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. The indoor gallery is moving out into a plethora of substitutes that has similarities to classic outdoor art.
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.
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.
The search for the profound is akin to a teleological role of consciousness shared by all humans which makes all humans natural artists as meaning makers and conveyers of forms of truth through reason.
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
Projection of self
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.
- Self as compositional component that can take up art projects internationally.
- Self as relative locale by token of movement.
- The relative and composition become a trans local viewpoint.
- 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.