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Art and Technology : The End and the Future
https://doi.org/10.15083/00040488
https://doi.org/10.15083/000404881791a120-a420-4b82-92e6-41653d3c8c20
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
jt018003.pdf (1.8 MB)
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| Item type | 紀要論文 / Departmental Bulletin Paper(1) | |||||
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| 公開日 | 2007-06-14 | |||||
| タイトル | ||||||
| タイトル | Art and Technology : The End and the Future | |||||
| 言語 | ||||||
| 言語 | eng | |||||
| 資源タイプ | ||||||
| 資源 | http://purl.org/coar/resource_type/c_6501 | |||||
| タイプ | departmental bulletin paper | |||||
| ID登録 | ||||||
| ID登録 | 10.15083/00040488 | |||||
| ID登録タイプ | JaLC | |||||
| 著者 |
Carolyn, Wilde
× Carolyn, Wilde |
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| 著者所属 | ||||||
| 著者所属 | University of Bristol | |||||
| 抄録 | ||||||
| 内容記述タイプ | Abstract | |||||
| 内容記述 | Danto has identified the sense of crisis in art at the end of the Twentieth Century. I have suggested that his account of that crisis is unduly pessimistic. I have not however attempted to predict what art will be like in the next century. For not only is art in its very nature unpredictable, but speculations about the future on such a scale are liable to be quaint, like science fiction drawings, which carry with them features of their own times, so close as to be unnoticed, and which construct a vision of the future on the unreliable basis of the fears and enthusiasms of the present. As Danto himself puts this point, nothing so much belongs to its own times as an age's glimpses into the future. What I have attempted to do in this essay however is to identify some features of the present condition of art which I think are important in our present thought about the future of art. The first is that the domination of a peculiarly Western concept of art, with its defensive separations of art, design and craft, may be breaking down, and that the aesthetic ideas and practices from cultures which have not traditionaly made such rigid distinctions may influence the course of art, with beneficent effects on our sensibilities towards our personal and social environment. Secondly, and perhaps more fundamentally, I have pointed to ways in which the Western concept of art has been a means whereby complex and competeting views about reality, nature and human nature have been visualised and contended. In any self reflective culture I believe that art, in whatever form, will continue to play this role. And the last and most particular point is that the separation of art from other more moral, political or spiritual concerns in the Modernist period of Western art may now be over. Ideas of both social organisation and spiritual value, and processes of moral deliberation require imagination. Artistic representions are one of the ways in which the imagination is constructed and made reflective. Thus if any new technologies of representation are to be technologies of art, they must be able to be used in ways which enable us to reflect upon the relations between the content and themes of the work and the manner or style in which that content is revealed. Plato asked about the knowledge or expertise which artists have about that which they speak or show. His question is still relevant to those who seek to use mechanical or electronic technologies to make new forms of art. For the knowledge of an artist lies in knowing how a technology or a medium might be used not merely to represent the world, but as a means of seeing the world and its human concerns, and thus reflecting upon it. | |||||
| 書誌情報 |
Journal of the Faculty of Letters, the University of Tokyo, Aesthetics 巻 18, p. 15-33, 発行日 1994-03-26 |
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| ISSN | ||||||
| 収録物識別子タイプ | ISSN | |||||
| 収録物識別子 | 03862593 | |||||
| 書誌レコードID | ||||||
| 収録物識別子タイプ | NCID | |||||
| 収録物識別子 | AA00252031 | |||||
| フォーマット | ||||||
| 内容記述タイプ | Other | |||||
| 内容記述 | application/pdf | |||||
| 日本十進分類法 | ||||||
| 主題Scheme | NDC | |||||
| 主題 | 700 | |||||
| 出版者 | ||||||
| 出版者 | Faculty of Letters, the University of Tokyo | |||||
| 出版者別名 | ||||||
| 東京大学文学部美学芸術学研究室 | ||||||
