User:Aitantv/The Pleasure of Research (2015) Henk Slager: Difference between revisions
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== Experimental Aesthetics == | == Experimental Aesthetics == | ||
* "Against the scriptedness of an ontological anchorage, against the thought that one could define art beforehand, Duchamp proposes that we should approach each work of art as if it is the very | * "Against the scriptedness of an ontological anchorage, against the thought that one could define art beforehand, Duchamp proposes that we should approach each work of art as if it is the very first work of art. That implies that the definition—and thus also the method—of the work of art is determined again and again during the artistic process. “By wiping the slate clear of habit-encrusted assumptions about ‘Art’, we would have to cook it up fresh each time,” declares Duchamp." (28) | ||
first work of art. That implies that the definition—and thus also the method—of the work of art is determined again and again during the artistic process. “By wiping the slate clear of habit-encrusted assumptions about ‘Art’, we would have to cook it up fresh each time,” declares Duchamp." (28) | * This"leads Feyerabend to argue that, “It is important to defend the idea that all methods and ways of perception are in their basic premise possible and nothing is excluded when aiming to understand the world.” 6 His view is that the scientific fact, contrary to appearances, is not indestructibly solid because it remains open to overhaul depending on changes in context, coordinates and controls. Science has to throw up propositions, rules and shifting models that are subject to constant evaluation, restoration, and rejection. Thus, there should be space for “ironic, experimental strategies, ludic modes, reversible states, contradiction, non-binary, nonlinear associations, paradoxes.”." (28) | ||
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Revision as of 17:55, 5 April 2022
Experimental Aesthetics
- "Against the scriptedness of an ontological anchorage, against the thought that one could define art beforehand, Duchamp proposes that we should approach each work of art as if it is the very first work of art. That implies that the definition—and thus also the method—of the work of art is determined again and again during the artistic process. “By wiping the slate clear of habit-encrusted assumptions about ‘Art’, we would have to cook it up fresh each time,” declares Duchamp." (28)
- This"leads Feyerabend to argue that, “It is important to defend the idea that all methods and ways of perception are in their basic premise possible and nothing is excluded when aiming to understand the world.” 6 His view is that the scientific fact, contrary to appearances, is not indestructibly solid because it remains open to overhaul depending on changes in context, coordinates and controls. Science has to throw up propositions, rules and shifting models that are subject to constant evaluation, restoration, and rejection. Thus, there should be space for “ironic, experimental strategies, ludic modes, reversible states, contradiction, non-binary, nonlinear associations, paradoxes.”." (28)