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Category Archives: Artistic Tradition

Artistic tradition, which is one artist learning from another, is the best way to understand what art is.

Art is an unfolding psychological process both for the creator and the audience. Jorge Luis Borges understood this when he said “The fact is that all writers create their precursors. Their work modifies our conception of the past, just as it is bound to modify the future.”

As an unfolding psychological process, it is an attempt for an artist to solve a pressing problem presented by the artists before them and their own abilities, ideas, values, and curiosity.

Art is a tradition. Problems never stay solved for long. They reappear in new contexts. Each generation solves them within its own historical context.

Like biological evolution, traditions encompass both preservation and innovation.

Art in the Age of Cloud Computing

Posted on November 20, 2014 by Michael Stiefel
Picasso: Tête de Taureau

Imagine a future in which an art work could be subject to mechanical reproduction anywhere, at any time. Is this a utopia or a nightmare? In 1928, Paul Valéry wrote Continue ReadingArt in the Age of Cloud Computing→

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Posted in Art, Software and Society, Looking at Art, Museums, Software as a Model | Tagged Appreciation, Art, Software

Art as Koan

Posted on November 10, 2014 by Michael Stiefel
Dali: The Persistence of Memory

“Vénus changée en document.” Paul Valéry, Le Problème des Musées in Pièces sur L’Art Viewing an artwork, I do not think about it, I experience it. What is the problem Continue ReadingArt as Koan→

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Posted in Looking at Art | Tagged Art, Dali, Koan

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Picasso, “Propos sur l’Art”

"We all know that art is not the truth. Art is a lie that makes us understand the truth, at least, the truth that we have the ability to understand. The artist must know the means to convince others of the authenticity of his lies."

Nietzsche, “Beyond Good and Evil”

"…just as little do we see a tree exactly and completely, in terms of leaves, twigs, color and form; it is so very much easier for us simply to improvise some approximation of a tree. Even in the midst of the strangest experiences we still do the same: we make up the major part of the experience, and can scarcely be forced not to contemplate some event as its “inventors”. All this means: from time immemorial we are – accustomed to lying. Or to put it more virtuously and hypocritically, in short, more pleasantly: one is much more of an artist than one knows."

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