What isn't art?
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- ShenanigansTV0
Art happens in the mind. It is a thought, a moment of revelation.
The better the art, the longer it provides revelation.
- ORAZAL0
Idols/Ordures:
Inter-repulsion in Documents’ big toesOlivier Chow
In this paper we shall explore desire from the perspective of transgression and to be precise, desire generated by the transgressive space born from the oscillation between attraction and repulsion, or what the French surrealist Georges Bataille named ‘inter-repulsion'. We shall argue that the ultimate object of inter-repulsion is death itself and as such, inter-repulsion brings forth not only the subject and its discontents but also the social with its taboos and prohibitions. Inter-repulsion will be discussed in relation to the visual culture of Documents , a dissident and short-lived surrealist journal (1929-1930) that has recently come back to life at the Hayward in the exhibition “Undercover Surrealism.” [1] One of the pièces maîtresses in the main hall of the exhibition is a photograph by Jean-Jacques Boiffard, the most prominent photographer of the journal: a photograph of a magnified big toe around which our discussion will centre.
- ORAZAL0
QUANTIFYING CREATIVITY IN ART NETWORKS
Ahmed Elgammal, and Babak SalehAbstract
Can we develop a computer algorithm that assesses the creativity of a painting given its context within art history? This paper proposes a novel computational framework for assessing the creativity of creative products, such as paintings, sculptures, poetry, etc. We use the most common definition of creativity, which emphasizes the originality of the product and its influential value. The proposed computational framework is based on constructing a network between creative products and using this network to infer about the originality and influence of its nodes. Through a series of transformations, we construct a Creativity Implication Network. We show that inference about creativity in this network reduces to a variant of network centrality problems which can be solved efficiently. We apply the proposed framework to the task of quantifying creativity of paintings (and sculptures). We experimented on two datasets with over 62K paintings to illustrate the behavior of the proposed framework. We also propose a methodology for quantitatively validating the results of the proposed algorithm, which we call the "time machine experiment".
- marychain-1
Pango, your mom is not art unless I take her picture intending to reveal something perhaps previously unseen or unacknowledged about her and I post it in the milf thread
- Wow who's the childish one here. You can't seem to maintain a level headed discussion.pango
- If you want to argue. Argue. Don't start calling name.pango
- And quit trying to insult people. It doesn't move the conversation foward.pango
- LOL...this "conversation". You'
re trollingmarychain - My example is funny...but validmarychain
- Check out Mapplethorpe perhapsmarychain
- Ya I like Mapplethorpe. What about it?pango
- CyBrainX0
I'm willing to say everything posted so far is art. A lot of it sucks though.
- utopian1
I was at the Whitney Museum this afternoon...there was so much pretentious art nailed on just about every wall in the museum.
- ORAZAL0
The Aesthetic of Ugliness — A Kantian Perspective
Mojca KuplenIn the history of aesthetic thought,beauty has been construedas aesthetic value par excelence.According to aesthetic theories,beautiful isthat which gives rise to the feeling of pleasure within us.Hence,aesthetic value of both nature and art works is measured in terms of the feeling of pleasure they occasion in us.Ugliness,correlated to the feeling of displea-sure,on the other hand,has been traditionally theorized as an aestheticcategory that stands in opposition to beauty,and therefore associated withaesthetic disvalue and worthlessness.In recent years,and particularly withthe development of modern art,this traditional aesthetic picture has been widely criticized.It has been pointed out,based on the proliferation of art works that evoke intense feelings of displeasure,that ugliness can be greatly appreciated.Ageneral objective of this paper is to propose an account of ugliness that entails,as its necessary part,the explanation of its possibleappeal.In particular,Ipropose a solution to the problem,known in philo-sophical aesthetics as ‘the paradox of ugliness’,namely how we can valuesomething that we prima faciedo not like and find positively displeasing.Idevelop my explanation of ugliness in light of Kant’s theory of taste.
- skwiotsmith0
detail from Schauspieler II (2014), ISA GENZKEN
seen at MMK, Frankfurt am Main
http://www.davidzwirner.com/arti…
- pango0
I have no regret starting this thread. lol