' Conceptual art ' that dominates the world is considerably trapped in the realm of thought that is why we are obliged to learn about the individual peculiarity of the artist and her ideas. Conceptual art by his own definition has substantially moved to the cerebral Empire, and to a minimum the experiential dimensions of the work. In 1941 the discussed architectural historian Sigfried Giedion, a split which he perceived to have opened up between society's thinking and feeling; a split that he described as one of the diseases of our time. It was a schism that he society that we felt behind with the beginning of modernism left, but as we see, that was a premature conclusion. That split has not yet been resolved; Indeed seems to be bigger than ever and the fragmentation of the artistic disciplines and their respective target groups seems to be increasingly in the framework of our postmodern world. The theory of relativity and the inclusiveness of post-modernism is to be welcomed and celebrated, but the fact that everything must be tolerated does not mean that everything must be equally appreciated. The postmodern condition not suggest a way out of this situation. In the postmodern world is everything else but equal; to introduce relative value in such a world, we must transcend the relative, the qualitative and so enter the world of excellence, the theme of this Conference.
The reason that I feel that excellence a way out of the post modern maelstrom is is because it requires us to the transcend of the relativity of variety, difference and interpretation. ' Excellence ' find we defined as "pre-eminently in quality", and "quality" defined as "Degree of excellence". It's one of those words whose definition seems to be cyclic. Its meaning appears to turn on itself, it is difficult to put it down, it's elusive as the phenomenon itself. It seems to me to belong to another domain, another dimension. If the relative world works in the two-dimensional plane of everyday life, the life of diversity, change and difference, the qualitative world of excellence that potentially intersects vertical dimension at any point. We might also suggest it as a series of qualitative planes stacked one above the other with it pre-eminently plane suggest excellence. But it pre-eminently plane is never fully understood because the vertical dimension transcendent is infinite. Although these qualitative axis intersects the relative world and experienced in terms of the relative world, the characteristics are completely different.
If the relative world is understood in terms of the relationships between objects, shapes, colors, textures and ideas is the qualitative dimension characterised by the nature of those relationships. If the relative world is described by ' what ', the qualitative dimension described by ' how to '. We can almost say that it is in the qualitative less which objects, shapes, colors, ideas are related in a work, but more importantly how they are related. When we talk about what we relate, we talk about the type, size, number, cost; When we talk about ' how we relate ', we talk about taking the time, about grooming and even loving what we do. If we in the qualitative rich we focus on the way things are brought together. The precision with which colors, shapes, textures and ideas are balanced and composed all important to the artist and architect. It is because these creative people are concerned about the way things are reintroduced relationships that work as a ' fully integrated ensemble ' becoming more important than the individual parts. Beyond that is the way that this ensemble is stitched in the greater whole of the discipline or, more generally, the culture, also of equal importance. Wholeness and balance are therefore central phenomena in a recital of the qualitative dimension of architecture and the arts.
For more articles like this a visit us on architects Devon
For more articles by Frank visit architects in Devon
No comments:
Post a Comment