Art and Design, Vol. 2, Issue 4, Dec  2019, Pages 158-165; DOI: 10.31058/j.ad.2019.24015 10.31058/j.ad.2019.24015

Contemporaneity, Mythologeme and New Object

Art and Design, Vol. 2, Issue 4, Dec  2019, Pages 158-165.

DOI: 10.31058/j.ad.2019.24015

Lepota L. Cosmo 1*

1 Independent Scholar, New York, USA

Received: 29 July 2019; Accepted: 20 October 2019; Published: 7 November 2019

Full-Text HTML | Download PDF | Views 20 | Download 12

Abstract

The design applies equally to the usable and interpretative value. The purpose of the object is not as important as the value or interaction. The object produces an effect. The consumption of an object is the consumption of one context in relation to objects. In the case of a modern object artists talk about the design of the concept. Modern art replaces the concept of design with the design of the concept. The object is designed from the utility of benefit or benefits. Design is the concept of the object. The object is everything, even a non-object, mental image; the concept has more with the nature of this effect and not with an object that by definition can be a non-object, non-existent, non-exhibit or underart.

Keywords

Theory of Contemporaneity, Conceptual Art, Art Theory, Object, Concept Design, Avant-Garde

Copyright

© 2017 by the authors. Licensee International Technology and Science Press Limited. This article is an open access article distributed under the terms and conditions of the Creative Commons Attribution (CC BY) License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.

References

[1] Becker, H. S. Art as collective action. Am. Sociol. Rev.1974, 39(6), 767-776.
[2] Bowker, M. H. Rethinking the politics of absurdity: Albert Camus, postmodernity, and the survival of innocence, 1st ed.; Routledge: New York, USA, 2013, 55.
[3] Călinescu M. Five faces of modernity: Modernism, avant-garde, decadence, kitsch, postmodernism; Duke University Press: Durham, USA, 1987.
[4] Cassirer, E.; Cassirer E.A. Language and myth. Courier Corporation: North Chelmsford, USA, 1946, 51.
[5] Crane, D. The transformation of the avant-garde: The New York art world, 1940-1985. University of Chicago Press: Chicago, USA, 1989.
[6] Denicola, R. C. Applied Art and Industrial Design: A Suggested Approach to Copyright in Useful Articles. Minn. L. Rev., 1982, 67, 707.
[7] Eckert, C. & Stacey, M. Sources of inspiration: a language of design. Design studies, 2000, 21(5), 523-538.
[8] Emoe, C. Reconsidering the Avant-Garde Through Ritual. In/Print, 1, February 2012.
[9] Erber, P. Contemporaneity and its Discontents. Diacritics, 2013, 41(1), 28-48.
[10] Fowler, R. L. Mythos and logos. J. Hellenic Stud., 2011, 131, 45-66.
[11] Fricke S.; Klar A.; Maske S. Fluxus at 50. Kerber Verlag: Berlin, Germany, 2012.
[12] Girst, T. (Ab) Using Marcel Duchamp: The Concept of the Readymade in Post-War and Contemporary American Art. The Marcel Duchamp Studies Online Journal, 2003, 5.
[13] Glenberg, A. M. Language and action: creating sensible combinations of ideas. The Oxford handbook of psycholinguistics; Oxford University Press: New York, USA, 2007, 361-370.
[14] Henry, T. Punk and Avant-Garde Art. J. Pop. Cult., 1984, 17.4, 30-36.
[15] Izenberg, O. Language Poetry and Collective Life. Crit. Inq. 2003, 30(1), 132-159.
[16] Jurgens, F. Absurdity in the Early 21 Century. Diss. University of Cape Town, 2010.
[17] Hoffmann, D. Logos as composition. Rhetor. Soc. Q., 33, 2003, 3, 27-53.
[18] Ingarden, R. Aesthetic experience and aesthetic object. Philos. Phenomenol. Res., 1996, 21(3), 289-313.
[19] Janney, R. W. Words as gestures. J. Pragmat., 1999, 31(7), 953-972.
[20] Joly, H. Le renversement platonicien: logos, episteme, polis. J. Vrin: Paris, France, 1974.
[21] Lipovetsky, G. La era del vacío. Ensayos sobre el individualismo posmoderno. Anagrama: Barcelona, 2002.
[22] Marshall R. Found Object Art: Stuff I Made from Junk. 2009.
[23] Naumann, F. M. New York Dada, 1915-23, Harry N. Abrams: New York, USA, 1994, pp. 239, note 17.
[24] Pearson, M. Generative art: a practical guide using processing. Manning: New York, United States, 2011
[25] Pratt, M. L. Toward a speech act theory of literary discourse. Indiana University Press: Bloomington, USA, 1977.
[26] Reynolds, F. E. & David T., eds. Myth and philosophy. SUNY Press: New York, USA, 1990.
[27] Robert C. M. Conceptual Art: An American Perspective. Jefferson, McFarland: NC/London, 1994.
[28] Roberts, J. Revolutionary Pathos, Negation, and the Suspensive Avant-Garde. New Lit. Hist., 2010, 41(4), 717-730.
[29] Sayre, H.M. & The object of performance: The American avant-garde since 1970. University of Chicago Press: Chicago, USA, 1998.
[30] Sawyer, R. K. Group creativity: Music, theater, collaboration. Psychology Press: New York, USA, 2014.
[31] Schmid, J. M. Diss. Performance, poetics, and place: public poetry as a community art. University of Iowa, USA, 2000.
[32] Schofield, M. Nussbaum M. C. Language and Logos: Studies in ancient Greek philosophy presented to GEL Owen. Cambridge University Press: Cambridge, USA, 2006.
[33] Segal, C. P. Gorgias and the Psychology of the Logos. Harv. Stud. Class. Philol., 1962, 66, 99-155.
[34] Smith, J. KA. A Little Story About Metanarratives: Lyotard, Religion, and Postmodernism Revisted. Faith Philos., 2001, 18(3), 353-368..
[35] Smith, T. Contemporary art and contemporaneity. Crit. Inq., 2006, 32(4), 681-707.
[36] Smith, T. Fugue 9: E Major. Well-Tempered Clavier, book 1. The Fugue is Generative. NAU.edu. 2013.
[37] Urban, W. M. Language and reality: The philosophy of language and the principles of symbolism. Routledge: New York, USA, 2014.
[38] Walker, J. Rhetoric and Poetics. The International Encyclopedia of Communication. Blackwell Pub.:Malden, USA, 2008.

Related Articles