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Philosophical Thought
Reference:

The Dialogue Between the Artist and the Viewer
Skorkin Oleg Alekseevich

PhD in Technical Science

senior research assistant at Institute of Philosophy of the Russian Academy of Sciences.

119991, Russia, Moscow, ul. Volkhonka, d.14/1, str. 5, komn. 206.

oleale@mail.ru
Другие публикации этого автора
 

 

Abstract.

Since antiquity and up to now philosophers, art critics, critics, didn't ignore the problem of the viewer in art, its role and value for the artist, process of perception of a work of art, mechanisms of its interpretation by the viewer. Both art creativity, and art perception is caused by sociohistorical prerequisites.What viewer in the field of art video? The modern viewer is a user, the client, the observer, the accomplice, the coauthor? What place of the viewer in art in general from the point of view of various philosophies and socio-political systems? In the history of the art, the change which have recorded process of art styles and graphic systems throughout centuries, the XX century is considered as absolutely special period. This century generated such quantity of various directions, made so many experiments with visual perception, so legalized use of "others" receptions that the artist of our time is faced by a choice problem – in what graphic system to work, what "language" to speak with the viewer. It would seem, the artist is in a situation of a full freedom of choice of graphic language: no official doctrine prevails over it; there are no ordering instructions from above; the range of the directions is wide and various. And, nevertheless, never the artist was so we depend: it is more, than ever, it depends on the viewer, on his readiness to perceive and understand this graphic language. The phenomenological analysis of processes of perception meets extremely seldom, and art perception especially. The author believes that between the ontologic bases of a work of art (on Gadamera – game, a symbol and a holiday) and culture of time and space of its creation the steady set of meanings and the valuable orientations which part is quite often bared in dialogue of the artist and the viewer settles down. It caused a phenomenological view of a work of art in dialogue of the artist and the viewer. Between ordinary and art perception there is a considerable distinction. Picture – not only the image of that is available to a look, but also realization in a visible form of representations of the world and of a place of the person in this world. The artist possesses special perception – the surprise, unpredictability, novelty. And, besides, language of the fine arts doesn't remain to the same, as a century ago, at least because the world picture promptly changes – the Internet, the cellular communication, new technologies cardinally changed perception of time, space, speed.Language of the fine arts can and has to change owing to new forms of communication – performance, installation, a happening. But how? How to combine tradition and experiment? How to make active a field where the art perception will have an adequate spectator response? How there is that actual context in which the artist and the viewer enter fruitful interaction? On the example of notes to works and/or during an open dialogue with the audience the author answers many questions reflecting the author's position and at the same time gives us a chance to interpret his artwork in many different ways. 

Keywords: philosophy, fine arts, artist, viewer, game, symbol, holiday, culture, creative work, Internet

DOI:

10.7256/2306-0174.2014.6.12575

Article was received:

17-07-2014


Review date:

18-07-2014


Publish date:

18-07-2014


This article written in Russian. You can find full text of article in Russian here .

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