Dear paul

Unfortunatly I did not translate yet this document in english but I am working on art using mathematical process as frame to create new protocol for painting. What a painting could be be if defined in pixels and vectors is converted into another. Is there any commutativity between two set of painted points and vectors can make a in between digital painting.

In this case brush troke is not an emotional trace form from artiste skil but a set of numbers...

This is a small to answer your question !

Data MORPHEMES & FONCTEURS bijections sur l'ensemble des points e...

For exemple Georges Didi-Huberman wrote about the artwork of Claudio Parmiggiani in " Génie du non-lieu " (I don't know if the book was translated in english).

Thank you Amel for your suggestion. I will look to see if there is an English version.

Dear Paul,

I am a philosopher writing on art history and believe that the great fathers of art history, Wolfflin, Riegl and Panofsky among others were much more inclined philosophically than the present art historians. Having been trained in the USA I would say that the whole October group and especially people like Rosalind Krauss are also philosophically informed in their approach to contemporary art. Likewise in France, Hubert Damisch and Georges Didi-Huberman are examples of art historians engaged with a philosophical reading of the arts. My research wishes to contribute to that direction too but I do not recount myself among the people I just mentioned for my profile is much humbler. Kind regards,

Constantinos V. Proimos  

Dear Costantinos, Thank you for your posting. You list many of the main names in the area that I too have interest in. Rosalind Krauss is central to much of my thinking though often as the counter-position to my thoughts. I am really interested to hear more about your work, would you care to tell me more about your interests? Thanks, paul

Dear Paul, I was Krauss's student for a while and I also find myself to counter her in some aspects of her approach although i must admit that I have learned a lot from her thought and writing. I simply do not appreciate the formalist dogmatism with which she approaches art. In the field of art history I have been interested in contemporary art and particularly the period of  nineteen sixties in France, Italy and Germany. I have published on Joseph Beuys, Yves Klein and Jannis Kounellis. Then I am also interested in deconstruction as I was a student of Jacques Derrida and have published on Derrida's work. Finally more recent interests are ancient philosophy of art, particularly the iconoclast position of Plato and Rembrandt's biblical paintings to which I try to formulate an interdisciplinary approach. I would also be interested in your writings. Kind regards,

Constantinos

Gabby, thank you for this. Paul

Thank you Wolfgang

To orientate in the complex field of contemporary aesthetics:

The best, the most clearly and most usefully witten:

"20th Century Aesthetics" by Mario Perniola.

("L' estetica del Novecento" original in Italian)

For abstract art it's easy: all that is written during Bauhaus.

-The Spiritual In Art. Abstract Painting, (Über das Geistige in der Kunst), - Point and Line to Plane,(Punkt und Linie zu Fläche) Vasily Kandinsky,

and the courses by Klee, László Moholy-Nagy , ...

Concept art:

"Art After Philosophy" (1969) by Joseph Kosuth.

Abstract expressionism :

- Abstract Expressionism and the Modern Experience, Stephen Polcari

- Donald Judd (collected writings)

Thank you Willy

Have you looked at "The functional analysis of art : an approach to the social and psychological functions of literature, painting and film" by Richard Raskin? The part that especially intrigued me is his list of reasons why audiences engage with art. He has written other books about the formal aspects, like color theory and narrative structure (opposing story elements in short film). Another helpful text might be "The Creative Vision: A Longitudinal Study of Problem Finding in Art" by Jacob W. Getzels, Mihaly Csikszentmihalyi -- where they track a group of emerging artists to determine what personality traits and views of the artists (by instructors, peers, critics) could predict success later in working life. The part that might be relevant for you is where the authors discuss the distinction between fine and applied art, which correlates somewhat with the degree to which the creator solves the problems she sets for herself in the creative work.

Dear Paul,

I was thinking that The Psychology of Art by Vygotsky can be interesing for you. You may find interesting discussion also here: http://lchc.ucsd.edu/mca/Mail/xmcamail.2015-03.dir/pdf7qCUdVmEBw.pdf

http://lchc.ucsd.edu/mca/Mail/xmcamail.2010_08.dir/pdfMJiQyOan8C.pdf

https://core.ac.uk/download/pdf/12422503.pdf

Good luck with your work!

Maria

Dear Marcus, thank you for your comments. I am aware of the literature you comment on and I agree that it raises intriguing questions. I am interested in the philosophical perspectives regarding art experience and how we conceive of art, how we perceive this and understand something as being art. I am actually interested in these processes with non-art obejects and events too. So I am also interested in art among other human endeavors and especially abstraction.

Dear Maria Aleksandrovich

Thank you for your suggestions

I recommend:

'''The Master and His Emissary: The Divided Brain and the Making of the Western World is a 2009 book written by Iain McGilchrist that deals with the specialist hemispheric functioning of the brain. The differing world views of the right and left brain (the "Master" and "Emissary" in the title, respectively) have, according to the author, shaped Western culture since the time of the ancient Greek philosopher Plato, and the growing conflict between these views has implications for the way the modern world is changing.[1] In part, McGilchrist's book, which is the product of twenty years of research,[2]reviews the evidence of previous related research and theories, and based on this and cultural evidence, the author arrives at his own conclusions.''

https://en.wikipedia.org/wiki/The_Master_and_His_Emissary

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McGilchirst speak from many philosophical and scientific perspectives and the place of the arts is this perspective is central but only seen from the left hemisphere or emissary perspective. Arts are mainly a communication making sense in the right hemisphere and totally meaningless when seen from the left except for its material support according to McGilchrist.

- Regards