For millennia, humanity has created an inexhaustible number and variety of things that are called art. Some works of art have been preserved as treasures, while most are quickly discarded, destroyed, lost, or tacitly reminiscent of the ethereal cosmic abyss by the pathos of neglect. In all chronicles of human narratives, historians, critics and practitioners of the arts have tried to explain different phenomena of the arts in every culture. Every generation extends this knowledge and has the opportunity to improve the understanding of the arts with new patois. That is the purpose of this dialogue.

Each study spectrum has a language that is idiosyncratic for its domain, some with different dialects that are only known to practitioners and critics. The arts are no different. Currently, a professional art educator wants to leave three terms for use in the art world lexicon that can be used by artists, educators, museum staff, connoisseurs, sponsors, critics, and historians to further explain and understand the universe of the arts. These are artra, trans-loop aesthetics and pseudo-art.

In previous writings, I provided a fresh, comprehensive definition of art that goes beyond media or locations for artistic production and performance. This term also includes all historical “isms”. As you may recall, this art introduced art as an acronym for itself: aesthetic rendition of thoughts. For art to exist, the following three (3) criteria must be met. There must be a sensory manifestation (rendering), volatile or permanent, based on a creative, intellectual process (thought) with the intention of a beautiful or pleasurable (aesthetic or anti-aesthetic) action or reaction in one or more of the senses and / or psyche ,

A work of art is the product of the creator’s deliberate efforts, duh; However, some are never meant for public experience. In this state and in this familiarity it is only ART (an aesthetic rendition of thinking). However, if the art object or performance is encountered by an audience other than its author and the rendering creates an aesthetic experience, then we have artra. Artists can have ambient aesthetics or euphoria in creative processes that encompass conceptualization, manufacturing efforts, and evaluation through the various phases of production or performance to the completion of the art. It is part of their half of Artra. The viewer’s aesthetic involvement lies in the area of ​​”mirrors”.

Artra is a palindrome of total encounter between art; it is the journey to go “through the mirror”. The art audience perceives the physical existence of an art object through one or more of its physical senses. Next, you have a metaphysical aesthetic incident and a mental evaluation, and then you return to the art object or performance. I refer to this psychic journey “through the mirror” and the return as “translooping aesthetics”. Artra is the collective aesthetic and physical recognition and interaction with a work of art by both the artist and the public. It should be noted that both the artist and the audience will not be exposed to the same aesthetic familiarity or artra involvement, nor to the same extent due to the frame of reference for each party.

The field of art history, theory and criticism, or collectively known as artology, contains many guesswork and assessments. We can add pseudo art to this arena. Pseudo-art is an object that some people have perceived as an art object or performance, but which was not created by a living being with the intention of an aesthetic state. Hence it is not a true art. For example, you could be happy with the lighting, the wavy textures and the colors of the bark of a beech tree and inspire them. She is beautiful. Beech is certainly a created object, but trees are not created by terrestrial creatures to communicate for an aesthetic purpose. However, a tree can be manipulated as an art object. This is the case with the art of bonsai. Pseudo-art is a concern that represents an aesthetic aftertaste. Artists are often inspired by pseudo-art.

If you are more familiar with Artology as a stay in the corridors of the world’s art history, you can join the discourse on rumination, confirmation, or as a contradiction to these ideas.

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