Dictionary of Arguments

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Art: according to the traditional conception, art is a social sphere that is not directly focused on the maintenance of life functions. For this reason it opens up a certain freedom and possibility of knowledge. In the modern age, the idea of the evading of art has evolved in the face of a widespread through-organization of more and more areas of life. This development can lead to an ever-barred understanding ("hermetics"). See also aesthetics, works of art, critique, society, history, enlightenment, recognition.

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Annotation: The above characterizations of concepts are neither definitions nor exhausting presentations of problems related to them. Instead, they are intended to give a short introduction to the contributions below. – Lexicon of Arguments.

 
Author Item Summary Meta data
Art
Rötzer I 58
Art/Flusser: Art making is about making something that has never been there before and therefore cannot be foreseen by any given program.
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I 59
Rome is the seed that was planted by auctor Romulus in a wide field, Latium. The man (vir) dug a hole in the camp with his cane (aratrum). His masculine act (actio), i. e. the rape of the field leads to the possibility (virtualitas) of semen (semen) to develop into the reality of Rome (augere)... etc.
The transfer of this myth to art brought a lot of things like genius, inspiration and uniqueness. Artists as all kinds of Romulusses.
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Rötzer I 64
Art/Flusser: Ghettos: Museums, Academies. The more untheoretical, empirical and more on good luck these people proceed, the better they are.
At present, the craftsmen's revolution has come to an end. Division into capitalists and workers resigns. The meaning of life is no longer work but consumption. In contrast to the Middle Ages, leisure no longer serves to acquire wisdom; it is pointless, and therefore the whole of life is absurd.
We expect art (which we understand as a creator of experience models) to give meaning to our leisure, but this task cannot be accomplished by theory-less authors.
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I 65
As long as art could not be taken seriously, the authors could not only be tolerated, but their nonsense also came in handy. But now, when art has to be taken seriously, as in television, and because leisure is more and more recognized as a goal and the main component of life, the authors become dangerous to the public.
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I 11
Art/Flusser: for a Christian, everything is art (namely God's work).
For an enlightened philosopher of the 18th century, everything is nature (namely, in principle, explainable).
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I 11ff
Art/Flusser: Separation of art and technology is the result of printing. Pictures become works of art as soon as they cease to be the dominant code. They only become "beautiful" because they can no longer be "good", "true".
This makes them opaque.
Even if they hang on walls, they are also more than just "beautiful" they are models of different ways to experience the world.
You do not have to accept the romantic ideology of art as a "revelation of reality" to see that when you look at a Goya, you get a different view of the world than when you look at Matisse. They are different ways of living.


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Explanation of symbols: Roman numerals indicate the source, arabic numerals indicate the page number. The corresponding books are indicated on the right hand side. ((s)…): Comment by the sender of the contribution.
The note [Author1]Vs[Author2] or [Author]Vs[term] is an addition from the Dictionary of Arguments. If a German edition is specified, the page numbers refer to this edition.

Fl I
V. Flusser
Kommunikologie Mannheim 1996

Rötz I
F. Rötzer
Kunst machen? München 1991


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Ed. Martin Schulz, access date 2018-12-18
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