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Site-Specific

A very beautiful article by Richard Kraut. In last paragraph of this article, he wrote "Above all, Plato insists that the erotic tendencies of human beings—their sexual appetites, their yearning for immortality through propagation, their receptivity to beauty—need to be educated, because they will never lead to anything of great value if they are put in the service of mistaken conceptions of what is truly good and truly beautiful. The desire to change the world so as to invest the future with something of ourselves will merely replicate and rearrange its defective furniture if it is allied to common misunderstandings of what is genuinely good for human beings. Love needs to be turned into something more than an inarticulate yearning for a sexual life partner or a procreative force. It needs to become (p. 310) something better than the intense alliance of two people who care not at all for the larger world—or even for their own families (Phaedrus 252a)—but only for their own togetherness and satisfaction. For that to happen on a grand scale, Plato believes, we will need a new kind of political community.8

Richard Kraut

Edited by Gail Fine  

Print Publication Date: Aug 2008 Subject: Philosophy, Classical Philosophy, Online Publication Date: Sep 2009, DOI:10.1093/oxfordhb/9780195182903.003.0012

Abstract 

Eros and Philia are the two Greek words, which can be translated as love in English. This article focuses on the idea that Plato weaves around the emotion of love. On the one hand, there is the verb philein and its cognates (philia is the noun, philos the adjective)—a word we use all the time when we talk about philanthropy, philosophy, philharmonic, and the like. On the other hand, “to love” is also the proper translation of the verb eran. Eros is the name of this psychological force, erastês designates a lover, and erômenos is the one who is loved. Erôs is characterized here as a desire. That does not mean that whenever someone wants something, he loves it. The relationship goes in the other direction: whenever someone loves, he wants. This thesis says nothing about what kind of desire one has, when one loves. It may be a desire that Plato would locate in the appetitive part of the soul, but it need not be. The word Plato most often uses for desire in the passage examined in this article, as so often, is epithumia. But an epithumia can be any sort of desire—it is not necessarily an “appetitive” desire for food, drink or sex.

Keywords: loveerosphilieaphilanthropyphilosophyphilharmoniceranerastes

Content:

 

1. Biogenetic - Molecular biology

two research questions:

- On In situ hybridization -> site-specific -> Is it a new starting of?  Should I know or not? -> Question for dealing with something by repairing or organizing in life

- On In situ in art -> site-specific -> Is it a something in what? -> Question for making sense as knowledge

 

2. Max Eastley’s concept 

- Max Eastley’s concept of auditory aspects of site-specific installation and its 'seeing-in'

- "間" (MA) between me and Max's, might it be possible for a new space?

- Questions to Max Eastley

 

3. Reflection on „Dismantling the Frame: Site-Specific Art and Aesthetic Autonomy“ by Jonson Gaiger

 

- Félix González-Torres in Miown Kwon 

(Ich habe mich erst das Thema AIDS (HIV-Virus Infektionskrankheit) in der Kunst (auch Aktivisums aus der Hinsicht der Homosexualität, Diskriminierung und Moral, es geht um menschliches Leben. - Artefact) im Seminar beim Institut für Kunst im Kontext, an der UdK Berlin in den 90er auseinandergesetzt. Ich habe die Arbeit von González-Torres in Zusammenhag mit dem Thema vom Seminar mir angeschaut. Heute das Thema AIDS in der zeitgenössischen Gesellschaft ist durch die Erforschung von der Medizin und die Bewegung nicht vergleichbar mit der damailigen Situation.)


- Aesthetic of Existence and Ästhetik des Daseins

 

 

 

Conclusion

 

 

References

 

Félix González-Torres's artworks on love,  lievs and death.

Artistic research on Site-Specific in Art and its Aesthetic Autonomy

Dispositif/Dispositive, in terms of Michel Foucault

What is 'Love'?

What is 'desire'?

What is 'being'?

Max Eastley: Klangphänomen, Umwelt, Dynamik, Zirkular, Random, Zufall, Klang (Klangfarbe), (allerdings umgekehrte)

Yoshimi Hasihomoto: Masse bzw. Quantiät (allerdings umgekehrte Quantität), Form (Balance, Dynamik), Umwelt,

 

Durch die Kunst Auktion von seinem Werk, denke ich, dass die Stifftung wurde gegründet, sowie für die Kunst-Forschung zum Thema Kunst und Ethik, Infektion, Krankheit und Zwischen Menschenrechte, Medizinische Ethik, biologische Ethik und Kunst, Anthropologische Ansätze in der Kunst usw (Kunst und Menschenkunde). Gleich wie bei Van Gogh.

in contemporary art

Großer Fuß, Yoshimi Hashimoto, Skulptur

 

Yoshimi Hashimoto, "Großer Fuß", Skulptur, 1977, gelber Sandstein, 1,60 x 2,90 x 8 m, Teil der „Straße des Friedens“, St. Wendel, Symposionsgelände.

- An extract of a performance of Whirled Music in this film about Max Eastley


Also on the design (Gestalltung) of ROTATIONS 1 (2016), ROTATIONS 2 (2016) by Max. E are important in the research of 2. Max Eastley’s concept with regard to some of Bauhaus's artists such as Klee from the aspect of my artistic research (audiory and visual perception in art).

 

 

->Hyperrealism:

Duane HansonWoman Eating, polyester resin, fiberglass, polychromed in oil paint with clothes, table, chair and accessories, Smithsonian American Art Museum, 1971

Noah Creshevsky, Strategic Defence Initiative, 1986

 


-> Poem, Experimental Music, Experimental Film, Experimental Theater, usw. -> Erkenntnis Theorie -> Bildende Kunst ->

This research is in terms of Semi-Formalism.

Materiality and Immateriality

<- without matter of style in art or without style as matter of art

Vice versa is a Latin phrase that means "the other way around"

Umberto Eco (Semiotik und Philosophie der Sprache (1985), Transformation der Philosophie (1994)) -> Dispositive

Artistic research on Site-Specific in Art and its Aesthetic Autonomy

I don't find so much interesting in Hyperrealism, but these two artworks relate to the subject of Unvollständigkeit. Hyperrealism is not imperative in terms of reality, that is an art style, however, the art style is an important matter of art. It calls '-ism' in Western Art. Generally in Art of World-Cultures, it is Formalism.

-> Literature, Theater, Film, Musik und Bildende Kunst usw. -> Drama / Darstellende Kunst ->

Both are avant-garde and in the pop-culture.

There is no class difference society any more today, and the high culture and high art don't exist anymore in the law.

Society system would be developed more through human being of.

 

The history of avant-garde is since a long time, even avant-garde history (in particular, in the history of literature) in Japan is long too, it is not only in Europe.

Materiality and Immateriality

La chorégraphe Germaine Acogny:

First time I got to know Acogny's work, it was in 1989 together with Béjart's project in Senegal, later it related to S. Linke. Béjart's Neo-Classical Choreography (I call it generally in Tradition or/and classic that is neo-classic kitsch in the Post-War culutre) was generated through two types of his experiences, one was physical in the world-culture (Béjart was everywhere, also in Japan he had the inter-cultural project together with the Tokyo Ballet and a choreograph of Traditional Japanese Dance-Theatre.) and second was auditory perception. (My artistic research -> Paper, Artistic research on 'seeing-in' in  Aesthetics of Musicology: Possibility of experimentation in/between electro-acoustic music and other arts, after the digital revolution, EMS18 (Electroacoustic Music Studies Network) - 14th Conference, Electroacoustic Music: Is it Still a Form of Experimental Music?, Villa Finaly, Florence, Italy, 20 – 23 June) In this background of inter-cultral world-culture approch in the Post-War Acogny's dance work was born at the end of 70s (to the early 80s). 

Subjectivity

Objectivity

A starting point of the contemporary art:

In Klim's idea, a new way of thinking about subjectivity and objectivity was started through Japonism. 

Probably 'contemporary' idea was error in art and music historically, however, it created new sense, if I see art and music historically.

 

Artistic research:

N.N-ZWISCHENLIEGEND - A PROGRESSIVE INVESTIGATION INTO ERRORS/EINE FORTLAUFENDE UNTERSUCHUNG ZU FEHLERN

Draft_a


WHAT IS A MUSICAL ERROR?

 

 

 

Aesthetics: A very short introduction by Bence Nanay

Aesthetics is a branch of philosophy that explores the nature of art, beauty, and taste. It doesn't just consider traditional artistic experiences such as artworks in a museum or an opera performance, but also everyday experiences such as autumn leaves in the park, or even just the light of the setting sun falling on the kitchen table. It is also about your experience when you choose the shirt you're going to wear today or when you wonder whether you should put more pepper in the soup. Aesthetics is everywhere. It is one of the most important aspects of our life.

In this Very Short Introduction Bence Nanay introduces the field of aesthetics, considering both Western and non-Western aesthetic traditions, and exploring why it is sometimes misunderstood or considered to be too elitist - by artists, musicians, and even philosophers. As Nanay shows, so-called 'high art' has no more claims on aesthetics than sitcoms, tattoos, or punk rock. In fact, the scope of aesthetics extends far wider than that of art, high or low, including much of what we care about in life. It is not the job of aesthetics to tell you which artworks are good and which ones are bad. It is not the job of aesthetics to tell you what experiences are worth having. If an experience is worth having for you, it thereby becomes the subject of aesthetics. This realisation is important, because thinking about aesthetics in this inclusive way opens up new ways of understanding old questions about the social aspect of our aesthetic engagements, and the importance of aesthetic values for our own self. 

Table of Contents:

1: Lost in the museum
2: Sex, drugs, and rock 'n' roll
3: Experience and attention
4: Aesthetics and the self
5: Aesthetics and the other
6: Aesthetics and life
7: Global aesthetics
Further reading
Index