System esthetics jack burnham 1968 yiyun kang research electricity quiz ks3

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A systems viewpoint is focused on the creation of stable, on-going relationships between organic and nonorganic systems, be these neighborhoods, industrial complexes, farms, transportation systems, information 0 centers, recreation centers, or any of the other matrices of human activity. All living situations must be treated in the context of a systems hierarchy of values.

but as technology progresses this impulse must identify itself with the means of research and production. electricity bill payment hyderabad Obviously nothing could be less true for the present situation. In a society thus estranged only the didactic function of art continues to have meaning. The artist operates as a quasi-political provocateur,though in no concrete sense is he an ideologist or a moralist. L’art pour l’art and a century’s resistance to the vulgarities of moral uplift have ensured that.

The specific function of modern didactic art has been to show that art does not reside in material entities, but in relations between people and the components of their environment. This accounts for the radicality of Duchamp and his enduring influence. It throws light on Picasso’s lesser position as a seminal force. As with all succeeding formalist art, cubism followed the tradition of circumscribing art value wholly within finite objects.

In an advanced technological culture, the most important artist best succeeds by liquidating his position as artist vis-a-vis society. Instead, the significant artist strives to reduce the technical and physical distance between his artistic output and the productive means of society. Duchamp, Warhol, and Robert Morris are similarly directed in this respect. Gradually this strategy transforms artistic and technological decision-making into a single activity-at least it presents that alternative in inescapable terms. Scientists and technicians are not converted into “artists,” rather the artist becomes a symptom of the schism between art and technics.

“ Art, as an adaptive mechanism, is the reinforcement of the ability to be aware of the disparity between behavioral pattern and the demands consequent upon the interaction with the environment. Art is a rehearsal for those real situations in which it is vital for our survival to endure cognitive tension, to refuse the comforts of validation by affective congruence when such validation is inappropriate because too vital interests are at stake….” (Morse Peckham, Man’s Rage for Chaos, 1967)

The systems approach goes beyond a concern with staged environments and happenings; it deals in a revolutionary fashion with the larger problem of boundary concepts. Thus any situation, either in or outside the context of art, may be designed and judged as a system. Inasmuch as a system may contain people, ideas, messages, atmospheric conditions, power sources, and so on, a system is, to quote the systems biologist, Ludwig von Bertalanffy, a “ complex of components in interaction,” comprised of material, energy, and information in various degrees of organization. definition of system

In evaluating systems the artist is a perspectivist considering goals, boundaries, structure, input, output, and related activity inside and outside the system. Where the object almost always has a fixed shape and boundaries, the consistency of a system may be altered in time and space, its behavior determined both by external conditions and its mechanisms of control.

Moholy-Nagy: For systems, information, in whatever form conveyed, becomes a viable esthetic consideration…. Victor Vasarely suggested mass art as a legitimate function of industrial society… a system esthetic is literal in that all phases of the life cycle of a system are relevant. gas definition There is no end product that is primarily visual, nor does such an esthetic rely on a “visual” syntax.

The point is not to internalize scrutiny in the Freudian sense, but to infer the essence of a situation through detailed examination of surface effects. Similar attitudes were adopted by Judd for the purpose of critical examination. electricity questions and answers physics More than simply an art object’s list structure, Judd i ncluded phenomenal qualities which would have never shown up in a fabricator’s plans, but which proved necessary for the “seeing” of the object. PM 하고는 차이점이 또 있다. 애초부터 PM은 spatial phenomenal quality를 파악해야만 작업이 시작되니까.

Carl Andre: Sight analysis diminishes in importance for some of the best new work; the other senses and especially kinesthesis makes “viewing” a more integrated experience. The scope of a system esthetic presumes that problems cannot be solved by a single technical solution, but must be attacked on a multileveled, interdisciplinary basis. Consequently, some of the more aware sculptors no longer think like sculptors, but they assume a span of problems more natural to architects, urban planners, civil engineers, electronic technicians, and cultural anthropologists.

As a direct descendant of the “found object,” Robert Smithson’s identifying mammoth engineering projects as works of art (“Site-Selections”) makes eminent sense. … Sigfried Giedion pointed to specific engineering feats as objets d’art thirty years ago. Smithson has transcended this by putting engineering works into their natural settings and treating the whole as a time-bound web of man nature interactions.

Methodologically Les Levine is possibly the most consistent exponent of a systems esthetic. … Levine’s works: Besides emphasizing that the context of art is fluid, they are a reductio ad absurdum of the entire market mechanism that controls art through the fiction of “high art.” They do not deny art, they deny scarcity as a legitimate correlative of art.

By the fact that most systems move or are in some way dynamic, kinetic art should be one of the more radical alternatives to the prevailing formalist esthetic. Yet this has hardly been the case. The best-publicized kinetic sculpture i s mainly a modification of static formalist sculpture composition. In most instances, these have only the added bonus of motion, as in the case of Tinguely, Calder, Bury, and Rickey. Only Duchamp’s kinetic output managed to reach beyond formalism. Rather than visual appearance, there is an entirely different concern which makes kinetic art unique. This is the peripheral perception of sound and movement in space filled with activity.

Formalist art embodies the idea of deterministic relations between a composition’s visible elements. But since the early 1960s Hans Haacke has depended upon the invisible components of systems. In a systems context, invisibility, or invisible parts, share equal importance with things seen. Thus air, water, steam, and ice have become major elements in his work . I think I should study more on his projects: Rain Tree, a tree, Sky Line, Photo-Electric Viewer Programmed Coordinate System

“A “sculpture” that physically reacts to its environment is no longer to be regarded as an object. The range of outside factors affecting it, as well as its own radius of action, reach beyond the space it materially occupies. gas up asheville It thus merges with the environment in a relationship that is better understood as a “system” of interdependent processes. These processes evolve without the viewer’s empathy. He becomes a witness. A system is not imagined, it is real.” 흐음. this is very interesting. I should study more

the Happenings establish an indivisibility between themselves and everyday affairs; they consciously avoid materials and procedures identified with art; they allow for geographical expansiveness and mobility; they include experience and duration as part of their esthetic format; and they emphasize practical activities as the most meangingful mode of procedure. . .

The emergence of a “post-formalist esthetic” may seem to some to embody a kind of absolute philosophy, something which, through the nature of concerns cannot be transcended. gas after eating fruit Yet it is more likely that a “systems esthetic” will become the dominant approach to a maze of sociotechnical conditions rooted only in the present. New circumstances will with time generate other major paradigms for the arts.

But for our time the emerging major paradigm in art is neither an ism nor a collection of styles. Rather than a novel way of rearranging surfaces and spaces, it is fundamentally concerned with the implementation of the art impulse in an advanced technological society. As a culture producer, man has traditionally claimed the title, Homo Faber: man the maker (of tools and images). With continued advances in the industrial revolution, he assumes a new and more critical function. As Homo Arbiter Formae his prime role becomes that of man the maker of esthetic decisions.