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.

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

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.

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.

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.

“THE ARROW OF TIME”

UNKNOWN AUTHOR

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.