Artwork
A work of art is a product purely human of beings capable of feeling, and trying to represent in the forms and structures of interacting elements built a perception, real or transcendent.
Synonym: piece, a term designating a particular element in the production of an artist, derived from the term and more particularly used in the field of contemporary art.
Summary |
Ontology of the artwork
Works of art are born of a perpetually ongoing dialogue of matter and form. This material can also be called material, more general concept for grouping elements in such works essentially immaterial to infinity. Works of art have no other definition than the one willing to give them the receiver: the same figurative (painting or sculpture, for example) they actually give more than they contain.
Construction and unconscious
The artwork is always an attempt to order material a priori distinct elements. Matter and form , consciousness and unconsciousness will receive affects individuals. Some aspects of aesthetic phenomenon, the apparent, are entrusted to our feelings rather than reason.
Immanence and transcendence
It was therefore assisted in the transformation of aesthetic over the past centuries, an exaltation of the transcendent dimension of man behind the depth of artistic representations generated by the technique. A slip of the matrix to the collective, a back and forth from the immanent to the transcendent.
History of representations
Thus, today's work goes beyond the stage of imitation, and turns to several relations, new forms of structuring, which are not necessarily informational, but aesthetic.
Response to the
The artwork is an open system: it is primarily designed for each individual. Moreover, it is a self-reference system, and therefore creates its own semantics , its own laws. This tends to prove that the ontology of the work reflects well on both counts aesthetic philosophies that have successfully managed to distinguish: a plan of immanence where the work is meant herself and identifies with his purpose and a plan of transcendence where it overflows the object, where it has no purpose, and where she is content to be with the world. To the question "What is art? "There always has been, in general, two kinds of answers: the first is cultural and relative (" the work is in the eyes of those who watch, listening to the hearer "), the second is metaphysical ("the work reflects a meta-sensible world, a meta-reality"). Between these two positions, there is room for a variety of shades. They have enabled philosophers to put the artwork in the dualistic universe (material and spiritual) of man. Built primarily to a social hub, the work refers to the unity of the individual as to the universality of the reception and it reaches us as a singular vision, individual, translating the potential of our environment, vision that eludes scientific rationality, and not use that to rebuild a different universe that belongs to everyone. As a result, investigations have spread the philosophical reflection on a definition of a work of art helped redefine the artistic communication through the story of its genesis, the visit of its construction, and efficiency of its receipt of course.
See also
Bibliography
- Danto (Arthur C.), The Transfiguration Of The Commonplace, New York, Harvard University Press, 1981. Tr fr. Hary-Schaeffer (Claude), The Transfiguration of the commonplace - a philosophy of art, Paris, Le Seuil, coll. Poetics, 1989, 330 p.
- Genette (Gerard), The work of art. Immanence and transcendence, Paris, Le Seuil, coll. Poetics, 1994, 301 p.
- Haar (Michel), The Work of Art: An Essay on the ontology of works, Paris, Hatier, 1994, 79 p.
- Dallet (Sylvie), Chapouthier (George) and Noel (Emile) (ed.), The Creation-definitions and contemporary challenges, Paris, ditions L'Harmattan, 2009, 243 p.
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