Free will and the art object?

The art object as autonoma

The following argument places free will and the art object as an automation as a deterministic object. This is based on theory of transference (related articles). Consciousness transfers into art objects ostensibly through socially constructed states. There is an extreme example where the animated art object with cultural causal properties has a resemblance of a person without conscious states (form of p-zombie as philosophers example). The theory of transference entails the art object manifests through institutional structures. The evidence for this is early civilisation (Egypt) to modernity (galleries) and even in digital materialism as digital art (non-fudgable art).

The art object is a brain state.

It has manifestations of qualitative states as a neurological snap shot realisable as colour. The residual behavioural states are realisable through structural forms such as lines. Somewhat akin to what remains after a magnetic field has gone (iron filings in a position distinct from prior magnetic field). It is akin to free will and the art object boot strapping into a transcendent state space of consciousness through complex interdependent relationships with neural activity and sociological determinism.

Free will as a false positive

There is the niggling question of free will when it comes to certain art practices such as action painting (wiki) where notions of spontaneous action could be correlated with free- will even though it is deterministically action painting/performance. The sense of free will arguably makes any prior act not predictable by an observer. That is the hand doing the dribbling could go either way. Although the positive evidence turns out false if taken from a metaphysical level of micro neurological functionalism. The hand is connected to a set of ‘C-fibres firing which are determined by laws of physics in the realm of cognitive an neurological science. So in this more fine grained sense the art object could never be a product of a persons free will. However the artist if removed from the deterministic nature of of institutional top down forces can possibly excess a form of free will.

Free will as post materialist replication

It is imaginable for there to be artwork without and definite artist given personal identity paradoxes can bring this to the fore. This case is a metaphysical possibility if not natural and could make the case for a authentic art work created from free will. This form of of free will is associated transference of intentional states. A case would occur if a art work were simulated as a digital replica and that replica simulates it again and so on until a form of digital materialism emerged so as the artwork transcended the original in all possible ways yet identical to it.

Soul and consciousness.

Definition of terms.

Preliminaries on soul and consciousness

The philosophy of soul and consciousness philosophical travels within a yogi life (key analysis blog) has a historical context pertaining to the Brahma Kumaris analysis (link to site) that in the 1980’s engaged my biographical philosophical investigations (biographical page) into the nature of consciousness. The group dynamics gave a religious underpinning to my philosophical quest which subsequently became somewhat independent of religious non governmental organisations.

Categorical features of the soul.

It is taken for granted as an analytic model of the soul that sub categorical features exist of the unitary substance. The sub categories are the standard paradigm, similar to the atom being split into electrons, protons and neutrons. The soul could then have as the standard model (advocated by contemporary yoga schools such as the Brahama Kumaris) a mind-intellect-impressions complex. However if consciousness is a sub category of mind or intellect or impressions it would led to ontological danglers. That means a redundancy if further division of any sub category was not possible. This indeed appears what the model suggests since consciousness seems intrinsic to each sub division of mind-intellect-impressions.

Does consciousness supervene the soul? (are we mind dust?)

If no separate category is sufficient for consciousness to exist within the mind-intellect-impressions paradigm (soul) then consciousness necessarily exists as a higher order or underlying principle somewhat similar to the ‘Higgs field’ in particle physics theory. This is somewhat significant, for it directly correlates to interaction with the micro physical structure of the universe/world. If so, and the soul theory is a feature of reality then consciousness supervenes as a field similar to the Higgs field in particle physics.

Does consciousness supervene soul/matter?

If the standard model of the soul entails a complete distinct ontology it posses a problem for unitary consciousness. The logical response to the problem is a natural mind/body dualism. However an unintended consequence is a split of consciousness into two non binary ontological categories. This places the problem on the mind-intellect-impressions paradigm upon itself. If a non material identity (mind-intellect-impressions) is a distinct stuff of the universe then to perceive physical stuff is through being conscious through experience. The human sense of colour, taste and the sounds is what counts as being conscious, but for example a bat which experiences objects through some sonic experience inverts the humanistic paradigm, but still counts as being a conscious entity. This for a human entails being able to listen to other humans. This perception assumes the other mind hypothesis. The case of a mind-intellect-impressions collective is based on the assumption of perception and the hypothesis of other minds. However this entails a paradox. If the soul exists as an independent substrate, call it “mind dust” then perception would be true to only itself, (neural network) but not itself as a soul (mind, intellect, impressions). This could be metaphorically understood as a causal gap. There is a gap between the soul and the micro material/chemical structure as neural activity of the brain which emerges as perception. The only reasonable way out to the paradox of dualism is to except a form of Panpsychism (wiki) or a form of physicalism that correlates conscious qualitative states to regions of the brain. It was this sense that led me to research ways to connect with consciousness as a substrate through the use of harmonics (biographical blog). However research through academic philosophy seemed to tip the balance to a theory of brain state-space consciousness (blog).

Analysis of a Peace Performance (1986)

Philosophy behind a million minutes of peace: decisive moment

The term ‘decisive moment’ is a phrase coined by the famous street photographer Henri Cartier-Bresson. The participation with the Million minutes of peace appeal was such a moment. The performance had a decisive aspect. Bresson’s use of camera to capture a street scene is decisive. It takes keen observation and composition to take a non trivial image that represents a cultural form of life that is like a collective lived experience. This collective problem drives the philosophy behind a million minutes of peace.

Capturing the cultural moment

So the choice of performing the stance for peace in public (biographical) as a form of street theatre had a similar sense of capturing not an image but its inverse by token of being a cultural moment within a locale. Bresson would have probably passed by without taking a photo although the moment a interaction a onlooker had with the stance performer (peace performer).

The 1986 Bi Polar World and million minutes of peace.

The year 1986 was the world political cold war era with the contest for balance of power between the then Soviet Union and USA. The same year the United nations inaugurated the international year of peace. The million minutes of peace was the brain child conceived by the Australian chapter of The Brahma Kumaris (info page) The participants in the project (depiction above of biographer in 1986) had a sense of the gravity. It was the first time I had heard of the United nations. The peace performance entailed-at least from a point of view of a millenarian (wiki) movement the mobilisation of spiritual actors on the world stage for the NEW AGE (information blog). This fact gave a sense of place as a cultural moment in the bi polar world that would soon vanish into the Uni Polar moment with the collapse of the Soviet Union.

Million minutes of peace and the yoga vision

The narrative around the campaign through the performance had for my yoga vision two dimensions. The first was a very public narrative given to the on looker who were curious what it was all about. There was a small information board outlining the collection of minutes of peace was endorsed officially as a program for the international year of peace inaugurated by the United Nations of which the Brahma Kumaris is an affiliate Non Government Organisation (NGO). This gave participants confidence in public space and confront media attention too.

The second dimension had a qualitative yogic vision of a millenarian(wiki) nature. It was a subjective vision by token -in my case- inspired from The Brahma Kumaris literature. So what were the immediate impact of performance in public spaces? Well I noticed when I sat with a group meditation it gave an increase in meditative states (analysis blog). That would amount to creativity. A positive valence along with ease in imagination. There seemed to be a correlation between socially positive feedback that the program gave and an increase in overall well being.

Research into yoga

Research into Yoga schools

The research into yoga approach I took was to visit a variety of Yoga schools on the sub continent in 1993-1996 with a relativistic compare and contrast methodology. The basis for the research was my interest in new age movements as well as my previous experience as a member in the 1980’s with just one yoga school.

Research into yoga, Hatha

It was in 1996 that whilst travel through India I took up residence in Pune near the then named Bombay. There were two contrasting yoga movements of interest covering Hatha yoga (gallery of yoga poses) and the east of existentialism aspirations. I choose to study hatha yoga with a well known Iyengar yoga (wiki) teacher. The other movement was Osho ( Official site) ((headquarters).

Research into yoga resorts

Osho international meditation resort is a not the standard hatha yoga or ashram experience but it had links to my previous 80’s yoga phase. Firstly the meditations had a theory of being “bodiless” (official Osho site) but also in touch with the senses. This had a great appeal for it gave a new interpretation on a bodilessness based on the classic approach of withdrawing from the senses. Secondly, there is a creative arts sense to the program. It has a contemporary world politics approach (Osho was a professor of philosophy) within the meditation techniques (official Osho site) developed on the lectures.

Yoga resorts come in all kinds of flavours. The Brahma Kumaris has arguably the austere version of a resort which is set at mount Abu and given the title “forest of honey”. This is not your typical resort but it does fit a western imaginary. The white clad dress, and building, communal gatherings and the expectation of some form of transcendence experience away from the iron cage of modernity. The Brahma Kumaris has more of a focus on prescriptive set of ontological claims that are based on binary logical true/false statements. This sense of belief is the basis for the cultivation of an imagined community through representational visions of a golden age (yoga school).

A focus on Hatha yoga.

The city of Pune also was home to Iyengar yoga (official site). The teacher (Rashnu) was both an Osho Sanysin and a long time student of Iyengar yoga. I took up a two month intensive yoga training which resulted in a series of photographs (biographical page) in a studio with yoga props. The initial experience gave an insight into the popular conception of yoga and how it is generally practised internationally. Though the long term has proved an invaluable aid to health and well being with my favourite yogic postures being the inversion and back bend. Iyengar style is a vast contrast to what I had experienced with both the BKs raja yoga and Osho meditation by token of its focus on classic yogic poses.

The yoga of Ramana Maharshi

This encounter with the institution of ashram gave some sense of authentic South Indian Saint (wiki). Ramana Maharshi had no millenarian (wiki) missionary advocacy agenda, nor the visionary political community approach. However in 2005 when I did my research trip the area surround the sacred Arunachala (wiki) the locale gave a sense its South India’s version of Rishikesh (wiki). There were a plethora of Ashrams, pilgrims and Westerns, and many with the aim of attaining a rareafied state of consciousness (analysis blog)

Auroville and Aurobindo

The take home message from Sri Aurobindo is be natural.

AS NATURE HAS EVOLVED BEYOND MATTER AND MANIFESTED LIFE so to life has manifested mind. She (nature) must evolve beyond mind towards a supramental truth consciousness.

Sri Aurobindo: the Supramental Manifestation upon Earth

This place is a high point of the new age spiritual movement due to its focus on pragmatic utilitarian approaches that overlap with the nation state projects of official governmental organisations. Its a place where there seemed anecdotally at least the most people who visit are the educated Indians who come to admire the projects international presence as well as integrating technologies of traditional Indian land based communities with an eye on emerging technologies.

Yoga devotion for international tastes.

The devotional yoga from the international perspective has at its core the cult of personality. The traditional Hindu approach is devotion varies from the austere devotion to a divinity within the pantheon to a human figure as guru or even ones dharma as in duty to a life project. There was one particular yoga school situated in South India that typified the personality factor within an international context. The leader had a radiant presence and devotees from all round the world sat for hours so be next to their Amma. The emphasis is to develop compassion for the people whom are within a devotees personal surroundings and respond to human suffering through empathy. Its a theory with a simple premise though with many interpretations and outcomes, given its a kind of yoga with the social structure, rather than a transcendental approach of personal liberation.

Peripheral yoga schools

artwork by I. Giardina
I stayed with various groups in 1993 Kumbh Mela at Ujjain

These are yoga schools more obscure to the Western imaginary of what Yoga constitutes though not so from native Indians who frequent religious festival such as the Kumbh Mela. This was for me the closest I got to experiencing what I imagined the classic Yoga of ancient India. These Baba’s are quite solitary and by nature are not interested to give lessons, but they seemed aright with me sitting around by the sacred fire and were happy to share their offerings of illumination.

Tropical art practices.

Is there such activity as ‘TROPICAL ART PRACTICES”? This article makes a case that if there is a unique feature to the art practice that makes it distinct, it might reside in what loosely might be the ‘lifestyle tropical.’ However, it’s a vague claim, but with analysis, a couple of conclusions are argued. Its how the artist might interact their practice with the wet and dry climatic conditions. It might be something to do with a conscious qualitative sense of place. 

Accumulations: dry tropical and wet tropical

Methodology for tropical accumulations

Tropical art practices include:

  • duration art is exposed to the particular locale.
  • exposure to fungi, ants, bugs, bird scat, rain, sun, spider webs.
  • inorganic as in common earth elements.
  • Cracking of paint.
  • warping of the frame
  • Expansion of paint and contraction

Between the wet and dry tropics.

This involves an authentic interaction through relocation. So the properties of a region takes on the properties of another region.

How this plays out on object art.

A non-human intentional state might be a green ant removing bits of the artwork for their purpose. The spider in need of a support. This might be a syncretic emergent form. Its a from of binary intentional agency. The human as a conceptual schema agent, the non human as a meta conceptual agent.

Site, processes and philosophy

Natural exposure for tropical art practices.

The site is the Cassowary coast, Hull river national park region. Artworks are left exposed to the natural elements as an outdoor art practice. It could be a day or for a number of month. A partial cover is placed through the tropical monsoon season. The short film gaze on nature gives an indication of this process.

Philosophical issues

The art of the rational intuition is an attempt to capture both the structural as well as anarchic elements of human intentional agency. The intentional upon the material artwork has a rational sense. This is so of the arts in general. However substance based form requires a methodological modernist consumeristic approach. The use of paraphanalia blends the rational ability to select based on normative considerations. Intuition uses a sense of purpose and reference of interpretation. Its a vague intentional act. The futile attempt to give voice to a obscure ostensible referent being the artwork.

Mixed media tropical art practices

Substance verses property based media.

Mixed media substance dualism is derived from philosophical mind/body dualism. This is a proxy for placing radically distinct substance together. Another sense of the association is that consciousness inhabits the media, or fragments of the artists intentional states. Though for the philosophical materialist the substance based mixed media might composed of combinations of media that defy normative notions of art.

Art practices with normative properties

A simple normative property based mixed media would be the traditional canvas with oil paint that is not normally considered mixed media. Another might be a photographic print on distinct paper types.

Tropical art practices with substance logics

A substance based approach to mixed media could be embedding a fine art print into fibreglass. Then by covering it with a resin the object photo is a unified interactive substance. This concept is akin to mind/body dualism of the Cartesian variety. However the mind body problem posses the logical fallacy. This is because non physical substance cannot logically interact with physical substances. The implication for mixed media methodology is that the substances may not interact and so fall apart. This cutting edge level of experiment is therefore contingent on supervening factors.

Syncretic gnostic emergent art.

Tropical art practices and syncretism

The essential shift in consciousness is one I noticed in the `1970’s at Mission beach while on a fruit orchard property. Jack Hare and his wife lived on the property at Bingal Bay. He lived what I now consider the idyllic tropical lifestyle. That is, his English ways had transformed in ways of syncretic naturalism. His skin was tawny and brown. Even in summer, he would swim in the ocean each day despite the danger of marine stingers. It was as if the tropics were reflected in the lived experience through form and action.

A Tropical Sublime Gnostic

Firstly there is some notion of a Tropical living experience. It is about tangible interconnecting lifestyles. People exist in distinct geopolitical tropical zones. This sense of an interpersonal phenomenology of being in a tropical zone becomes sublime since it transcends normative accounts of beauty. At the core, it is a sublime that straddles the tropical humidity and heat that transcend the modernist determinants of culture. This gnostic sense of what it is like to be a form of life possibly gives to a tropical art practice style. Its authenticity over the representational modes or learned methodology.

Emergent conceptualism, intuitional logics.

Probably best to begin with what is meant by intuitional logic. Formal logics deal with deductive and inductive logic. So of the superficial form: All men are mortal. Socrates is a man. Therefore Socrates is mortal. Intuitional logic would not disagree with this logic. However, the conclusion, according to intuition, may come to be Socrates is immortal. The premises true but with an absurd conclusion. However, absurdity may indicate a genuine philosophical problem.

Expressionistic tropical experimentation

This may be a non-rational logic and so non-scientific or mathematical in structure. Nevertheless, it is a sense of primordialism based on deep humanism. The absurd that forms the basis for the emergent conceptualism of going tropical is the sense of impulsive rationalism. The concept ’emergent’ fails to gain traction in the world of functionalism—however, it is the basis for forms of expressionistic experimentation that lead to vistas of possibilities.

Philosophy: ART OBJECTS

Art Objects as a modal realism

The sections take on the big question relating to art objects. The first section surveys a key influence from early modern philosophy. A turn in ontological realism came around the turn of the Twenth century. However, it is new theories of mind influenced by quantum emergence that impact the conception of outdoor art as a genera.

Early modernist philosophy primer for surveying art objects.

The article initially introduces early modern philosophy from the main blog, Outdoor art, introduction. This further analysis is in part due to the enduring appeal the this classic mechanistic world view that at the time replaced the classic Roman/Greco Aristotelian concept of objects. A paradigm shift gave way to relativity, and with that modernism. There are articles that go into philosophical issues that modernism bring up, and those are linked to throughout this article.

Philosophy of aesthetic functionalism

Substance functionalism and early modern philosophy.

The question being, could an art object be distinguished from general things? It is from ‘real essences’ things are known through primary and secondary qualities (introductory article). However real essences are abstractions, and what makes an object distinct and discreate is the object has nominal essences. It is these nominal essences that are mind dependent, and therefore have modes of distinct categories.

Objects that are nominal essences

Objects acquire human definitions are nominal essences. These definitions are super mental entities allowing people to communicate that which is apart from the nature of the objects real essence. So for Locke we should be sceptical about our ability to know the real nature of ordinary things. However human perception requires distinct and meaningful objects. So using the clock analogy. It has an internal structure known by the maker who knows its real essence, but not necessarily by the user of the device. The example Locke gives is of a ‘gazing country man’ who marvels at a grand clock towers appearance, but not its internal workings. This is what Locke thought of how humans understand general discreate objects.

Solidity and modes as a method to view the art object.

So for Locke to know ordinal objects required some way to go beyond the primary qualities and secondary qualities of things. That is an objects real essences render objects as unknowable. The analogy given is a clock maker. The clock maker knowns the internal working of the clock better than a staring country man. Locke refers to solidity of objects as a general object of knowledge that at the time praised Newton for a theory of attraction of solid objects.

Early modernist world view from atomist perspective.

The question of what sort of knowledge holds as empirically valid about general appearances has an implicit impact on the art object and if it could even exist outside as a entity. The shelter contains aesthetical things of value which are framed, or placed on some familiar structure. Locke thought this had to do with geometry as a measure of human knowledge.

It is because we know the real essences of geometrical figures that that subject consists of ‘certain and universal knowledge’ obtained by a priori intuition or demonstration. But we do not know the real essences of the substances of natural philosophy, so all that we can do is to observe and list their properties, and form only beliefs and opinions about them.

The Empiricists. R.S. Woolhouse

Early modernism Empiricism and outdoor art.

A set of universals, such as geometry, and sense phenomenon, such as colour, can be known. However, these universals make little sense when applied to discrete objects. So, nominal essences give the art object its particular properties. These properties become vague as they refer to entities outside the human sphere of influence, and it is this where outside art sets itself as a vague object of knowledge.

What further articles survey early modernism.

Nature of consciousness and art objects further extends Locke’s account of modes that seeks out certain discourses around formalism, as well as Descartes substance dualism that concludes that art is for Descartes about truth, so well suited for the media age of photo journalism. (article still being compiled for publication)

Tropical abstract compositional art as a formalism from early modernism epistemology.

Outdoor art is akin to a form of metaphysics that translates into the particular order in the modernist system. It many well pertain to a tropical metaphysics that I discuss further in the philosophy of modal realism. The sense of being within a complex tropical system renders the art object as a abstract art form. The role of finding profound representations of any system maybe the role of artist as distinct from the technical roles within manufacture.

This search for truth as an art object may be a conscious by-product of the macro universe, and so an intrinsic abstract impulse shared by all humans.

The moving image and digital modernity.

Multi compositional art forms

Multi compositional art forms

The depiction of projected graphics images on CBD structures and the urban raw is an example of the moving image supervening on city environments. The genera of street and urban photography is a great example where the enthusiast can engage in a grassroots sense with urban renewal through photography. There are various photographic methods for this though my favourite is exploring compositional potentials through the use of various camera angles so as to best place the print within a mixed media context for compositional art..

International travel as philosophical idealism.

Intentional states

  • Essentialist point of self reference for art production.
  • Situationist materialist approach to composition.
  • Intentionality as unitary or multi layered modal (could be that).
  • Intentionality supervenes art object.
Graphic image that illustrates the theory of a multi compositional art object

Tips on Photography art tropical Townsville.

The relation of photography to outdoor art.

The genera of outdoor art involves amongst durable materials a host of elements not equated with the more prototypical outdoor art depictions. Photography prints are an emerging field for outdoor art. Digital images can be projected onto walls in urban spaces. Also small prints can be placed within a mixed media context. However photography for mixed media is a prior consideration given the theme in relation to the materials used for the mixed media construction.

What does the Townsville region present?

The migration of flocks of birds to the Townsville conservation park is a good place to start.

What locations offer various perspectives?

The Jacana bird hide along the freshwater lagoon. Also the perspective a just inland at dawn offers plenty of opportunity to capture flight.

What selection of birds?

Brolgas, magpie geese, herons, Ibis are common amongst the recorded 280 species.

How does this example translate into art photography ?

The way a technical and the decisive moment interact.

What locations around Townsville are good for flight photography?

Around Mount Stuart for red-winged parrots, red tailed black cockatoos, egrets, and ibis.

Light as a tropical dynamic.

Have a sense of how the photography can be integrated with other media

Set up as diagram with a graphics program or sketch.

Get out and find a method to capture the selection of photographs

So for birds getting in various positions can be useful and the use of a super telephoto lens.

Compile the images for a sense integration with other media

This step takes the most significant amount of trial and re-trials.

[newsletter_form type=”minimal” lists=”undefined” button_color=”undefined”]

Ashram art, India

What has this to do with my art practice?

Since returning from my 2004 travels through India I took up sculpture that produced artforms influenced by certain philosophical schools from the sub continent.

The context of art denotes the pursuit of humanistic concerns  through outdoor art. It is because of this constrained perspective the overview takes only a small section that I have personally encountered in greater and lesser degrees of participation since 1984

Artistic mobilization for outdoor art communities

The sculpture and outdoor art in general are influenced by the following inter cultural factors.

  • reformist Hindu movements
  • have a strong international following, as within Osho commune
  • Affiliated with United Nations as do the Brahma Kumaris
  • advocate forms of ego transcendence through meditation, as a methodology of Ramana
  • art in a liberal sense of free expression to integrate personal identity over time. as Aurobindo

Modes of artistic activity

Neo transcendentalism through art

A feature most prominent in the groups I encountered from 1984 up to 2018 is a commitment to transcend the standard ways of thinking and perceiving a person. I explore this notion in the article A sculptural odyssey. This is where the idea of a soul as the animate feature of the human animal takes on ascriptive resemblances to a stone sculpture. The act of sculpting the icon gives the inanimate stone a animate soul like property through name and form. What is new about this in a modern capitalist phase of industrial production is the art as a mode of production that also acts as a humanistic pursuit for transcendence from the animate into the icon’s vision. 

What is angular momenta?

Artworks as particles

The intentionality of these works

There is a philosophical impulse to this project. It is the theory of extending memory as art object from a locale. It theorizes modes of semantic associations. There is an association between marks. Each mark projecting into a possible world. This depicts by the angular nature the artwork. The assemblage ascribes its positionality where the momenta is a position in relation to the anchor points. An anchor point on the periphery of a boundary acts as a space time, or box type universe. The box is a simple monad structure resembling a poverty of complexity but not profoundly interesting to observe.

Art of Personal identity.

The following account is based on Derek Parfit theory of identity known as thought experiments such as the teleportation paradox. Parfit being the master of the art of personal identity par excellence.

  • Personal identity suggests the same person who begins the art work project is the same person who finished the artwork, therefore the author of the artwork .
  • Personal identity suggests travel over distance entails the sameness of identity at the beginning to end.
  • These accounts suggest a philosophical bias to the ego theory of what it is to be a person.

Ego theory verses Bundle theory

  • human being persists as a mental thing- a soul, or spirit
  • a human is a material thing but has a supervening series of mental states or events- a person, social identity.

Art object as ego or bundle theory

  • art object as contingent on either a soul/spirit or a series of mental events
  • art object persists as a reflection of a soul so exists as a statement of soul
  • art object persists as a social event attributed to a persons life phase

Artist belief and unbelief

Suppose an artist entered a workshop sealed off from any outside interference as an artist pod. The artist then presses a button that sets off a quantum scanner that records all brain states and cellular structure attributed to the creative process. The belief is a new art project. Hopefully, an outcome will be an artwork to be exhibited at a central gallery. Your choice as an artist is to either believe in the ego theory or bundle theory. You begin to work on the block of marble.

Thought experiment

However, unbeknown to the artist a replica of that artist , the scan produces a replica. Replica begins at the same instant in another art pod at the opposite pole position on earth. The outcome of the resultant artworks is identical in all visible respects. Question being , can an artwork be ascribed to one and only one artist? (The account is a reworking of the teletransportation paradox thought experiment)

Comparing the ego theory to bundle theory as to teletransportation paradox.

  • ego theorist might say there are two bodies but one original ego/soul.
  • therefore one artwork attributed to one and only on ego/soul
  • bundle theorist might say, there are two identical sets of physical and mental process.
  • therefore there must be two artworks attributed to two sets of physical/mental process operating in distinct spacial categories.

Comparing the two accounts of personal identity.

The first account (soul theory) entails the artwork has one and only one owner but nobody owns the work. The second account (bundle theory) there are two persons both of whom made identical artworks. Who has the original? It would seem both do and none of them, hence the paradox for both cases.

Travel for art

What could an art traveller be?

A set of travel for art practices

I recall traveling through towns both in Australia and overseas. It’s about the art of seeing a place from multiple points of view. However, this is contrasted with travel to see sites as defined by a travel agency. So, art traveller practice is one of encounter. We, therefore, see objects and artifacts in new ways qualified by a given identity. So photography and writing, as well as the vlogs, become tools for expressing travel art. The article outdoor art: a philosophical guide to its place in the tropics explores these topics in a general sense.

Travel for art

A traveller committed to travel for purposes of pilgrimage, seeking liberation from platitudes in life. A question about secular art forms and travel to galleries. Could this be a form of liberation from platitudes of life? Easy travel within a city where an urbanite may transcend through traveling within by token of the art object. So it is from within the impulse may lead to forms of encounter with new representational systems of knowledge.

A group function to exhibit some form of content

The group function as a form of life in that the speech conforms to perception. To quote Ludwig Wittgenstein.

What is the criterion of the visual experience?-The criterion? What do you suppose? The representation of ‘what is seen’.

Philosophical investigations. 169

The art object supervenes as a connotational representation by being associated with cultural content. So the art traveller may function as an intermediary between ‘forms of life’ as Wittgenstein notes in Philosophical investigations.

A travel for art lifestyle choice

It was sometime around 2000 that I met a couple who claimed to have sold all there real estate in order to do full time travel. Fast forward to 2020 and they are still exploring regions artefacts, cuisine and with some satire of the our times, albeit slowed down due to current world events.

The art traveller pursues a lifestyle through choice of destination. However the super transient variety can make it into an art object. Therefore the art of reportage as a form of grass roots democracy. So by traversing geographical formations a objective cultural forms emerges. These are lived experiences of lifestyle. So as the traveller takes part in objective culture that develops into an art traveller.

What is between art and travel?

An interdependent relation.

  • The individual or small group passes through geographical spots.
  • A function of practices between groups or persons .
  • Lockes’ primary qualities, and secondary qualities create content of mind.

The aethetic romanitic.

  • romantic is usually an individual
  • has a sense of place within a grand narrative.

So an account of the nomad traverses the great Australian emptiness in search for creative moments that lead to one or another sense of being grounded in the context of and extended temporal event that gives meaning out there in a landscape of desert and emerald seas crashing onto the formation of rock. For it is the new meaning s of life that a cultural nomad is in search for through a plethora of creative interface modalities.

Sociology paraphrase
relation between art and travel

Modal realism & art in the Tropics

What is modal realism.

The view that the world at any instance could be distinct in some way from the present state of affairs. That is so long as there is no contradiction of any state of affairs. Thought experiments pertaining to personal identity best clarify the central philosophical problem

What has modal realism got to do with art?

Any ascribed art object is an ordinary object. Though possibly any ordinary object could never be an art object. Therefore ordinary objects could be art objects.

What has modal realism got to do with art in the tropics?

It the approach I take to philosophy, as a situational, given the current location when writing is in tropical Queensland, Townsville.

Necessity of the art object

The problem modal realism poses to the artistic pursuit is the rendering of a possible world, as actual. Actual as a necessary condition, therefore denoting the object/art as possible if imagined to be true. However, if the name links to a referent, it is an art object by token of being actual. However, this faces the problem outlined by Russel pertaining to the existence of persons in relation to a description. Kripke, a contemporary philosopher, suggests the ‘cluster concept theory’. A series of concepts gives a more robust meaning to a name. The philosophical point: is this the case in all possible worlds? A couple more questions. Could art exist in all possible worlds? Could art have no resemblance if in another world? So if not art in all possible worlds, what makes it art in this world?

Art object as true in all possible worlds.

Artists who ponder the philosophical foundations fall into two primary camps. The realist material world theorists, or idealists mental construct theorists. However, a third and often overlooked option, is a possible world realism. The first two categories lay within the literature of art history. Realism pertains to material culture as an artefact. Idealism is anything external to the individual has its correlate as a mental phenomenon actualised as a passionate personal commitment to the ideal or ideology.

Possible worlds relate to contingent identity. An art object is contingent to a referent. The referent may go by different names. However only a particular could be the creator of that object in all possible worlds. This entails a cluster of concepts that ‘rigidly designates’ between object and referent. This compatibilist approach to realism and idealism takes on many forms.

Modality realism as distinct essences pertaining to objects

A thought experiment around modal realism.

Sculptures X and Y have the identical form. That is each sculpture is made from the same caste.
Sculptures X and Y also have identical aggregate or material substance. That is the pile of sand and cement are similar in content.
Are both sculptures identical?
Well in the sense that an observer could not identify X from Y they seem to be in form and content copies.

However, if X and Y have distinct modal essences then a divergence would take place once the aggregate is caste.
That is each sculpture has distinct modal properties.

Object X is different from object Y by token of being separated by space-time. According to relativity X and Y are distinct by token of their relative position. Identity necessarily changes if X went at a relative speed to Y, and so if X could possibly be different to Y then X could be identical to Y given the chance of being super imposed through entanglement.

A sculptural odyssey: learn stone sculpture, India.

Outdoor sculpture

Outdoor art as a international travellers’ tale

So outdoor art has a general philosophy which I discuss in depth in my outdoor art: a philosophical guide. However this is about a traveller narrative that can be excessed in full on my journey in 2017/18. It is through a series of journal style accounts I discuss a sculpture travel journey as a mode of influence can lead to pursuits such as stone sculpture tuition if the traveller extends their boundaries.

Transformative experiences

Therefore the odyssey emerges as a form of life. Its the self through the passage of time that could be in theory, not a passage but interconnected points in a complex matrix. What I am suggesting is by taking up a project like sculpture tuition it can be a profoundly transformative experience.

Street sculptural matrix/passage

After a few months of travel that began in the Himalayan region, I landed once again (last time was 2004) at the tropical seaside stone sculpture port town of Mahabalipuram. It was a comfortable place to recuperate from stressful bus trips and cycling through many challenging road types. Soon I came across an out of the way accommodation with a family unit who the notion of a sculpture travel journey. It was only a day later I came upon a non-aligned soft stone sculptor who made intricately carved animals for the tourist market. He was interested in taking on small paid projects between his contracts with established sculpture workshops, which employed him on a contract basis. 

We came upon an agreed price for sculpture tuition to do a week-long project with the help of a polisher and carrier who positioned the stone as well as was an aid to bring tools, tea, and assorted tasks. The place for street sculpture began in what appeared to be an abandoned construction, which was the family estate, on hold due to a lack of finance set in a back street. I could walk to the beach and shop for a getaway when I had enough grinding hard black granite.

What is Materialism in art, Philosophically?

The gallery was not found!

What is art materialism ?

There are two areas of interest in this question. The nature of materialism? Are artworks produced so to project the self into a transcendent realm, such as an afterlife within a life. That would be a cultural form of immortality as in material culture. The theory of the soul as a nonmaterial entity takes the opposite view. The self as a soul would be capable of an after-biological-life as a type of non material substance existing as it were as the mind and therefore consciousness within the world of things.

However, materialism places consciousness within the realm of brain functionalism. Therefore it is only that which is constructed by the person as works or properties of self qua genetic transference that would function as a type to token relation.

Therefore the notion of an earlier self concerning some future self would then count as a form of immortality given materialism considers the regeneration of cells as a class of life that would not entail the same type of entity to some future self. So in this sense, any early artworks would count as a form of self-identity that ostensibly linked to that phenomenological self.

Photography by I.Z. GiardinaPhotography by I.Z. Giardina

Philosophical modernity and representation through an art practice.

Philosophical art practices

The nature of modernity

There are various temporal methodologies for representing modes of modernity. Artworks, as a mixed media basis, is an ideal way to explore modernity. This can be done through the context of flows of tourism and trade. Firstly modernity requires some mode of representation. This can be non non-analytic. A philosophical set of rational arguments that lead to contradictions. Therefore premises that lead to a conclusion are a synthesis of lived experiences that lays at the heart of any art practice.

Modernity and resistance

Philosophic art practices within modernity is a form of resistance to institutional types of identity construction. Subjects of creative content move into modes of self-definition and control of identity politics. It deconstructs the functional ascriptive roles of structural functionalism.”

There is a primordial sense of representing that transcends the rational process. That the self in society, arguably, is unable to understand the complex nature of world politics. That is the narratives of globalization and the complex interdependency of consumption.

Philosophical art practices and its manifest representations.

Intuitional logic and semantic connections enable a sense of personal identity. However this is constrained through the various media informational channels. Furthermore, what brings content to individual lives manifests as economic production. However what transcends or for materialists supervenes may only ever be a for visual representation. Therefore art can offer profound insights into these questions. Pragmatics of art may be that it has a general sense of referencing simple objects, such as outdoor sculpture as a way of making sense of the cultural form of life that constructs identity.

To reflect on movement and stillness.
Camel legs are positioned under the mountain. View the series titled ‘EIGHT THOUSANDERS’ that is a survey of the Himalayas mountains over eight thousand meters.

The nature of time and art

A notion of past present and future seems simple to understand. I exist at a present though my memories are of past, while my intentions are about possible future states of affairs. The self exists within modernity as a vague cultural object. The artworks presented ostensibly represent this process, as the fish moves into the future, leaving its past behind depicted on the other side of the plate. The present being the ridge joining the two sides.



An A theory or time and the B theory of time.

This relates simple to a couple of theories of time. The A theory simply places time as a past, present and future states, where as the B theory of time places a before and after as the only relevant states to explain time.

So what has this to do with creating a tangible artform. The methodology of a theory of time will have a profound impact on the sort of artform. The A theory of time is more in line with a humanist approach to nature whereas the B theory of time is akin to the scientific view of nature. The classic analogy is the rationalist figurative approach that resembles the neo classic refinement placing the human form at the centre of the universe followed by Romanticism that place the human within a turbulent natural world. The modernist phase really took all figurative elements apart leaving a before and after series of events that aligns with the B theory of time.