#philosophy of art

[esarkaye]

Some shelves in my new place.

#russian literature #literature #literary theory #literary criticism #philosophy #philosophy of art #philosophy of literature #art #bookshelves #books

[titleknown]

So, a new anti-AI-art post is making the rounds because of course it is, and while I have not breached the paywall to read the paper, I do think the summarized version of it the author provides has some holes worth poking.

Past the break, because this gets long.

Anyhoo, their core argument is that AI art people are just capitalists who see art as a profitable object and do not exhibit those four fundamental values of But like... this is just casual observation, but I have seen a lot of those values in the AI art community amongst itself.

They share models and tips on how they use the tool! I rarely see them doing it for lucre! I see creators who've used AI art to integrate into other mediums they've worked with! I've seen people with major motor disabilities welcomed. I have seen authenticity in garbage AI art; in aggregate from singular creators.

There is a reason I say that to make good AI art, you need to approach it like an artist.

And like, AI art has genuine logistical issues that make it uniquely difficult to integrate into communities, the "flooding" that turbofucked Deviantart and the harassment problem that is "spite models,"

But beyond that I think it is not just, as they blithely dismiss, "AI art can be used for good" but I think it is even possible to integrate AI artists into communities that share those values. Because I have seen those values at work in AI art communities.

There are simple things that can be done, like normalizing charging as much for AI art commissions as traditional ones, or normalizing showing one's prompts when possible or observing DNP (Do not prompt) lists and so on!

But there's a desire to put up a wall there, specifically because of the fear of original sin, because of the unique nature of the process and the dubious origins of the programs; even if you didn't pay a dime to use them.

Which like... even if the privacy issues side of things is relevant and one I see validity in, in terms of the issue of "they didn't get permission," as friend of the blog @o-hybridity pointed out when we were discussing this, the assumption of the need for permission to adapt (Which is also what annoyed me in this post) is basically a cargo cult for how IP law treats art, attempting to integrate the framework of IP law into a system of communal production that IP law is more or less designed to kill.

Like, the idea that permission is required for derivative works (A notion also in this post I am very annoyed by) resembles none of how art has actually worked in-practice for all but the tiniest sliver of our species' existence, it's tunnel visioned in a way that ignores; say; the history of things like the blues, or jazz, or sampling, or folklore, or hell even fanfic.

Most art has historically been built on top of other art, without permission, because requiring a contract for every derivative work (Especially those "orphan works" without known originators) would make it unworkable.

IP rights becoming essentially inherent to art at the moment of creation and making those contracts almost entirely mandatory have basically killed a lot of models of how art is made within the commons via that sort of unauthorized-adaptation, and IDK about you, but this is an abomination, and the loss of those modes of production wouldn't be fixed by making it a tier system as the article proposes.

The notion of eternal tiered permission ignores that history of art by way of trying to shove the means of communal production into an ideological framework it can't exist in, due to the collective failure to produce better ways of helping creators make a living.

I would also say the idea of tiers system obfuscates the real issue; which is power not permission; and the need for collective organization of labor-power as well; by way of trying to hybridize it with that folk politics system of contracts that dilutes it, but that's its own digression.

But beyond that very long digression, inherent in that fear of the powerful working without permission, I feel there's a conflation of "small-scale creators shitposting or integrating AI art into their work" and "megacorps that want to replace you with an intern on Fiverr and a copy of Stablediffusion," which I think is best evidenced by the insistence on calling all AI art supporters techbros, conflating the small-scale users of the technology with the makers even though we don't do that with; say; artists who use fucking Adobe and the way they normalized walled gardens in their field.

I am not saying the techbro assholes don't exist or even that they aren't prominent, I probably don't run into them because I hate Twitter, but I am saying there are AI art communities and users that are not Like That, and that it is possible for AI art to exist within those norms.

It is not No True Scotsman because, even if it is not the norm (Which I am doubtful on) it is simply a demonstration that is possible and; with some effort and outreach akin to groups like @are-we-art-yet, doable.

But there's a further problem, that their argument heavily relies on the idea of moral rights, as evidenced by their image morally quantifying re-using art. But moral rights are not usually how we enforce most of these issues in a legal sense, in the US they do not even exist in a legal sense.

So their communal rules, drawing from moral rights, have no real material power. At least, aside from strikes, but the small online artisan community is not protected by them in a lot of ways I think are a part of the problem, but that's its own tangent so moving on.

Their argument on operating procedure, if it were to be truly materially effective by legal means, would be implemented by the mechanisms of copyright, which would be merrily smash those communal rules with a hammer, because those rules are scrublord shit in the world of raw power.

And if they don't... well, a wall can only hold for so long, and I think keeping workers within AI art away from the solidarity that is extremely doable is going to bite people in the long run. For an example of that, see how CGI's disrespect as an artform lead to it being wildly undercosted and used to drive out the union-run practical effects folks.

And they have no tools against it because, again, power does not give a shit about your communal rules, and conflating small creators with the assholes in power isn't helping.

Like, you're making the same argument artisans in things like the Arts and Crafts movement or the Luddites made back during the rise of factories, while forgetting that they fucking lost.

And Karl Marx had some ideas why wrt how mechanization uses raw power to make the displacement of individual artisans inevitable, even if I think the way people use them in response to this issue is... wildly unhelpful and cruel.

Like, it's still shitty to say "You're destined to lose your livelihood unless the revolution (Which we are bad at convincing you will happen) happens, no we won't help lol," as I've seen from those in my community.

I think the solution to traditional/digital art surviving if AI art is the existential threat it says it is (Which I have my doubts about) is unite or die, which dovetails into my ideas on the Creative Commons in a way I need to write on further one of these days.

But like... what I'm trying to say is, in all my experience, the way they describe the values of the art community are fundametally not opposed to the practice of AI art, not the people I have seen, and I think the efforts to treat that as untrue is unhelpful at best.

#art #ai art #philosophy of art #long post #rambling #shut up titleknown

[aqueerpolysocialist]

This is a piece of artwork called Unlliw, created in 2002 by Welsh artist Carwyn Evans in response to a proposal to build 6,500 new homes in Ceredigion.

It's a brilliant piece intended to provoke discussion of the cultural and environmental impact of this sort of new build housing in less densely populated areas. However, as an archaeology graduate, the thing that really strikes me about this exhibition is that it's a true masterstroke of curation - the way in which the work is exhibited in the gallery enhances the intent of the original work in a way that the artist had not envisioned.

You see, this is the landscapes gallery of the National Museum of Wales, in Cardiff. It's a huge, curved gallery that takes you on a journey throughout art history, with sumptuous landscapes by classical masters depicting the beauty of the Welsh landscape on each great curved wall, and sculptures dotted throughout the middle of the gallery. Towards the end of the gallery, you round the corner and you see this mass of cardboard, piled up against the wall, obscuring a beautiful oil painting. It's shocking. It's out of place. It's actually literally covering part of that painting, there is a part of the landscape that you just can't see any more because of these 6,500 cardboard bird houses.

It's a phenomenal use of a piece of artwork to demonstrate the original intent of the artist, to provoke the feelings that Evans wanted to provoke, and to make you think about art and curation and space in a new way.

Quite frankly it's the best single piece of curation I've ever seen.

If you want to read the full statement of work Carwyn Evans made in 2002 it's here.

#wales #welsh language #politics #uk #art #philosophy of art #museum #aesthetics #curation #art history #art academia #urban planning

[omegaphilosophia]

Theories of the Philosophy of Expression

The philosophy of expression explores the nature, significance, and implications of human expression in various forms, including language, art, music, and body language. It delves into questions about the origins of expression, its relationship to identity, culture, and society, and its role in human communication and understanding. Additionally, it examines ethical and aesthetic considerations surrounding expression, as well as the philosophical frameworks that underpin different modes of expression.

The philosophy of expression encompasses various theories and perspectives that seek to understand the nature and significance of human expression. Some prominent theories include:

Mimetic Theory: This theory, proposed by Plato and Aristotle, suggests that art and expression imitate or reflect reality. It emphasizes the role of art in representing the natural world and conveying universal truths.

Expressivism: Expressivism posits that expression, particularly in language and art, serves as a means for individuals to express their inner thoughts, emotions, and experiences. It emphasizes the subjective and personal aspect of expression, focusing on the individual's unique perspective.

Semiotics: Semiotics, developed by Ferdinand de Saussure and Charles Peirce, explores the study of signs and symbols and their interpretation. It examines how meaning is conveyed through linguistic and non-linguistic signs, highlighting the role of context and cultural conventions in interpretation.

Pragmatism: Pragmatist philosophers like John Dewey emphasize the practical consequences of expression. They argue that expression serves a functional purpose in communication and problem-solving, shaping social interactions and facilitating collective action.

Hermeneutics: Hermeneutics focuses on the interpretation of texts and cultural artifacts, including literary works, religious texts, and artistic expressions. It examines the process of understanding and meaning-making, considering the role of context, tradition, and the interpreter's perspective.

Aesthetic Theory: Aesthetic theories, developed by philosophers like Immanuel Kant and Arthur Schopenhauer, explore the nature of beauty and artistic experience. They examine how aesthetic judgments are formed, the criteria for evaluating art, and the relationship between art and morality.

Phenomenology: Phenomenological approaches, as developed by Edmund Husserl and Maurice Merleau-Ponty, explore the lived experience of expression. They focus on the first-person perspective and the embodied nature of expression, examining how individuals perceive, interpret, and engage with the world through expression.

These theories offer diverse insights into the complexities of human expression, highlighting its multifaceted nature and its significance in shaping individual and collective experiences.

#philosophy #epistemology #knowledge #learning #chatgpt #education #ontology #metaphysics #psychology #Philosophy of language #Philosophy of art #Philosophy of music #Body language #Communication #Identity #Culture #Aesthetics #Ethics #Human experience #Mimetic theory #Expressivism #Semiotics #Pragmatism #Hermeneutics #Aesthetic theory #Phenomenology #Interpretation #Meaning-making

[blackwidowblues]

some of the most poignant philosophy on art, writing, & the self I've ever read, buried in my writing class' assigned reading on science fiction

Ursula K. Leguin, The Language Of The Night

#Le Guin #Ursula K Leguin #Ursula Le Guin #Writing #Art #Philosophy #Philosophy of Art #Tags Are Corny

[tuttocenere]

Finally somebody gets me.

#opera tag #mozart and the enlightenment #philosophy of art #friedrich schiller #hbd gluck

[clementinecompendium]

Book List: Aesthetics, Neuroaesthetics, & Philosophy of Art

Why Science Needs Art: From Historical to Modern Day Perspectives 1st Edition by Richard Roche (Author), Sean Commins (Author), Francesca Farina (Author)

Feeling Beauty: The Neuroscience of Aesthetic Experience by G. Gabrielle Starr (Author)

An Introduction to Neuroaesthetics: The Neuroscientific Approach to Aesthetic Experience, Artistic Creativity and Arts Appreciation 1st Edition by Jon O. Lauring (Editor)

Brain, Beauty, and Art: Essays Bringing Neuroaesthetics into Focus by Anjan Chatterjee (Editor), Eileen Cardilo (Editor)

Philosophy of Art: A Contemporary Introduction (Routledge Contemporary Introductions to Philosophy) by Noël Carroll (Author)

Philosophy of the Arts: An Introduction to Aesthetics 3rd Edition, by Gordon Graham (Author)

The Oxford Handbook of Aesthetics (Oxford Handbooks) Revised ed. Edition by Jerrold Levinson (Editor)

Aesthetics and the Philosophy of Art: The Analytic Tradition, An Anthology (Blackwell Philosophy Anthologies) 2nd Edition, by Peter Lamarque (Editor), Stein Haugom Olsen (Editor)

What Art Is by Arthur C. Danto (Author)

After the End of Art: Contemporary Art and the Pale of History - Updated Edition (Princeton Classics Book 10) by Arthur C. Danto (Author), Lydia Goehr (Foreword)

Ways of Seeing: Based on the BBC Television Series (Penguin Books for Art) by John Berger (Author)

Art and Its Significance: An Anthology of Aesthetic Theory, Third Edition 3rd Revised ed. Edition, by Stephen David Ross (Editor)

But Is It Art?: An Introduction to Art Theory by Cynthia Freeland (Author)

The Art Question by Nigel Warburton (Author)

Arguing About Art: Contemporary Philosophical Debates (Arguing About Philosophy) 3rd Edition by Alex Neill (Editor), Aaron Ridley (Editor)

Art Theory: A Very Short Introduction (Very Short Introductions) by Cynthia Freeland (Author)

Aesthetics: A Very Short Introduction (Very Short Introductions) Illustrated Edition, by Bence Nanay (Author)

The Cambridge Handbook of the Psychology of Aesthetics and the Arts (Cambridge Handbooks in Psychology) by Pablo P. L. Tinio (Editor), Jeffrey K. Smith (Editor)

Aesthetics: A Comprehensive Anthology (Blackwell Philosophy Anthologies) 2nd Edition, by Steven M. Cahn (Editor), Stephanie Ross (Editor), Sandra L. Shapshay (Editor)

Philosophies of Art and Beauty: Selected Readings in Aesthetics from Plato to Heidegger by Albert Hofstadter (Author, Editor), Richard Kuhns (Author, Editor)

Art, Aesthetics, and the Brain Illustrated Edition, by Joseph P. Huston (Editor), Marcos Nadal (Editor), Francisco Mora (Editor), Luigi F. Agnati (Editor), Camilo José Cela Conde (Editor)

#study guide #book list #neuroscience #neuroaesthetics #philosophy of art #art philosophy #dark academia #dark academia study guide

[blueteller]

Perceiving Art

One does not look at a masterpiece, and deny the skill of the creator.

The very existence of art proves the existence of artists. And God, the creator of all things, is the First and the Greatest Artist of them all.

I see His Art in everything. In every living being, in the stones, in the clouds and rain and light. In the grandeur of stars, how they burn, how the planets spin and turn. I see Art in all those things. Their immense, incomprehensive, awesome beauty.

I dare you to gaze upon them. I dare you to look upon those things, and say, "there is no Artist who created those".

My heart knows that could never be true. No skepticism is powerful enough to overwhelm the scale of such awe.

There is an Idea behind all those things. Purpose. Something incredible. Something which shakes my entire being.

There is a "Grand Design" in all things.

To doubt that is to doubt existence itself.

"I think, therefore I am".

Quite the famous phraze, by René Descartes.

Methodic doubt is a way of systematically searching for answers, through constant questioning of the nature of all things. In short, the existence of doubt proves the existence of thought.

And if doubt cannot exist without thought… the same way, existence of beauty proves the existence of art.

Art is an expression of creativity. It exists by intent.

And I see God, the First Creator, being the Artist behind all the other artists. The one who inspired them all.

Which is why humanity, capable of producing art, has truly been created "in His Image".

I know many can, and will, still deny this statement. With doubt rooted so deep in their minds, they will dismiss all beauty and wonder and say, "but what if, beauty is nothing more than a wonderful accident?".

However, I argue that the existence of accidents proves the existence of purposeful actions. If all is accidental, how can there possibly exist "something" with a purpose? If all is aimless, there should be no goals. If art does not exist, all should be bleak and lacking in beauty. If there is no God – how could humans possibly concieve the spiritual?

Doubt proves the existence of thought, for it could not exist without consciousness. Beauty proves the existence of art, for it could not exist without creation.

That is the foundation of my faith.

"I perceive Art, therefore I perceive the One Who Created It."

#philosophy #philosophy of art #theology

[newintrigue]

Art in the Age of Artificial Intelligence

We are entering an era of upheaval that some are calling the fourth industrial revolution.[1] The rise of artificial intelligence, and in particular generative art, threatens to upend our social and cultural landscape, leading to a renewed conflict between mechanical technique, art, and culture. While some technologists are proclaiming the death of art,[2] a murder allegedly committed by…

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#AI art #Art #Art and artificial intelligence #art and culture #Byung-Chul Han #cultural critique #culture and society #is ai art real art? #Jean Baudrillard #Marshall McLuhan #Philosophy #philosophy of art #social commentary #Technology #what is ai art?

[f--e-u-e-r-t-r-u-n-k-e--n]

Real Art/"Real" Art/ Real "Art"/Unreal Art/merchandising/marketing. Colection of Notes.

"A software system developed by Peter Jackson and his team, used throughout the production of the documentary series Get Back, finally opened the way for the uncoupling of John’s vocal from his piano part. As a result, the original recording could be brought to life and worked on anew with contributions from all four Beatles." — Description of the official video for "Now and Then" on The Beatles' official YouTube channel. “Our fine arts were developed, their types and uses were established, in times very different from the present, by men whose power of action upon things was insignificant in comparison with ours. But the amazing growth of our techniques, the adaptability and precision they have attained, the ideas and habits they are creating, make it a certainty that profound changes are impending in the ancient craft of the Beautiful. In all the arts there is a physical component which can no longer be considered or treated as it used to be, which cannot remain unaffected by our modern knowledge and power. For the last twenty years neither matter nor space nor time has been what it was from time immemorial. We must expect great innovations to transform the entire technique of the arts, thereby affecting artistic invention itself and perhaps even bringing about an amazing change in our very notion of art.” — Paul Valéry, PIÈCES SUR L’ART

 (...) there may be more to come, according to Jackson. He told the Sunday Times newspaper he has footage from Get Back, in which one or other of the Beatles riffs on a musical idea in the studio. He said: “We can take a performance from Get Back, separate John and George, and then have Paul and Ringo add a chorus or harmonies. You might end up with a decent song but I haven’t had conversations with Paul about that. It’s fanboy stuff, but certainly conceivable.” —Peter Jackson Reveals More Beatles Music “Is Conceivable” After Release Of ‘Final’ Song By Fab Four. Deadline.com.

"During long periods of history, the mode of human sense perception changes with humanity’s entire mode of existence. The manner in which human sense perception is organized, the medium in which it is accomplished, is determined not only by nature but by historical circumstances as well." —Walter Benjamin, The Work of Art in the Age of Mechanical Reproduction, Thesis 3.

A hologram of Ronnie James Dio will embark on a world tour, called Dio Returns," with live musicians from Dio Disciples.—Ronnie James Dio Hologram Set For World Tour, billboard.com "In the case of films, mechanical reproduction is not, as with literature and painting, an external condition for mass distribution. Mechanical reproduction is inherent in the very technique of film production. This technique not only permits in the most direct way but virtually causes mass distribution." —Walter Benjamin, The Work of Art in the Age of Mechanical Reproduction.

"In Ruiz’ poetics, impressively hermetic but also endearingly ludic, he shows that the Hollywood doctrine, that narrative must be built around a central conflict, is nonsense. He discusses different kinds of Utopia – “images of nowhere”; how a thing can be true even though it isn’t real; declares that, even though we have explored space we have still to explore time; “films are like human beings: you look at them and they look back at you”; the unconscious secrets of photographic and video images… He advocates a Shamanic cinema that voyages to different worlds, that accounts for all varieties of experience and can preserve the mystery of the world and its hidden details, a vertiginous sense of mutating images…" —James Norton, The Mystery, as Always: Raúl Ruiz, Klimt and the Poetics of Cinema.

The spectacle cannot be understood as the abuse of a world of vision, as the prod uct of the techniques of mass d issem ination of i mages. It is, rather, a Weltanschauung which has become actual, materially translated . It is a vision of the world which has become objectified. (...) The spectacle, understood in its totality, is simultaneously the result and the project of the existing mode of prod uction. It is not a su pplement to the real world, its added d ecoration. It is the heart of the unrealism of the real society. In all its specific forms, as information or propaganda, advertisement or direct consum ption of enterta inments, the spectacle is the present model of socially dominant life. It is the omnipresent affi rmation of the cho ice already made in prod uction and its corollary consumption. The form a nd the content of the spectacle are identically the total justification of the cond it ions and the ends of the existing system. The spectacle is also the permanent presence of this justification, to the extent that it occu pies the principal part of the time lived outside of modern production. — Guy Debord, The society of the spectacle "Hence I was preoccupied by a potentiality untypical in normal film construction and film composition. Operating at the outset with such material and such occurrences, it was natural to speculate principally upon the potentialities of juxtaposition. Less attention was given to an analysis of the actual nature of the pieces juxtaposed. Such attention would not have been sufficient in itself. History has proven that such attention, directed solely to the content of single shots, led in practice to a decline of montage to a level of "special effects," "montage sequences," etc., with all the consequences this involved. What should have been the proper emphasis, what should have received the principal attention, in order that neither element would be unduly exaggerated? It was necessary to turn to that fundamental basis which equally determines both the content enclosed by. single frames and the compositional juxtaposition of these separate contents with each other, i.e., to the content of the whole, of the general and unifying needs." — Sergei Eisenstein , The Film Sense. "El hombre, funcionario jubilado, pasaba sus noches afanado en copiar un cuadro de Jerónimo Bosch. Sus copias eran varias veces más grandes que el original y sólo representaban un detalle do la imagen: sin embargo, dado que otros detalles habían sido agregados a ese detalle, la versión suya daba la impresión de ganar en exactitud. Sin tener conciencia de ello, el pintor imitaba el trabajo de aquellos copistas holandeses descritos por Henry James, quienes, como buenos artesanos que eran, agregaban ciertos detalles a fin de volver su copia más realista. De lo que se deduce que se podría concebir una pintura que, a medida que se la copia, se vuelve cada vez más realista, hasta la saturación de su potencial de realismo, y mucho más allá incluso del efecto conocido como "realismo fotográfico"" — Raúl Ruiz, Poética del Cine I

#posmodernism #raul ruiz #sergei eisenstein #guy debord #walter benjamin #hyperrealism #poetics of cinema #philosophy #philosophy of art #We have humans dying on mines and robots singing songs #academia #Collection of notes

[creatediana]

"Ekphrasis of Barbie" - a poem written 7/21/2023

#guess what i saw last night 💕 #barbie #2023 #barbie 2023 #dolls #dactylic meter #dactylic tetrameter #catalectic dactylic meter #quatrains #ekphrasis #ekphrastic poetry #poem #poetry #digital poetry #poets on tumblr #rhyme scheme #transparent #philosophy of art #i just wanna state for the record that ive been writing poems about dollies for years if anyone accuses me of trend-chasing #i havent always put barbie explicitly in the title but she's been my muse forever

[esarkaye]

Dostoevsky intended to write a sequel to his great novel The Brothers Karamazov, but he died before being able to do so. Now, imagine that we prompt ChatGPT to write a sequel. It produces a 600-page novel—let's call it The Life of Alyosha. What could this AI-generated novel mean? Nothing much, or so I argue in this short new article about AI-generated art and fiction in AI & Society.

#ai artwork #ai art #ai fiction #generative art #generative ai #fyodor dostoevsky #philosophy of art #art #fiction #chatgpt

[titleknown]

...I ran into this post in the wild, and while I'm not gonna directly debate them on the many points I disagree with them on, mainly because it would consist of the angry little goblin that lives in my head just screaming "PROTEST AGAINST CAPITALISM NOT AUTOMATION" and "KILL THE COPYRIGHT COP IN YOUR HEAD"...

...For the love of god, fucking ask before you do image2image of people's art in AI. Even if you're going to credit them, fucking ask.

Like, literally, I fucking asked a friend if I could do that with her old art. She declined, and I fucking respected her wishes! It's not hard!

Also, I will say, an advantage of learning other artistic techniques is that, even if what you make is kind of a dud, it can work really well for img2img. So all the more reason to learn...

...Also, an addendum, if you're going to train an algorythm on the works of one specific living artist, consider: Don't!

If you do that shit, you're being an asshole and making people call AI art the death of art! You're not helping!

#art #ai art #philosophy of art #just fucking ask

[hirmand]

Henry Flynt

Biography:

Henry Flynt is an American artist, musician, philosopher, and writer known for his unconventional and multidisciplinary approach to the arts and his contributions to various avant-garde movements. Born on October 17, 1940, in Greensboro, North Carolina, Flynt's life and work have been marked by a relentless pursuit of intellectual and artistic exploration. Flynt's early life was characterized by a strong interest in mathematics and logic. He attended Harvard University, where he studied mathematics and philosophy. During this period, he became involved in the burgeoning avant-garde and experimental music scenes in New York City, a milieu that would profoundly shape his artistic trajectory. In the 1960s, Flynt became associated with the Fluxus movement, a group of artists known for their experimental and often unconventional approaches to art. He collaborated with artists like George Maciunas and Yoko Ono, participating in Fluxus events and creating works that challenged traditional artistic boundaries. His pieces often involved music, performance art, and conceptual art, blurring the lines between these disciplines. One of Flynt's most notable contributions to the Fluxus movement was his concept of "concept art," which emphasized ideas and concepts over traditional artistic mediums. He rejected the idea of creating static, marketable art objects, instead focusing on the ephemeral and the intellectual aspects of art. Flynt's musical explorations were equally groundbreaking. He developed a unique approach to music that he called "avant-garde hillbilly" or "country music." This style fused elements of Appalachian folk music with avant-garde sensibilities, resulting in a sound that was simultaneously traditional and experimental. He played violin and guitar, often incorporating extended techniques and unconventional tunings into his compositions. Throughout the 1960s and 1970s, Flynt continued to push the boundaries of both art and music. He performed at iconic venues like the Kitchen in New York City and collaborated with renowned artists like La Monte Young and Tony Conrad. His work challenged conventional notions of what constituted music and art, earning him a place in the annals of avant-garde history. In addition to his artistic pursuits, Flynt was a prolific writer and philosopher. He delved into a wide range of topics, including mathematics, philosophy, politics, and aesthetics. His writings, often characterized by their radical and iconoclastic viewpoints, challenged conventional wisdom and called for a reevaluation of established norms. Flynt's career was not without controversy. His rejection of the commercial art world and his uncompromising stance on artistic purity led to clashes with galleries and institutions. He eschewed traditional avenues of success in favor of his own uncompromising vision. Henry Flynt's influence on the avant-garde and experimental art and music scenes cannot be overstated. His willingness to challenge conventions and embrace the unconventional has left a lasting legacy that continues to inspire artists and thinkers today. His work serves as a reminder that the boundaries of art and music are always ripe for exploration and redefinition. Henry Flynt remains a pioneer of the avant-garde, an artist who fearlessly charted his own course in pursuit of a singular vision.

Henry Flynt's ideas:

Henry Flynt's ideas encompass a wide range of topics, from art and music to philosophy and politics. His unconventional and often controversial viewpoints have left a lasting impact on the avant-garde and experimental art scenes. In this exploration of his ideas, we will delve into some of the key themes that have defined his intellectual and artistic journey.

Concept Art and Anti-Art:

One of Flynt's most significant contributions to the art world is his concept of "concept art." He rejected the idea of creating traditional art objects in favor of emphasizing ideas and concepts as the primary focus of art. This approach challenges the conventional notion of art as a commodity and instead prioritizes the intellectual and ephemeral aspects of artistic expression. Flynt was a vocal critic of what he referred to as "gallery art," which he saw as commercialized and disconnected from true artistic innovation.

Radical Formalism:

Flynt advocated for a form of radical formalism in which art is stripped down to its most basic elements, such as color, shape, and form. He believed that artists should focus on exploring these fundamental elements rather than adhering to established artistic conventions. This approach aligns with his rejection of traditional artistic mediums and his desire to transcend the limitations of categorization.

Avant-Garde Hillbilly Music:

Flynt's musical explorations were equally groundbreaking. He developed the genre of "avant-garde hillbilly" or "country music," which merged elements of Appalachian folk music with avant-garde sensibilities. This unique fusion challenged preconceptions about what constituted music, bridging the gap between the traditional and the experimental. Flynt's use of extended techniques and unconventional tunings in his compositions further exemplified his innovative approach to music. Experimentalism and Anti-Commercialism: Throughout his career, Flynt maintained a steadfast commitment to experimentalism and anti-commercialism. He rejected the idea of catering to commercial markets and instead focused on pushing artistic boundaries. This stance often brought him into conflict with galleries and institutions, as he refused to compromise his artistic vision for the sake of mainstream success.

Philosophy and Metaphysics:

Flynt's writings reflect his deep engagement with philosophy and metaphysics. He explored topics such as logic, mathematics, and the nature of reality. His philosophical inquiries often led to unconventional and iconoclastic conclusions, challenging established philosophical traditions. Flynt's work in this area is characterized by its rigor and its willingness to question deeply ingrained assumptions.

Political and Social Critique:

Flynt was also a vocal critic of mainstream politics and society. He advocated for radical political change and was involved in various activist movements. His writings and actions reflected a desire to challenge the status quo and promote alternative social and political structures.

Individualism and Non-Conformity:

Throughout his life, Flynt embodied a spirit of individualism and non-conformity. He resisted categorization and refused to adhere to established norms, whether in the realm of art, music, philosophy, or politics. His commitment to pursuing his own path and expressing his unique ideas set him apart as a truly independent thinker and artist.

Legacy and Influence:

Henry Flynt's ideas and contributions have had a lasting impact on the avant-garde and experimental art and music scenes. His rejection of convention and his embrace of the unconventional continue to inspire artists and thinkers who seek to challenge the boundaries of their respective fields. Flynt's legacy serves as a reminder that true innovation often arises from a willingness to question, experiment, and push the limits of what is considered possible. In summary, Henry Flynt's ideas are marked by their radicalism, anti-commercialism, and relentless pursuit of intellectual and artistic exploration. He challenged established norms in the realms of art, music, philosophy, and politics, leaving a lasting legacy as a pioneer of the avant-garde and a fearless advocate for the power of ideas to reshape our understanding of the world. His work remains a testament to the enduring value of non-conformity and the boundless potential of human creativity.

#artists on tumblr #music #art history #Henry Flynt #biography #conseptual art #avant-garde #philosophy of art

[autumn-tide]

Works of art are of an infinite solitude, and no means of approach is so useless as criticism. Only love can touch and hold them and be fair to them.

Rainer Maria Rilke

#book qoute #rainer maria rilke #works of art #art criticism #love art #philosophy of art #self love #trust yourself #trust your journey

[everydayesterday]

I am very torn about the use of AI in “creating” new art.   I agree that simply entering a prompt does not make someone an artist, nor a copyright holder, as these are, by definition, derivative works.  I believe that true artistry requires creative thought.   I argue that AI images are not transformative, as something Warhol might’ve been.  That’s a fine line, and subjective; “transformative” is nebulous (and, well, “art” is most certainly a fluid term, as is “originality”—when combining prompts to create something of the likes of which has never been seen before, is that original?).  Where does Marcel Duchamp fit; does the associated statement/thought behind the artwork make the piece transformative?  Does an artist have to be able to explain the artistic merit/justification of their work, or should it be able to stand on its own?  Does the interpreter have any say in the matter?   I do believe that it can be useful as a guide for other things.  I’ve got many ideas for a book—a title, characters, a storyline with a healthy lesson for life, some scenes in my head, but haven’t started putting pen to paper for those thoughts (and I won’t share them here for fear of someone stealing my ideas).  I’m thirsty for seeing it come to life, however, despite my inability to write (I would consider myself a non-fiction/academic writer, not a creative one).  So, using an image creator like the one released by Microsoft today (powered by DALL-E; or Stable Diffusion, or whatever), I can put together a storyboard where words can be filled in later, perhaps with a co-author (and original illustrator).  The above image roughly matches part of a scene from the story; I asked the image generator to use the style of Studio Ghibli’s ‘Kiki’s Delivery Service,’ though I disagree it did a good job on that element specifically (the results when I ask it to be styled like a Renaissance painting are incredibly similar to this, so something’s off there).  Though not originality, AI can provide assistance.   I’d love to have some sort of philosophical conversation about the whole thing, to better understand my own ideas, and those of others.  I’ve got a number of mutuals that are artists.  This is still an area in its infancy, and so are opinions on the matter.  If someone wants to send an ask, that would be welcome.  

#mine #I didn't ask for ears on her hood #AI #AI art #AI image generation #artificial intelligence #DALL-E #Stable Diffusion #Bing Image Creator #ask #asks #ask me anything #artists #marcel duchamp #andy warhol #philosophy of art #thoughts