SCI-ART LAB

Science, Art, Litt, Science based Art & Science Communication

 

   I feel  shy in trying to talk about fine art lovers, the theme that

   refers both to professional and amateur artists.

 

   So I refer to the feelings of those who have a more intense life in the elaboration of compositions, become professional artists, but also of the contemplative amateurs of art works, exteriorizing the sentiments through discrete compositions,

Fine art, an important section in culture, is mainly the artists' field,

who have been trained with millennium accumulations, pass through generations, almost esoterically, this profession.

In currents and movements, through manifesto, they exhibited compositions in some styles sometimes with exclusive names like Suprematism.

 

 To avoid imposture, quite frequent. such as in the case of abstract styles,

 articles are written that reject techniques that come from   uninstructed people.

 

There is still a need for discernment

 

  The subject has philosophical connotations, appearing publications in different areas, as is the case:

 J.P. Sartre, Psihologia emotiei, Ed. IRI, Bucuresti, 1977, p. 77.

(J.P. Sartre, The psychology of emotion, Ed. IRI, Bucharest, 1977, p. 77.)

 Which I'm quoting in:

  Noul introdus de Arta Bioptica (Romanian)

 

Excerpts

28 Despre psihofizic si psihofiziologic cum si despre emotiile estetice ale oamenilor inclusiv ale cunoscãtorilor:-J.P. Sartre, Psihologia emotiei, Ed. IRI, Bucuresti, 1977, p. 77. "Trãim emotional o calitate care ne penetreazã, pe care o suferim si care ne covârseste din toate pãrtile. Deodatã emotia este smulsã ei însesi, se transcende, nu mai este un banal episod al vietii noastre cotidiene, ci este intuiþie a absolutului.*Este ceea ce explicã emotiile fine. În cazul acestora, printr-o conduitã abia schitatã, printr-o usoarã oscilatie a stãrii noastre psihice sesizãm o calitate obiectivã a obiectului. Emotia finã nu este nicidecum sesizarea unei neplãceri vaporoase, a unui admirabil redus, a unui sinistru superficial, ci este un lucru neplãcut [poate plãcut - n.a.], un admirabil, un sinistru întrevãzut, sesizat printr-un voal. ...Fireste, emotiile fine se deosebesc radical de emotiile slabe. Intentia este aceea care diferentiazã emotia finã de emotia slabã, deoarece conduita si starea somaticã pot fi identice în ambele cazuri. Dar intentia, la rându-i, este motivatã de situatie"

 

.*Si în Addenda aceleiasi cãrti, William James, p. 103: "Emotiile «fine». Modificãri organice, precum si afectul însusi pot fi extrem de slabe în cazul emotiilor estetice; o operã de artã nu va provoca adesea la un cunoscãtor decât o judecatã rece, pur intelectualã, fãrã cea mai micã vibratie organicã. La multi oameni, totusi, ea va determina emotii din cele mai intense

 

. Evident, teoria noastrã se aplicã cu usurintã la acest ultim caz. Dar primul nu o contrazice, deoarece ea bazeazã emotia pe curenti aferenti; or, fie cã perceptia unei opere de artã este urmatã , fie cã nu este urmatã de fenomenul sãu complementar, adicã rãsunetul organic, ea nu rãmâne mai puþin si în primul rând un fenomen determinat de curenti aferenti. Ea este auditie muzicalã, contemplare de monumente etc., adicã întotdeauna perceptie de obiect sensibil, experientã «a simturilor». Iar plãcerea care însoteste aceastã experientã este si ea o plãcere «a simturilor»: existã emotie «puternicã» pentru cã existã perceptie «puternicã»". 

 

* And in the Addendum to the same book, William James, p. 103: "Fine emotions." Organic changes, as well as self-affection, can be extremely feeble in the case of aesthetic emotions: a work of art will often only provoke a connoisseur a pure, purely intellectual judgment without the slightest organic vibration. In many people, however, it will cause emotions from the most intense

 

……………………………….

 In learning the tendencies for fine art evolutions, there are also restrictive criteria reflected by the professionals.

  And in this field we are looking for extrapolariers, among which we distinguish the ones to train some skills genetically inherited in the visual sense like binocular rivalry.

See link:

 

Fine Art Binocular Rivalry extrapolation

 

   It appears to be damaging to say that only artists have the right to propose techniques for development

in art

 

  An example of the application of research with a description more narrow  but essential in fine art.

 

Simultaneous contrast identified by Michel Eugène Chevreul (was a French chemist)

 refers to the manner in which the colors of two different objects affect each other. The effect is more noticeable when shared between objects of complementary color.

 

Techniques for development in art;

 Bioptical Art updates completions Space color sensation

 Bi-optical (Di-optical) Art; a continuum in fine art

 Hypotheses concerning the definition an sequential contrast in fine...

 Psychical satiety in affectivity

 

Artists have the opportunity to consult Google, which presents selection files by applying hundreds of criteria published in the order resulting from these criteria.

 See

fine art sense science

 

 

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