singular-universal relation, but the law of singularity and the law of universality relation as being relevant to Hegel’s Antigone interpretation (Glas, p. 142a), a theme continued in “Before the Law.” Finally (time permitting), there is a question whether the most valid critiques of Hegel (Nietzsche’s unreason and Benjamin’s non-synthesis), as alternatives to Hegelian dialectics, are visible in Derrida’s thought.
The upshot is that the two thinkers produce similar formulations, derived from different trajectories of philosophical work; a situation which points to the potential universality of fundamental solution classes to open-ended philosophical problems, including the future of democracy.
This presentation discusses quantum concepts including:
1. The quantum mindset of thinking in terms of superposition and multiplicity to solve problems.
2. Kant's view of time as both transcendentally ideal and empirically real, with infinite multiplicities existing simultaneously.
3. Applying the quantum mindset to economics, with money having both virtual and physical properties like quantum objects, and blockchain enabling new economic designs based on use value over exchange value.
Blockchain Crypto Jamming: Subverting the Instrumental Economy
The ultimate subversion is money, refusing the pecuniary resources of the state. This project applies a philosophical and critical theory lens to examine the use of nomenclature in one of the most radical longitudinal transformations in contemporary times, the shift away from state-run monetary resources towards cryptocurrencies and smart contracts in citizen-determined decentralized financial networks.
A Cryptoeconomic Theory of Social Change is presented in which linguistic progression serves as a tracking mechanism. The steps to lasting change have their own vocabulary (Brandom). First, there is the social critique, the complaint about what is wrong, the negative side (Adorno and Horkheimer highlight instrumental reason and the empty culture industry). Second, there is the antidote, an alternative that can overcome the complaint, the positive side. Third, the solution becomes the new reality, and as a consequence, the whole of reality is now seen in this context, adopting its vocabulary (“fiat health” system for example, referring to the antiquated method). The social movement graduates from language game (Wittgenstein) to form of life (Jaeggi).
Blockchains are Occupy with teeth, notable in the level of personal responsibility-taking by individuals to steward their own financial resources. The crypto citizen is not merely trading CryptoKitties and Bored Ape Yacht Club tokens, but getting blocktime loans through DeFi liquidity pools instead of fiat banks, earning labor income in crypto, and shifting all economic activity to blockchain networks. The artworld signals mainstream acceptance with Christie’s non-fungible token digital artwork auctioned from Beeple for $61 million. At the global level, coin communities constitute a new form of Kardashev-level (planetary-scale) democracy. Blockchains emerge as a robust smart network automation technology for super-class projects ranging from space-faring to quantum computing and thought-tokening. The further stakes of this work are having a language-based theory of social change with broad applicability to social transformation.
This work argues that the emerging understanding of time in quantum information science can be articulated as a philosophical theory of change. Change and time are interrelated, and one can be used to interrogate the other, namely, a theory of change can be derived from a theory of time. What is new in quantum science is time being regarded as just another property to be engineered. At the quantum scale, time is reversible in certain ways, which is quite different from the everyday experience of time whose unidirectional arrow does not allow a dropped egg to reassemble. At the quantum scale of atoms, though, a particle retains the history of its trajectory, which may be retraced before collapsed in measurement.
Quantum scientists evolve systems backward and forward in time, controlling phase transitions with Floquet engineering. Quantum systems are entangled in time and space, with temporal correlations exhibiting greater multiplicity than spatial correlations. The chaotic time regimes of ballistic spread followed by saturation are implemented in quantum walks for faster search and heightened cryptosecurity. In quantum neuroscience, seizure may be explained by chaotic dynamics and normal resting state by Floquet-like periodic cycles. Time is revealed to have the same kinds of repeating structures as space (described by entanglement, symmetry, and topology), differently instantiated and controlled.
The quantum understanding of time can be propelled into a macroscale-theory of change through its connotation of a more flexible, malleable, probabilistic interface with reality. Change becomes less rigid. Probability is the lever of change, but notoriously difficult for humans to grasp, as we think better in storylines than statistics. The idea of manipulating quantum system properties in which time, space, dynamics (change), are all just parameters, is an empowering frame for the acceptance of change. The quantum mindset affords greater facility with probability-driven events (change).
Blockchains in Space: Non-Euclidean Spacetime and Tokenized Thinking - Two requirements for the large-scale beyond-terrestrial expansion of human intelligence into the universe are the ability to operate in diverse spatiotemporal regimes and to instantiate thinking in various formats. Newtonian mechanics describe everyday reality, but Einsteinian physics is needed for GPS and the orbital technologies of telescopes and spacecraft. Space agencies already integrate the Earth-day and the slightly-longer Martian-sol. A more substantial move into space requires facility with non-Euclidean spacetimes. One challenge is that general relativity and quantum mechanics are non-interoperable. However, the theories can be formulated together when considering black holes and quantum computing since geometric theories and gauge theories are both field-based. Quantum blockchains instantiate blockchain logic in quantum computational environments. Blockchains have their own temporal regime (blocktime: the number of blocks for an event to occur), and hence quantum blocktime is a non-classical functionality for operating in diverse spatiotemporal regimes. Thinking is a rule-based activity that is unrestricted by medium. Central to thinking is concepts, which are referenced by words. Word-types include universals, particulars, and indexicals which can be encoded into a formal system as thought-tokens, and registered to blockchains. Blockchains are contemplated as an automation technology for asteroid mining and space settlement construction, and thought-tokening adds an intelligence layer. Time and tokenized thinking come together in the idea of smart networks in space. In blockchain quantum smart networks, spatiotemporal regimes and thought-tokens are simply different value types (asset classes) coordinated with blockchain logic, towards the aim of extending human capabilities into the farther reaches of space.
Complexity and Quantum Information ScienceMelanie Swan
This document discusses using quantum information science and quantum computing to model complex systems like the human brain. It proposes the "AdS/Brain Theory of Neural Signaling" which uses wavefunctions, tensor networks, and neural field theories at different scales from brain networks to molecules. Quantum computing could provide a new platform to model the brain across its nine orders of magnitude of complexity and help complete the human connectome by handling the large data and processing requirements. The AdS/Brain theory represents the first application of the AdS/CFT correspondence across multiple scales of the brain.
Cryptography, entanglement, and quantum blocktime: Quantum computing offers a more scalable energy-efficient platform than classical computing and supercomputing, and corresponds more naturally to the three-dimensional structure of atomic reality. Blockchains are a decentralized digital economic system made possible by the 24-7 global nature of the internet.
Quantum Neuroscience: CRISPR for Alzheimer’s, Connectomes & Quantum BCIsMelanie Swan
This talk provides an introduction to quantum computing and how it may be deployed to study the human brain and its diseases of pathology and aging. Refined to its present state over centuries, the brain is one of the most complex systems known, with 86 billion neurons and 242 trillion synapses connected in intricate patterns and rewired by synaptic plasticity. Research continues to illuminate the mysteries of the brain. Quantum computing provides a more capacious architecture with greater scalability and energy efficiency than current methods of classical computing and supercomputing, and more naturally corresponds to the three-dimensional structure of atomic reality. The vision for quantum neuroscience is to model the nature of the brain exactly as it is, in three-dimensional atomically-accurate representations. Neuroscience (particularly genetic disease modeling, connectomics, and synaptomics) could be the “killer application” of quantum computing. Implementations in other industries are also important, including in quantum finance, quantum cryptography using Shor’s factoring algorithm (“the Y2K of Crypto”), Grover’s search, quantum chemistry, eigensolvers, quantum machine learning, and continuous-time quantum walks. Quantum computing is a high-profile worldwide scientific endeavor with platforms currently available via cloud services (IBM Q 27-qubit, IonQ 32-qubit, Rigetti 19Q Acorn) and is in the process of being applied in various industries including computational neuroscience.
Must Know Postgres Extension for DBA and Developer during MigrationMydbops
Mydbops Opensource Database Meetup 16
Topic: Must-Know PostgreSQL Extensions for Developers and DBAs During Migration
Speaker: Deepak Mahto, Founder of DataCloudGaze Consulting
Date & Time: 8th June | 10 AM - 1 PM IST
Venue: Bangalore International Centre, Bangalore
Abstract: Discover how PostgreSQL extensions can be your secret weapon! This talk explores how key extensions enhance database capabilities and streamline the migration process for users moving from other relational databases like Oracle.
Key Takeaways:
* Learn about crucial extensions like oracle_fdw, pgtt, and pg_audit that ease migration complexities.
* Gain valuable strategies for implementing these extensions in PostgreSQL to achieve license freedom.
* Discover how these key extensions can empower both developers and DBAs during the migration process.
* Don't miss this chance to gain practical knowledge from an industry expert and stay updated on the latest open-source database trends.
Mydbops Managed Services specializes in taking the pain out of database management while optimizing performance. Since 2015, we have been providing top-notch support and assistance for the top three open-source databases: MySQL, MongoDB, and PostgreSQL.
Our team offers a wide range of services, including assistance, support, consulting, 24/7 operations, and expertise in all relevant technologies. We help organizations improve their database's performance, scalability, efficiency, and availability.
Contact us: info@mydbops.com
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Northern Engraving | Nameplate Manufacturing Process - 2024Northern Engraving
Manufacturing custom quality metal nameplates and badges involves several standard operations. Processes include sheet prep, lithography, screening, coating, punch press and inspection. All decoration is completed in the flat sheet with adhesive and tooling operations following. The possibilities for creating unique durable nameplates are endless. How will you create your brand identity? We can help!
Session 1 - Intro to Robotic Process Automation.pdfUiPathCommunity
👉 Check out our full 'Africa Series - Automation Student Developers (EN)' page to register for the full program:
https://bit.ly/Automation_Student_Kickstart
In this session, we shall introduce you to the world of automation, the UiPath Platform, and guide you on how to install and setup UiPath Studio on your Windows PC.
📕 Detailed agenda:
What is RPA? Benefits of RPA?
RPA Applications
The UiPath End-to-End Automation Platform
UiPath Studio CE Installation and Setup
💻 Extra training through UiPath Academy:
Introduction to Automation
UiPath Business Automation Platform
Explore automation development with UiPath Studio
👉 Register here for our upcoming Session 2 on June 20: Introduction to UiPath Studio Fundamentals: https://community.uipath.com/events/details/uipath-lagos-presents-session-2-introduction-to-uipath-studio-fundamentals/
Connector Corner: Seamlessly power UiPath Apps, GenAI with prebuilt connectorsDianaGray10
Join us to learn how UiPath Apps can directly and easily interact with prebuilt connectors via Integration Service--including Salesforce, ServiceNow, Open GenAI, and more.
The best part is you can achieve this without building a custom workflow! Say goodbye to the hassle of using separate automations to call APIs. By seamlessly integrating within App Studio, you can now easily streamline your workflow, while gaining direct access to our Connector Catalog of popular applications.
We’ll discuss and demo the benefits of UiPath Apps and connectors including:
Creating a compelling user experience for any software, without the limitations of APIs.
Accelerating the app creation process, saving time and effort
Enjoying high-performance CRUD (create, read, update, delete) operations, for
seamless data management.
Speakers:
Russell Alfeche, Technology Leader, RPA at qBotic and UiPath MVP
Charlie Greenberg, host
[OReilly Superstream] Occupy the Space: A grassroots guide to engineering (an...Jason Yip
The typical problem in product engineering is not bad strategy, so much as “no strategy”. This leads to confusion, lack of motivation, and incoherent action. The next time you look for a strategy and find an empty space, instead of waiting for it to be filled, I will show you how to fill it in yourself. If you’re wrong, it forces a correction. If you’re right, it helps create focus. I’ll share how I’ve approached this in the past, both what works and lessons for what didn’t work so well.
For the full video of this presentation, please visit: https://www.edge-ai-vision.com/2024/06/temporal-event-neural-networks-a-more-efficient-alternative-to-the-transformer-a-presentation-from-brainchip/
Chris Jones, Director of Product Management at BrainChip , presents the “Temporal Event Neural Networks: A More Efficient Alternative to the Transformer” tutorial at the May 2024 Embedded Vision Summit.
The expansion of AI services necessitates enhanced computational capabilities on edge devices. Temporal Event Neural Networks (TENNs), developed by BrainChip, represent a novel and highly efficient state-space network. TENNs demonstrate exceptional proficiency in handling multi-dimensional streaming data, facilitating advancements in object detection, action recognition, speech enhancement and language model/sequence generation. Through the utilization of polynomial-based continuous convolutions, TENNs streamline models, expedite training processes and significantly diminish memory requirements, achieving notable reductions of up to 50x in parameters and 5,000x in energy consumption compared to prevailing methodologies like transformers.
Integration with BrainChip’s Akida neuromorphic hardware IP further enhances TENNs’ capabilities, enabling the realization of highly capable, portable and passively cooled edge devices. This presentation delves into the technical innovations underlying TENNs, presents real-world benchmarks, and elucidates how this cutting-edge approach is positioned to revolutionize edge AI across diverse applications.
Dandelion Hashtable: beyond billion requests per second on a commodity serverAntonios Katsarakis
This slide deck presents DLHT, a concurrent in-memory hashtable. Despite efforts to optimize hashtables, that go as far as sacrificing core functionality, state-of-the-art designs still incur multiple memory accesses per request and block request processing in three cases. First, most hashtables block while waiting for data to be retrieved from memory. Second, open-addressing designs, which represent the current state-of-the-art, either cannot free index slots on deletes or must block all requests to do so. Third, index resizes block every request until all objects are copied to the new index. Defying folklore wisdom, DLHT forgoes open-addressing and adopts a fully-featured and memory-aware closed-addressing design based on bounded cache-line-chaining. This design offers lock-free index operations and deletes that free slots instantly, (2) completes most requests with a single memory access, (3) utilizes software prefetching to hide memory latencies, and (4) employs a novel non-blocking and parallel resizing. In a commodity server and a memory-resident workload, DLHT surpasses 1.6B requests per second and provides 3.5x (12x) the throughput of the state-of-the-art closed-addressing (open-addressing) resizable hashtable on Gets (Deletes).
The Microsoft 365 Migration Tutorial For Beginner.pptxoperationspcvita
This presentation will help you understand the power of Microsoft 365. However, we have mentioned every productivity app included in Office 365. Additionally, we have suggested the migration situation related to Office 365 and how we can help you.
You can also read: https://www.systoolsgroup.com/updates/office-365-tenant-to-tenant-migration-step-by-step-complete-guide/
Freshworks Rethinks NoSQL for Rapid Scaling & Cost-EfficiencyScyllaDB
Freshworks creates AI-boosted business software that helps employees work more efficiently and effectively. Managing data across multiple RDBMS and NoSQL databases was already a challenge at their current scale. To prepare for 10X growth, they knew it was time to rethink their database strategy. Learn how they architected a solution that would simplify scaling while keeping costs under control.
"Choosing proper type of scaling", Olena SyrotaFwdays
Imagine an IoT processing system that is already quite mature and production-ready and for which client coverage is growing and scaling and performance aspects are life and death questions. The system has Redis, MongoDB, and stream processing based on ksqldb. In this talk, firstly, we will analyze scaling approaches and then select the proper ones for our system.
Main news related to the CCS TSI 2023 (2023/1695)Jakub Marek
An English 🇬🇧 translation of a presentation to the speech I gave about the main changes brought by CCS TSI 2023 at the biggest Czech conference on Communications and signalling systems on Railways, which was held in Clarion Hotel Olomouc from 7th to 9th November 2023 (konferenceszt.cz). Attended by around 500 participants and 200 on-line followers.
The original Czech 🇨🇿 version of the presentation can be found here: https://www.slideshare.net/slideshow/hlavni-novinky-souvisejici-s-ccs-tsi-2023-2023-1695/269688092 .
The videorecording (in Czech) from the presentation is available here: https://youtu.be/WzjJWm4IyPk?si=SImb06tuXGb30BEH .
inQuba Webinar Mastering Customer Journey Management with Dr Graham HillLizaNolte
HERE IS YOUR WEBINAR CONTENT! 'Mastering Customer Journey Management with Dr. Graham Hill'. We hope you find the webinar recording both insightful and enjoyable.
In this webinar, we explored essential aspects of Customer Journey Management and personalization. Here’s a summary of the key insights and topics discussed:
Key Takeaways:
Understanding the Customer Journey: Dr. Hill emphasized the importance of mapping and understanding the complete customer journey to identify touchpoints and opportunities for improvement.
Personalization Strategies: We discussed how to leverage data and insights to create personalized experiences that resonate with customers.
Technology Integration: Insights were shared on how inQuba’s advanced technology can streamline customer interactions and drive operational efficiency.
AppSec PNW: Android and iOS Application Security with MobSFAjin Abraham
Mobile Security Framework - MobSF is a free and open source automated mobile application security testing environment designed to help security engineers, researchers, developers, and penetration testers to identify security vulnerabilities, malicious behaviours and privacy concerns in mobile applications using static and dynamic analysis. It supports all the popular mobile application binaries and source code formats built for Android and iOS devices. In addition to automated security assessment, it also offers an interactive testing environment to build and execute scenario based test/fuzz cases against the application.
This talk covers:
Using MobSF for static analysis of mobile applications.
Interactive dynamic security assessment of Android and iOS applications.
Solving Mobile app CTF challenges.
Reverse engineering and runtime analysis of Mobile malware.
How to shift left and integrate MobSF/mobsfscan SAST and DAST in your build pipeline.
AppSec PNW: Android and iOS Application Security with MobSF
Art Theory: Two Cultures Synthesis of Art and Science
1. Art Theory Talk:
Two Cultures Synthesis
of Art and Science
Houston TX, August 26, 2021
Slides: http://slideshare.net/LaBlogga
Melanie Swan, PhD
2. 26 Aug 2021
Art Theory
What is the role of art?
1
Inspire our possible futures
Romance of the Sea Romance of the Road Romance of Space
Melville
1851
Kerouac
1957
Musk-Bezos-Branson
2000-2050e
Baleinier au Mouillage (Whaler at
anchor), Henri Durand-Brager, 1814-79
Whole Earth Catalog, sign off issue,
Stewart Brand, 1971
100th Mission Launch, SpaceX,
Florida SpaceCoast, April 2021
3. 26 Aug 2021
Art Theory 2
Aesthetic resources contribute broadly to the human
endeavor of progress, self-understanding, and
science, beyond the immediate experience of art
Thesis
4. 26 Aug 2021
Art Theory
Aesthetic Resources are
frameworks, concepts, and
modes of expression in art,
literature, and philosophy that
capture the imagination and
the intellect through the senses
Parc Luma, Arles FR,
Frank Gerhy 2021
Entanglement Renormalization,
Guifre Vidal, 2007
Abstract Painting,
Gerhard Richter, 2005
Definition
Twelve-tone music,
Schoenberg, 1913
3
5. 26 Aug 2021
Art Theory
1. Periodizations (slide 8)
Art history periodizations at a glance
and the key principles they embody
2. Form and Content
Exploration of interrelation of form and
content, and technique and materials
3. Originality
Ability to assess novelty and create and
articulate new ideas
4. Context
See things in the larger context of the
ideas they are supporting and opposing
The Creation of Adam,
Michelangelo, 1508-12
Harlem Renaissance,
Sarah Jenkins, 2014
List of Aesthetic Resources
4
6. 26 Aug 2021
Art Theory
Agenda
Art Periodizations (1800-present)
Philosophy of Art
Conclusion and Implications
Remedios Varo, 1955 Tapestry Weavers of the World
5
The Alchemist
7. 26 Aug 2021
Art Theory
Foucault’s Epistemes
Episteme: knowledge representation model
Renaissance Age (1300-1650): resemblance
Classical Age (1650-1800): abstract idea
Modern Age (1800-present): role of the human
Knowledge-power is a social construct
orchestrated in the background
Historical Era Episteme (Knowledge Paradigm) Concrete-to-Abstract
Progression
1 Renaissance Age
(1300-1650)
Resemblance: recapitulation, similitude
between representation and represented
Literal
2 Classical Age
(1650-1800)
Abstract idea: the mental representation of
a phenomenon (with semblance or not)
Object is abstracted
3 Modern Age
(1800-present)
Human-determined: constitutive role of
human in knowledge representation
Agent is abstracted
4 Contemporary Age
(1950-present)
Digital Episteme: high-intensity information
climate, unclear “truth” status of information
Object and agent are
abstracted
Source: Foucault, M. (1970). The Order of Things: An Archaeology of the Human Sciences (Les Mots et les choses).
New York: Routledge.
6
Birthday Book Printing,
Walk of Ideas, Berlin, 2006
8. 26 Aug 2021
Art Theory
Radical Aesthetics: Geometric Perspective
Breaks the fourth wall
Spectators are in the
picture (mirror)
Artist is in the picture
“Royal portrait”
King and Queen (mirror)
Princess and retinue
Size differentials
Geometry of Space
Top half is dark
Light and reflection
Rear exit
Source: Foucault, M. (1970). The Order of Things: An Archaeology of the Human Sciences (Les Mots et les choses).
New York: Routledge.
7
Las Meninas, Velasquez, 1656
9. 26 Aug 2021
Art Theory
Aesthetic Periodizations
Modern Age (1800-present)
1800-1900
Romanticism 1800-1850 – individualism
Realism 1850-1860 – accurate representation
Impressionism & Post-impressionism 1870-1900 – play of light
1900-1950
Expressionism 1900-1930 – internal sense of meaning
Cubism 1907-1930 – geometric form
Surrealism 1924-1930 – mix of reality and absurdity
1950-present
Abstract Expressionism 1940-1950 – rebellion
Minimalism & Modernism 1960-1970 – purification
Conceptualism 1960+ & Post-conceptualism 1970+ – idea-message
Source: Nici, J.B. (2015). Barron’s AP Art History. 3rd Edition. New York: Barron’s Educational Services, Inc.
Mountain in Saint-Rémy,
Vincent van Gogh, 1889
8
10. 26 Aug 2021
Art Theory
Romanticism 1850-1900
9
Individualism, glorification of nature
and the past, reaction to modernity
Reaction to Age of Enlightenment social
political norms and Industrial Revolution
scientific rationalization of nature
Escapism: anything but here and now
Wanderer above the
Sea of Fog, Caspar
David Friedrich, 1818
The Fighting Téméraire,
J.M.W. Turner, 1839
The Bard, Thomas Jones, 1774 Faust, Goethe, 1808
11. 26 Aug 2021
Art Theory
Realism 1850-1860
10
The Butcher's Shop,
Annibale Carracci, 1580
Iron and Coal, William
Bell Scott, 1855-1860
Woman Cleaning Turnips, Jean-
Baptiste-Siméon Chardin, 1738
The Luxembourg Gardens,
Albert Edelfelt, 1887
Accurate representation, naturalism,
mimesis; ordinary subject matter,
everyday activities, movement
J’accuse,
Zola, Dreyfus
Affair, 13
January 1898
Nana,
Zola, 1880
12. 26 Aug 2021
Art Theory
Impressionism 1870-1900
11
Visible brush strokes, light and the
passage of time
Literary impressionism: character’s
inner life (Joseph Conrad, Stephen Crane)
Dance at Le Moulin de la Galette,
Pierre-Auguste Renoir, 1876
Water Lilies, Claude Monet, 1916
Dancer with a Bouquet of
Flowers, Edgar Degas, 1878
Haystacks (sunset), Claude
Monet, 1890-1891
13. 26 Aug 2021
Art Theory
Post-impressionism 1880-1900
12
Sharper images, geometric expression
A Sunday Afternoon on the Island of La
Grande Jatte, Georges Seurat, 1884-1886
The Card Players, Paul
Cézanne, 1894-1895
The Midday Nap, Paul
Gauguin, 1894
Boulevard Montmartre,
Camille Pissarro, 1897
Jardin à Sainte-Adresse,
Claude Monet, 1867
Cypresses, Vincent van
Gogh, 1889
14. 26 Aug 2021
Art Theory
Expressionism 1900-1930
13
Express the vibrancy of
inner experience
Moods, ideas, emotional
meaning, as opposed to
physical reality
Subjective representation
of the world
View of Toledo, El
Greco, 1595/1610
Der Blaue Reiter,
Wassily Kandinsky, 1903
The Scream, Edward
Munch, 1893
The Nietzsche Stone (Thus
Spoke Zarathustra), 1885
The Large Blue Horses, Franz Marc, 1911
The Ego and the Id,
Sigmund Freud, 1923
Memory, the Heart,
Frida Kahlo, 1937
Cool Jazz, Sarah
Jenkins, 2016
Detroit Industry, Diego
Rivera, 1932-33
15. 26 Aug 2021
Art Theory
Cubism 1907-1930
14
Geometric forms, association of
modern life and mechanization
Objects broken up and reassembled in
abstract form from multiple view points
Violin and Candlestick,
Georges Braque, 1910
Woman with a Horse, Jean
Metzinger, 1911-1912
Nude Model in the Studio,
Fernand Léger, 1912-1913
Les Demoiselles d'Avignon,
Pablo Picasso, 1907
Nude Descending a
Staircase No. 2, Marcel
Duchamp, 1912
16. 26 Aug 2021
Art Theory
Surrealism 1924-1930s
15
Juxtaposition of dream and
reality in an absolute reality
(surreality) (Breton)
Activate the unconscious mind
through illogical imagery
Indefinite Divisibility, Yves
Tanguy, 1942
This is not a pipe, René
Magritte, 1929
The Red Tower, Giorgio
de Chirico, 1913
The Elephant Celebes,
Max Ernst, 1921
Surrealist
Manifesto, André
Breton, 1924
The Library of Babel,
Jorge Luis Borges,
1941 (magical realism)
17. 26 Aug 2021
Art Theory
Surrealism: Dali
16
Mae West room,
Dali museum
The Persistence of Memory, 1931
Lobster Telephone (1938)
Apotheosis of Homer,
1944-1945
Agnostic Symbol (1932)
(spoon across the desert)
Ice Cream Van, 1970
18. 26 Aug 2021
Art Theory
Abstract Expressionism 1940-1950
17
Artistic censorship (McCarthy era)
contra vibrancy of Harlem renaissance
and Mexican muralists
Intense, rebellious, idiosyncratic, nihilistic
Painting is 2D giving the illusion of 3D;
sculpture actually is 3D
Cubi VI, David
Smith, 1963
Onement 1, Barnett
Newman, 1948 (Zip painting)
Detail of Figure, Richard
Stankiewicz, 1956
Number One, Jackson
Pollock, 1949
Zip painting: zips define the spatial structure of the painting, simultaneously dividing and uniting the composition of variegated color fields
19. 26 Aug 2021
Art Theory
Minimalism & Modernism 1960-1970
Art stripped to its essentials
Medium purification
An artwork adhering to the specific
stylistic properties of its medium
(Lessing, 1776)
Ryōan-ji dry garden,
Morigami Shouyo, 2015
Untitled, Donald Judd, 1969
Free Ride, Tony Smith, 1962
Black Square, Kazimir
Malevich, 1915
18
20. 26 Aug 2021
Art Theory 19
Conceptualism 1960+ (political)
We can make rain but no one came to ask, The Atlas Group, 2004
21. 26 Aug 2021
Art Theory
Conceptualism 1960+ (political)
Iconic work of social
criticism, challenging the
concept of art, and
presenting a new way of
seeing everyday life
Collective production
P.I.G.S. (Portugal,
Italy, Greece, Spain)
Burning EURO zone
financial crisis, Claire
Fontaine, 2014
The Physical Impossibility
of Death in the Mind of
Someone Living,
Damien Hirst, 1991
Gwangju Folly II, Raqs
Media Collective, 2012
Wu Ming author collective
(formerly Luther Blissett),
2000
The Fabric Workshop,
Renee Green, 1992
20
22. 26 Aug 2021
Art Theory
Conceptualism 1960+ (geometric)
Emphasis on the concept and ideas involved in the
work before the aesthetics and materials
21
Modular Cube, Sol LeWitt, 1969 and Wall Drawings, 1968-2007
Lebanon, John
Hoyland, 2007
Cedars, Walter Yarwood, 1962
(Painters Eleven)
Gagosian, Henry Moore, 2012
(contrast of space and solid)
23. 26 Aug 2021
Art Theory
Post-conceptualism 1970+
22
Soliloquy, Kenny Goldsmith, 1996
Index to the Report: Deciphering Chromosome 16, Sarah Jacobs, 2006
Reading as Art,
George Perec, 1974
Source: Andersson, Andrea, Ed. (2018). Postscript: Writing After Conceptual Art. Toronto CA: University of Toronto Press.
Extending conceptual art
Properties
Digital production
Ephemerality
Immersion
Textuality
24. 26 Aug 2021
Art Theory
Digital Art 1990+
Interactive production
Principles
Found materials
Digital domain
Information
Transhumanism
Global awareness
23
25. 26 Aug 2021
Art Theory
Mimicry and Reference
Travelers Caught in a Sudden Breeze
at Ejiri, Katsushika Hokusai, 1832
24
A Sudden Gust of Wind (after
Hokusai), Jeff Wall, 1993
What constitutes novelty?
26. 26 Aug 2021
Art Theory
25
Napoleon’s March (Campaign of 1812), Edward Tufte, 1970-90
Information Visualization as Art
Information display, data-rich illustration, information
design, visual literacy, data communication
27. 26 Aug 2021
Art Theory
26
Data as Art
Data as Culture, Stanza, 2012
Listening Post: Real-Time Data Responsive
Environment, Mark Hansen and Ben Rubin, 2001
Data-Tron-1, Ryoji Ikeda, 2010 (Transmediale)
28. 26 Aug 2021
Art Theory
27
Medical Biology
Biomimicry
BioArt: Biology as Art
29. 26 Aug 2021
Art Theory
28
BioArt: Sustainable Urban Agriculture
The Algae Opera, Agri, 2012,
Victoria & Albert Museum, London
Interactive performance
and audience
consumption piece
Deep lung capacity of
opera singer is perfect
morphology for producing
CO2 to feed algae in a
real-time experiment
Social commentary
Produced by Agri, a
collaborative arts group
examining the future of
agriculture
30. 26 Aug 2021
Art Theory
29
Transhuman Aesthetics
Primo Posthuman,
Natasha Vita-More,
2012
Posthuman Imaginaries
31. 26 Aug 2021
Art Theory
Avant-garde: in any Era
30
Experimental, radical,
unorthodox with respect to
art, culture, or society
Aesthetically innovative and
pushing limits of acceptability
Vocal Recording Artist, Bjork Diary of a Shinjuku Burglar,
Tadanori Yokoo, 1968
Cut Piece, Yoko Ono, 1965
32. 26 Aug 2021
Art Theory 31
White Painting, Robert Rauschenberg, 1951
Avant-garde Music and Art
4’33”, John Cage, 1952
Performed in the absence of
deliberate sound; the content of the
composition is not four minutes and
33 seconds of silence, but the
sounds of the environment heard by
the audience during the performance
Set décor for John Cage performance of Theater Piece No. 1, 1951
A series of modular canvases, painted entirely in white, which reflect changes
in light and the chance effects of shadows in the surrounding space
33. 26 Aug 2021
Art Theory
Themes
Matisse: retinal art (art for the eye)
Duchamp: conceptual art (art for the brain)
32
Fountain,
Duchamp, 1917
The Copper Drinking Fountain,
Chardin, 1734
Redemptions,
Claire Fontaine, 2013
34. 26 Aug 2021
Art Theory
Summary of Aesthetic Periodizations
Romanticism
1800-1850
Realism
1850-1860
Impressionism
1870-1900
Expressionism
1900-1930
Cubism
1907-1930
Surrealism
1924-1930
Abstract
Expressionism
1940-1950
1940-1990
Minimalism
1960-1970
Conceptualism
1960+
1900-1950
1800-1900
1990-present
Data Art
Digital Art BioArt
33
35. 26 Aug 2021
Art Theory
Agenda
Art Periodizations (1800-present)
Philosophy of Art
Conclusion and Implications
Remedios Varo, 1955 Tapestry Weavers of the World
34
The Alchemist
36. 26 Aug 2021
Art Theory
What is Art?
Why do we go to see art exhibitions,
galleries, operas, symphonies,
concerts, bands, shows?
We are seeking
…an encounter with the new
…an experience of freedom
35
Henri Matisse by
Henri Matisse
37. 26 Aug 2021
Art Theory
We exercise our freedom by making an aesthetic
judgment to attribute meaning to something new
36
Source: Kant, Immanuel. (2007). Critique of Judgment (Analytic of the Beautiful). Oxford, UK: Oxford University Press.
Determinate judgment
Routine intuition of a
familiar object subsumed
under an existing concept
Aesthetic (reflective) judgment
The artwork (or the unknown)
requires reflection and the
derivation of a new concept
Kant’s Aesthetic Judgment
“What is that?” “Oh, it’s a chair”
(I barely noticed)
vs. the everyday
38. 26 Aug 2021
Art Theory
Kantian Neuroscience: study supports theory
Being told that an image is an artwork down-regulates
(subdues) emotional response
Tendency to “distance” ourselves from the image
Critique of Judgment: detached aesthetic judgment
37
Source: van Dongen et al. (2016). Implicit emotion regulation in the context of viewing artworks. Brain and Cognition. 107:48-54.
39. 26 Aug 2021
Art Theory
Hegel
Art is pressing our self-concept (individual
and collective) into materials
Examples: pyramids, Parthenon, skyscrapers,
sculpture, snow forts
Prominent in times of crisis and reinvention
38
Parthenon, Athens, 460-406 BCE
Khafre’s Pyramid and Great Sphinx
of Giza (2500 BCE)
Empire State Building,
New York City, 1931
Snow Fort
40. 26 Aug 2021
Art Theory
Who are we now?
Modern self-conceptualization
Cortical Brain
Scans
Personalized Medicine Imaginaries
DNA: CRISPR Gene
Editing and mRNA Delivery
Quantum
Neuroscience
39
Nuclear Medicine
and Nanorobots
Planetary-scale Imaginaries
The Global Citizen (internet)
The CryptoCitizen (blockchains)
The Quantum Citizen (q-networks)
Quantum Aesthetic Imaginaries
41. 26 Aug 2021
Art Theory
What counts as a Work of Art?
Venue: if displayed in a gallery, it is art
Relation of form and content
Winkelmann: focus on content
Lessing: at least 50% is form
Adorno: “art…is simply identical with form”
Adorno: An artwork has its own law of
form (relation between its elements; a
principle of self-legislation (freedom),
vs. externally-imposed rules)
The autonomous artwork produces
meaning out of itself (by acting as a
free subject with its own laws)
40
Sources: Adorno. (1997). Aesthetic Theory; Deleuze. (2000). Proust and Signs.
Play, Beckett, 1963
Readymade,
Duchamp, 1917
42. 26 Aug 2021
Art Theory
Form-Content relation
Form, content, materials, and technique
Adorno: novel materials manipulation
Cannot simply transfer the practice to a new venue,
need a new reflection with the materials
Rorty: invent new forms (example: Derrida)
Joan Didion: form-content-technique
“A hill is a transitional accommodation to stress, and ego may
be a similar accommodation. A waterfall is a self-correcting
maladjustment of stream to structure” (Democracy, 1984, p. 18)
Adam Smith: “esprit systematique” - systemic spirit
Mallarmé: the form is the message
Schoenberg, John Cage, Brian Eno (audio ambiances and
soundscapes); McLuhan: “the medium is the message”
41
Yellow, Red, Blue, Kandinsky, 1925
Contingency in
time and space
Source (Adam Smith): Phillipson, N. (2010). Adam Smith: An Enlightened Life. New Haven CT: Yale University Press.
43. 26 Aug 2021
Art Theory
Other Definitions of Art
Definitions (critical, philosophical, commercial)
Art is an intended object (not just appearing
by hazard in nature) – Roger Fry, An Essay
in Aesthetics
Art is a way of creating and expressing the
element of truth in a culture – Heidegger
Art is making worlds – Brian Eno, sonic
landscape creator, 2021
Rorty: invent new genres
Example: foreign policy fiction (Didion)
Art disturbs the slavery of custom, the
tyranny of habit, and the reduction of man to
the level of a machine - Oscar Wilde
42
Schoenberg atonal Five
Orchestral Pieces, Op.
Shoes, Van Gogh,
discussed by Heidegger in
The Origin of the Work of Art
44. 26 Aug 2021
Art Theory 43
Buddhist Monk Philosopher Chef
Jeong Kwan, 2015
Molecular Gastronomy
Aesthetic Nourishment
Mindful presence: food as art
45. 26 Aug 2021
Art Theory
Music and Math
Mozart
Expansionary thematic content
One minute variational expansion into 10 minutes
Minor repetitions (4-10 note sequences)
Beethoven
Beethoven’s Fifth Symphony: group theory space
group (crystallography) symmetry transformations
Bach
Complex inversions
Modulated pattern
Reversals
44
Source: Bailey, D.H. (2021). Bach as mathematician. Math Scholar.
https://mathscholar.org/2021/06/bach-as-mathematician/
Bach, First sonata for
solo violin, BWV 1001,
1717-23
Bach, Fugue #16, Book I, The Well-Tempered Clavier, BWV 861.
The third bar of the bass clef is an inversion of the main theme in
the first two bars, itself constituting a second theme
46. 26 Aug 2021
Art Theory
Philosophy of Theater
Philosophers say catharsis and mimesis
Plato, Aristotle, Hume, Nietzsche
Playwrights and dramaturgists say
The representation of drama on a stage
The world is a stage, life is a role
Seneca, Machiavelli, Lessing, Schiller,
Rousseau, Sartre, Camus
Aim is to explore in theatrical contexts
Truth, reality, representation, action and
consequences, living the right kind of life
What is theater as an art form?
Relation between text and performance
45
Source: Stern, T. (2013). Theatre and Philosophy. European Journal of Philosophy. 21(1):158-67.
Tartuffe (Imposter), Molière, 1664
Hamlet in Rosencrantz and
Guildenstern Are Dead
The Plague, Camus, 1947
Expression of freedom in
how we react to “the plague”
47. 26 Aug 2021
Art Theory
New concepts arise in the cinema
Cinema 1: The movement-image
The presentation of movement itself,
seeing the change in the whole from
multiple views is the flow of movement
Example: Frenzy, Hitchcock, 1972
Cinema 2: The time-image
The image of time, no longer
spatialized, involuntary memory triggers
The world as it is and as screened
The difference “is that the screened
world does not exist,” but film “depends
on our understanding” of the limitations
of the two-dimensional medium (p. 78)
Philosophy of Cinema
Sources: Deleuze, Gilles. (1986). Cinema 1: The-Movement-Image. Minneapolis, MN: University of Minnesota Press.
Deleuze, Gilles. (1989). Cinema 2: The Time-Image. Minneapolis, MN: University of Minnesota Press.
Cavell, Stanley. (1971). The World Viewed: Reflections on the Ontology of Film. Cambridge MA: Harvard University Press.
46
Deleuze
Cavell
48. 26 Aug 2021
Art Theory
The Novel
Additional Source: Fforde, J. (2003). The Well of Lost Plots. London: Penguin Books.
OralTrad, CaveDaubPro, GreecianUrn, ClayTablet, VellumPlus, Scroll, and then Bool (p. 112)
12-episode
streaming video
Early “Novel”
17,300 years ago
Meta-genre for narrative and story-telling
Contemporary “Novel”
The “Novel”
“It was the best of times, it was
the worst of times…”
Tale of Two Cities, Dickens, 1859
Painting, Scrolls
47
49. 26 Aug 2021
Art Theory
Agenda
Art Periodizations (1800-present)
Philosophy of Art
Conclusion and Implications
Remedios Varo, 1955 Tapestry Weavers of the World
48
The Alchemist
50. 26 Aug 2021
Art Theory 49
Montparnasse, Andreas Gursky, 1995
Wheatfields with Crows, Vincent Van Gogh, 1890
Modernity
Is the paper enough to hold us?
Lianne Charlie, 1990, Yukon First
Nations Self-governance Initiative
Love in the Time of
Cholera, Gabriel
Garcia Marquez, 1985
Hysterical Realism
Magical Realism
White Teeth,
Zadie Smith, 2000
51. 26 Aug 2021
Art Theory 50
Aesthetic resources contribute broadly to the human
endeavor of progress, self-understanding, and
science, beyond the immediate experience of art
Thesis
52. 26 Aug 2021
Art Theory
Summary
Broad contribution of aesthetic resources
Art provides a venue to explore our self-
concept as individuals and societies
Thematic shifts in aesthetics 1800-present
Beauty -> Concept
Exteriority -> Interiority
Representation -> Meaning
Philosophy of art
Aesthetic resources aid in developing
narratives especially in times of crisis
Visual, auditory, and kinesthetic modes that do
not have to land in logic and cognition
51
Material (SG) I, Yinka
Shonibare, 2019
Blue Monochrome,
Yves Klein, 1961
53. 26 Aug 2021
Art Theory
Risks
Philosophical, conceptual, aesthetic
resources may not have universal
application or relevance
Aesthetics are not the first-line
application for urgent, concrete,
material and immediate impact in
real-world problem-solving
But they may help
Aesthetic resources
Oblique, difficult to mobilize
Arbitrary, multiple arrangements
Subjective view expressing
52
In-Appropriate #1, Frank
Buffalo Hyde, 2013
Guernica, Picasso, 1937
Easter Island, Moai, 1200
54. 26 Aug 2021
Art Theory
Implication
Two Cultures Synthesis
Aesthetic resources: rapprochement
in the “Two Cultures” problem
CP Snow 1959: separate cultures of the
sciences and the humanities, necessary
integration for modern problem-solving
and national competitiveness
Catherine the Great
Educated persons are trained in art and
science (Memoir, 1729-1796)
Founded the Smolny Institute, 1764, per
the ideas of Locke and Voltaire, noticing
the contribution of educated women to
Enlightenment culture and knowledge
53
Source: Catherine the Great. (2005). The Memoirs of Catherine the Great. Trans. Mark Cruse, Hilde Hoogenboom. New York:
Modern Library.
The Smolny Institute, 1764
(first European state higher
education institution for women)
The Thinker, Rodin, 1879-89
55. 26 Aug 2021
Art Theory
Example: Moby-Dick (1851)
54
Singular genre of poetry and praxis
Captures the heart and the intellect through the imagination
Melville:
Praxis: “The whaling voyage is a strange sort of a book;
blubber is blubber tho’ you may get oil out of it”
Poetry: “The book is a romance of adventure, founded upon
wild legends in the Southern Sperm Whale Fisheries”
Sources: Oriental Repose. Baleinier au Mouillage (Whaler at anchor) colored lithograph drawn by Jean-Baptiste-Henri Durand-Brager
(1814-1879), Garneray’s Sperm Whaling Scene: Peche du Cachalot. Cachalot Fishery. Aquatint by Ambroise Louis Garneray (1783-1857).
56. 26 Aug 2021
Art Theory
Moby-Dick: Poetry and Praxis
55
Praxis: previously representation only by myth
Though elephants have stood for their full-lengths, the
living Leviathan has never yet floated for his portrait
The living whale, in his full majesty, is only seen at sea in
unfathomable waters; the vast bulk of him out of sight
The only way to derive a tolerable idea of his living
contour is by going a whaling yourself
Source: Melville, Moby-Dick, 1851, Chapters 55 and 56: “Of the Monstrous Pictures of Whales” and “Of the Less Erroneous Pictures of
Whales, and the True Pictures of Whaling Scenes”
Poetry: A portentous, black
mass of something hovering in
a nameless yeast. A boggy,
soggy, squitchy picture truly…
57. 26 Aug 2021
Art Theory
Propose
Kantian Theory of Aesthetic Knowing
56
Understanding
Imagination
Sensibility
Imagination
Aesthetics
Object
Recognition
Aesthetic
Knowing
Kant must integrate diverse temporal regimes
Intermediary faculty of imagination needed to join diverse
temporal regimes in both cognition (sensibility and understanding
- Critique of Pure Reason) and aesthetics (verbal and visual;
image and text - Critique of Judgment)
Derive Kantian Theory of Aesthetic Knowing
Extend Critique of Pure Reason with additional two-stem theory
of knowing: relies on aesthetics and intellect
An emotionally-installed understanding is a superior form of
intellectual understanding (poetry and praxis)
Intellect
Imagination
Visual (image, painting)
Ekphrasis Verbal (text, musical work)
Eternal
Perdurant
Snapshot
Perdurant
Perdurant
Snapshot
Perdurant
Perdurant
Snapshot
Temporal
Regime
Faculties
Domain
Knowing has
both an
aesthetic and a
cognitive aspect
Sources: Swan, M. (2020). Kant and Hegel's Philosophical Thirds: A New Perspective on Explaining Appearances.
Swan, M. (2020). Philosophy of Time: Perspectives in Science and Aesthetics.
58. 26 Aug 2021
Art Theory
Philosophical Contribution of Aesthetics
Van Gogh “is an artist and a thinker, every one of his
works contains an idea that flashes on the eye of the
viewer” – E. Bernard (painter colleague)
The Bedroom: “Looking at the painting should rest the mind, or
rather the imagination” – Van Gogh
Starry Night: dusk, twilight, and night provides comfort and
peace from the commotion of the day
Source: Heiligman, (2017). Vincent and Theo: The Van Gogh Brothers.
Starry Night,
1889
The Bedroom,
1888
57
59. Houston TX, August 26, 2021
Slides: http://slideshare.net/LaBlogga
Melanie Swan, PhD
Thank you!
Questions?
Art Theory Talk:
Two Cultures Synthesis
of Art and Science
60. The Power of Arizona,
Winston Harrell Jr., 2015
Digital Mona
Lisa, Lilian
Schwartz, 1985
Landscape with the Fall of Icarus,
Bruegel the Elder, 1560
Laocoön and His
Sons, (found)
Vatican, 1506
Lascaux, France, 17,000 y.a.
Virtual Choir 3, Water Night,
Eric Whitacre, 2012
Bach, First sonata
for solo violin, BWV
1001, 1717-23
61. 26 Aug 2021
Art Theory
Famous Paintings
60
Girl with a Pearl Earring,
Vermeer, 1665
Girl with a Pear Earring
…and the not
so well known