Interactive Art- the Role of Audience in Achieving Art's Final Purpose
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- Category: English: Creative Writing
- Date Submitted: 05/06/2014 11:47 AM
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"Interactive Art- The role of audience in achieving art's final purpose"
Abstract
The way art is being interpreted has constituted a controversial matter among the thinkers of all times, transforming hermeneutics from a science that considered the interpretation of art can only be made through the artist’s perspective, by accurately following the message and the purpose of the author, into the belief that in order to be comprehended art has to be in contact with the social and cultural environment where it was produced and moreover with the audience that becomes a part of the creation process if not the creator himself (Ermath, 1981). The present paper aims at discussing whether art can be taught or not through evaluating several teaching methods used by traditional and non-conventional organisations or artists.
Introduction
Involving the public in the creative process has become a common practice in the twentieth century, after thinkers such as Heidegger conveyed the idea that reality lies in the eyes of the beholder and that art can be defined only by the public. The notion of a “perfect public” that can be trained by the artist through direct or indirect methods appeared, consequently transforming the audience into co-creator of the artistic act. This modern perspective comes to contradict the traditional view supported by Schleiermacher according to which in order to reach the artistic purpose, understanding the literary, historical and political context in which it was created, it is essential, along with an accurate comprehension of the author’s intentions (Ermath, 1981).
Teaching Art- from traditional to modern expressions
Professor James Elkins, author of the book “Why Art Cannot Be Taught” offers in an interview regarding the present situation of art education, four models of teaching that could be addressed by educational frameworks especially in the first year of art school, as a solution to the issue of how artistic abilities can be transferred...
Abstract
The way art is being interpreted has constituted a controversial matter among the thinkers of all times, transforming hermeneutics from a science that considered the interpretation of art can only be made through the artist’s perspective, by accurately following the message and the purpose of the author, into the belief that in order to be comprehended art has to be in contact with the social and cultural environment where it was produced and moreover with the audience that becomes a part of the creation process if not the creator himself (Ermath, 1981). The present paper aims at discussing whether art can be taught or not through evaluating several teaching methods used by traditional and non-conventional organisations or artists.
Introduction
Involving the public in the creative process has become a common practice in the twentieth century, after thinkers such as Heidegger conveyed the idea that reality lies in the eyes of the beholder and that art can be defined only by the public. The notion of a “perfect public” that can be trained by the artist through direct or indirect methods appeared, consequently transforming the audience into co-creator of the artistic act. This modern perspective comes to contradict the traditional view supported by Schleiermacher according to which in order to reach the artistic purpose, understanding the literary, historical and political context in which it was created, it is essential, along with an accurate comprehension of the author’s intentions (Ermath, 1981).
Teaching Art- from traditional to modern expressions
Professor James Elkins, author of the book “Why Art Cannot Be Taught” offers in an interview regarding the present situation of art education, four models of teaching that could be addressed by educational frameworks especially in the first year of art school, as a solution to the issue of how artistic abilities can be transferred...