[Art-lover]

In times of ones, in an exchange of views on the forum about sentetsii «Contemporary Russian abstraction is secondary to the definition», sounded remarkable statement:

Сообщение от Tasha; 782331"

I personally was not impressed by the abstract work force of impact is determined, basically, color and texture. Such work leaves me a strong feeling design. Picture-stylization of real images to the state of the sign I did not take it as an abstraction. Geometric abstraction in our computer time also seems to computer graphics. But at the same time, the future of the abstraction is. But at some other level. Some molecularity that Lee. Wreath-rectification, condensation-rarefaction-voids, etc. That said, I do not understand, but oh well.

Okay, we understand something : still alive in the people faith in the latent creative powers of abstraction, waiting for cases to show his coherence of our quantum, nonlinear, haosmichnoy, multidimensional and life vaasche incomprehensible reality.
Zakovyka, however, that the problem is recognized among the many colors of stained canvases those that enter into valuable remarks, recalled the task of searching the signals of other civilizations among the countless cosmic radio noise. )
Perhaps the most sophisticated audiences they will see at once carrying a revelation masterpieces, the rest, worth thinking about how to recognize a rose named Rose. Knight of the Legion of Honor Georges Mathieu justified is the question thus: "The laws of semantics operate on the principle of inversion: as given thing, for it looks for a sign, given the sign - it asserts itself, if it finds embodies". Under the sign of (Name of the Rose), then of course a work of art, as embodied can be understood as a rose (meaning).
If before the pictures were dancing on point, the new art of the birthright was transferred to an art object, and worries about the meaning assigned to the interpreter.

Word for a report on this subject is given to the author "named Rose, who studied the so-called "Public works" in which co-acts receptive side, ie us.

Umberto Eco
Open work

"Ingres streamlined the rest, and I would like to streamline the movement."
        Klee

"Formal relations between the product and works up the order, the metaphor of the universe."
        Fossiyon

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From the Preface to the 2-second edition (1967)

If we had a few words to give an idea about the subject of the present study, we referred to the notion, now subsumed into many modern aesthetics: a work of art is fundamentally ambiguous message, the plurality of means, which coexist in the same signifier. This is characteristic for any artistic work ... but the theme of the first essay and follow-up is reduced to the fact that such ambiguity is (in modern poetics) a clearly defined units of the author, a task that must be implemented before other ...

Because often in order to accomplish this task, contemporary artists are turning to the ideals of informality, disorder, randomness, uncertainty of the results, we also tried to put the problem of the dialectical relationship between "form" and "openness" that is, to establish the extent to which this or that product can be as multi-valued and depend on the active intervention of the person who perceives, without ceasing, however, be a "product". By "product" we mean an object endowed with certain structural properties that permit, but at the same time coordinate alternation of interpretations to shift perspectives.

However, just to understand what the nature of the multivalency sought by modern poetry, in these essays we had to schedule another angle of research, in some respects, has acquired paramount importance: we have tried to find out how the operational programs of art relate to the programs developed in the field of modern scientific research. In other words, we tried to figure out how a certain idea about the product is in connection with modern scientific methods or explicit dependence on them, especially in psychology or logic.

Introducing the first edition of this book, we thought it appropriate to synthesize this problem in a number of formulas that had obviously metaphorical coloring. We wrote this: "One theme of these studies, the reaction of art and its creators (the formal structures and poetry programs, they are the previous) cases uncertain, is likely to be ambiguous, polyvalent ... In general, we examine the different moments in which contemporary art has to be considered with disorder, which is not blind and incurable disorder, otmetaniem any sequencing capabilities, but is a fruitful disorder, the positivity of which showed us the modern culture: the erosion of the traditional order, which Western man believed unchanged and was identified with the objective structure of the world .... "
.......

 The concept of "open work" has no axiological values. In these essays, we do not strive for ... to share the works of art for significant ("open") and small, old, bad ("closed"), we believe that we have sufficiently shown: openness, understood as a principle ambiguity of the artistic message, characteristic of any product at any time. Some artists and novelists, who, after reading this book, shows us his work and asked, "open" if they are, we were forced to explicitly polemical exaggeration to reply that he had never seen an "open works" and that in fact they are probably not exist. This paradox, we would like to say that the concept of "open work" is not a category of criticism, but it is a hypothetical model, even if developed through analysis of a wide concrete material, is extremely useful for that, with flexible and agile formulas indicate in which towards developing contemporary art.

In other words, the phenomenon of public works, we could indicate how that Rigla called word Kunstwollen, and Erwin Panofsky even better (freeing the concept from some traces of idealism) defines as "the last and ultimate meaning found in a variety of artistic phenomena, regardless of conscious decisions and attitudes of the author, "adding that such a concept indicates not so much on how artistic problems are solved, but rather on how they are used.

....

JOINT WORK IN FINE ARTS

When we speak of the poetics of the informal as a typical phenomenon in contemporary art, this term implies a kind of generalization: "informal" appears not only as a category of criticism, but also determines the overall trend in the culture of a certain period: in a similar vein, one should understand such figures as Walz or Brian, tashistov (tachistes), masters of action painting, art brut, art autre, etc. In this case falls under the category of informal broader definition of the poetics of the open work.

It is an open product as the product of which is determined by "field" of the various interpretive possibilities of the product, which appears as a kind of configuration of incentives, vested fundamental uncertainty, so that a person perceives it, is involved in a number of "reads" and always changeable; Finally, we are talking about the structure as a "constellation" of elements that may enter into various relationships. In this sense, informal in the painting echoes the open musical structures, characteristic of post-vebernianskoy music as well as with the "modern" poetry, which, with the consent of their representatives, have already adopted the name of "informal".

Informal in the painting could be seen as the last link in the chain of experiments aimed at to make a product of a certain "movement". However, the "movement" may be perceived differently, and the search for the motion were carried out throughout the evolution of the plastic arts: we find it already in the rock art, or in the shape of Nike of Samothrace (the desire to fixed, fixed lines to provide a movement characteristic of real objects images). Another form of movement, repetition of the same image in an attempt to portray a character or an event in consecutive moments of their development: this technique we observe on the tympanum of the portal Suyyak, which portrays the story of a cleric Theophilus, or "tapestry of Queen Mathilde in Bayeux, which represents the a real "movie" consisting of multiple sequential images. This, however, was about image motion using the principle of fixed structures, when the movement did not affect the product structure, the nature of the sign.

If we speak about the impact on the structure, in which case it is appropriate to recall Magnasco or Tintoretto, or even better-on the Impressionists: here the symbol in their quest to create the impression of internal recovery is imprecise and ambiguous. However, the ambiguity of the sign does not do very uncertain picture of the submitted forms: it allows to see in it a certain soprirodnuyu vibration, more intimate contact with the environment blurs the contours, rigid distinctions between one form and another, and between shapes and background. Nonetheless, the eyes are always set out to distinguish between these (and not other) forms (even if it already suggests the possibility of a sudden dissolution, promise a fruitful ambiguity, if there is a crisis of traditional configurations, the call to the formless, which is manifested in the cathedrals of the late Monet ).

Dynamic expansion of forms characteristic of the Futurists, and the disintegration of the composition of the Cubists certainly suggest other possibilities of mobility configurations, but, ultimately, this mobility is possible thanks to the stability of forms perceived as the source for granted and confirmed both times at the moment when they are rejected by the deformation or expansion of the composition.

In sculpture, we find another solution to open the product: plastic forms Gabo or Lippold encourages the viewer to an active intervention, to a moving address to discern the diversity of the original entity. Complete a form is constructed so that it looked ambiguous and variously looked from different viewpoints. As the viewer passes to it the form, she disclosed to him in different ways. To some extent this is already achieved in a baroque building, when there was a rejection of the preferred frontal perspective. It is clear that any sculpture can be seen from different viewpoints, and if the Apollo Belvedere viewed from the side, it will look different than from the front position. But (except in cases where a sculpture placed in such a way to deal with her only frontally, like statues on the columns in the Gothic cathedrals), the shape, viewed from different angles, always strives to direct our attention to the overall result, when other aspects are seen as complementary and are considered together. When we look at the Apollo back, we can guess about how it looks in general, frontal examination confirms the previous one, one of them makes much to the other as a complement, even imagined. The full form is gradually built up in memory and imagination.

With regard to works of Gabo, then, by contrast, viewed from below, it makes suspect the coexistence of different, mutually exclusive perspectives. We feel the satisfaction of our short-term perspective and find ourselves at a loss, we experience a curiosity, knowing that you can just imagine the fullness of prospects (which is actually impossible).

Calder goes one step further: it has the form itself moves before our eyes, and his thing is "the product in motion." This movement is consistent with the movement of the viewer. Strictly speaking, it should no longer occur two times when the location of things and the position of the viewer in exactly the same. Field choices are no longer suggests it is real, and the product is a field of possibilities. "Showcases" Munari, works in the movement started by the youngest members of the avant-garde, reach the most extreme conclusions to be drawn from these premises.

And here, in addition to these form-building areas we have and the direction of informal, where the very informal understood in a broad sense, which we have already identified. It is no longer talking about works of art are in motion, because the picture here, before our eyes, defined once and for all, physically completed, in artistic signs that compose it, likewise, we are not talking about the product, which requires movement of the viewer -it requires him less than any picture, suggesting that it would consider, bearing in mind how different the play of light on its rough surface on the reliefs of color. And yet before us now is the product of the open (like a more mature and dramatic), as the signs are here indeed consistent as some of the constellation in which the structural connection initially not uniquely defined, in which the ambiguity of the sign is not (as in the Impressionists) final confirmation of the differences between shape and background, but the background is the picture story (the plot is the background as the possibility of continuing the metaphor).

Hence, for the viewer the opportunity to choose their own direction and communication, the preferred angle, and the ability to anticipate vaguely in the background of the individual configuration of other possible structural differentiation, which are excluding each other, yet in constant co-presence and mutual exclusion-inclusion. Thus, there originate two problems involve not only the poetics of an informal, but any open poetics works:

1) The historical reasons, cultural background (background) of the form-building solutions and the related vision of the world;

2) the possibility of "reading" of such works, and communication conditions to which they are subject, guarantees preservation of communication, so that it does not turn into chaos, strained relationship between an array of information, deliberately entrusted to the recipient, and a guaranteed minimum of understanding, agreement between the will of the artist and the audience response.

We see that both problems do not affect the aesthetic value of the product under discussion, his "beauty". In the first case it is assumed that the works of art (to the most saturated to show an implicit perception of the world and to communicate with all the modern state of culture), at least in part, satisfy the necessary conditions for the particular communicative discourse, which is usually defined as "aesthetic". In the second case study elementary communicative conditions under which you can later identify more meaningful and deeper level of relationship, which is characterized by an organic fusion of diverse elements, implying an aesthetic value. Thus, discussion of the aesthetic possibilities of informal lead in the third phase of our conversation, to which the time has come.

ARTWORK as an epistemological metaphor

At first glance Informal uniquely associated with the most important features of public works. Focuses on those structures that appear as epistemological metaphors, as structural solutions to common theoretical consciousness (not to any particular theory, and development of cultural beliefs): in formotvorcheskoy activities they are like a reflection of certain developments in modern scientific methodology, confirmed ( in art) the categories of uncertainty, the statistical distribution, which help to interpret natural phenomena. For example, using its own funds, informal question the category of causality, bipolar logic, the uniqueness of the relationship, the principle of excluded middle.

In this case it is not the opening of a philosopher who seeks any price to see some conceptual message, implicit in the configuration of artistic forms. It is an act of self-consciousness of the same artists: vocabulary, which they use in their policy statements, provides cultural influences that define their work. Not just an uncritical use of any scientific category, by which tend to characterize formotvorchesky process is fairly dangerous; transfer of any scientific term in philosophy or critical discourse involves a number of clarifications and restrictions on its value, so as to determine the extent to which its use is metaphorical or suggestive coloration. It's also true that a man who, seeing that in the aesthetics, or anywhere else used such terms as "uncertainty", "statistical distribution", "information", "entropy," etc., begins to resent and fear for the purity of philosophical discourse, we simply forget that the traditional philosophy and aesthetics have always used the term "form", "potency," "embryo" and others, who initially represented nothing more than a physical and cosmological terminology, had been transferred to another area. However, it is also true that precisely because it is too loose terminology mixing traditional philosophy was condemned in terms of more rigorous analytical approaches, and therefore, having learned such lessons, we are finding an artist who uses certain terms of scientific methodology to distinguish their ideas formotvorcheskih do not dare assume that the structure of his art reflects the estimated structure of the real world, but we emphasize that the treatment in the culture of certain concepts in a special way influenced our artist so that his art should be considered (and indeed is considered) as a reaction shaped as structural metaphorization a certain view of things (which, thanks to advances in science familiar to modern man). In this sense, our study would not have the ontological nature of the review, but will be a modest contribution to the history of ideas.

Examples are numerous and could be taken from various exhibition programs or critical statey5. As the most striking, we refer to an article by Georges Mathieu, «D 'Aristotle and I'abstraction lyrique» 6, where the artist seeks to depict the gradual transition from ideal to real, from real to abstract and then from the abstract to the possible. Before us is the story of the poetics of informal and lyrical abstraction, as well as those new forms, which opened the van before they digested everyday consciousness. Mathieu believes that the development of forms is parallel to the development of scientific concepts:

"If we are witnessing the collapse of classical values ​​in art, we must admit that as a decisive revolution is in the sphere of science, where the recent surrender of the concepts of space, matter, parity, gravity, and the emergence of concepts of indeterminism and probability, contradictions and entropy everywhere cry out for revival of mysticism and transcendence of the new opportunities. "

We agree that the methodological concept, such as indeterminism does not imply no mysticism, but simply makes it necessary precautions to describe some of the phenomena of the microworld, as well as agree with the fact that, in philosophical terms can not be too loose to use this concept, but if artist (in this case, Mathieu) perceives it as such, if this concept stimulates the imagination, we can not deny him this. On the contrary, we should find out whether to keep (all the way from the appearance of the stimulus to the specific structure of signs on the art canvas) is a certain analogy between the vision of the world, which is expected this methodological concept, the picture revealed by new artistic forms. We have already said that the poetics of the Baroque, in essence, reacting to a new vision of the cosmos, approved kopernikovoy revolution and almost pictorial terms suggested by Kepler discovered that planetary orbits are elliptical in shape, is the discovery throws into crisis the exclusive representation of the circle as classic symbol of cosmic perfection. And just as the baroque building of its abundance of angles vividly responsive to the idea of ​​the universe, which is heading to infinity (a view that is no longer geocentric, and therefore anthropocentric), today (as it does the same Mathieu in his article) is theoretically possible to establish parallels between the emergence of new non-Euclidean geometries and the abolition of the classic geometric shapes in Fauvism and Cubism, between the emergence of mathematics imaginary and transfinite numbers and set theory and the advent of abstract painting, between the attempts of the axiomatization of geometry and Hilbert's first steps neoplastitsizma and constructivism.

"Finally, game theory von Neumann and Morgenstern, one of the most important scientific events of our century, has been particularly fruitful in its correlation with contemporary art showed how skillfully Tony del Renzo about action painting. In the general area where now there is a move from possible to probable, in this new adventure of indeterminism, which governs the laws of inanimate, animate or psychic matter, the challenges that three centuries ago, the researchers set, starting with the Cavalier de Mera and ending with Pascal are surpassed as far transcended the notion hasard-objectif Dali and Duchamp's meta-irony. New connection with the case of an accident, the introduction of positive or negative antisluchaya once again confirm the gap of our civilization with Cartesian rationalism. "

Let the indulgent reader will pass over in silence risky scientific statement quoted the artist, as well as his metaphysical conviction that indeterminism is the basis of the laws of inanimate, living and mental matter. However, one can expect that the science is always administered with caution clearly defined concepts that are important in only one area, and that the entire culture of a certain period, capturing their revolutionary meaning, did not want to take them with wild towering force inherent feelings and imagination. It is clear that the principle of indeterminism and quantum methodology tell us nothing about the structure of the world, but only about a specific method for describing certain aspects of it, but instead they tell us that some values ​​are considered absolute, had significance as a metaphysical framework of the world (remember the principle of causality and the law of excluded middle) have the same notional value, which are new and methodological principles, and in any case are no longer necessary to explain the world or to assert another. Hence we see that there is an art form rather than a strict approval equivalents of new concepts, as the negation of the old concepts. At the same time there is a tendency, given the new methodological position relative to the likely structure of things, to draw the alleged image of this new world, an image that perception has not yet mastered, as it always lags behind the mind, and that is why today we are still in the old saying that "the sun rises, although the three and a half centuries of teaching in school that it is not moving.

Hence, the function of art as an open epistemological metaphors: in a world where the continuity of events calls into question the existence of a single and complete image, it suggests how one should see everything in which we live, and seeing to take it and incorporate in their perception. Open the product entirely given the task to give us an image of continuity: it does not tell about it, and it is. Fulfilling a mediating role between the abstract category of scientific methodology and living matter of our perception, it appears almost as a kind of transcendental scheme, allowing to grasp new aspects of the world.

In this way, and should be considered the emotional responses of the critics on informal work, they almost feel the delight of a new, unprecedented freedom, which is filled with imagination in the face of such an open and controversial field of incentives.

"Dubuffet is related to the original type of reality and" mana ", the magical currents which link man with the surrounding objects. However, his art is much more complicated every primitive art. I have already hinted at his typical abundance of ambiguities and areas of values. Many of them are the result of a complex spatial organization of the canvas, a conscious blending of colors, the artist's habits of seeing and portraying things at once from different angles ... This is a fairly complicated optical experience, because not only is our point of view never ceases to change and it is not only that we are faced with a large number optical impasses, different perspectives which resemble a road that ends in the middle of the plains or on the edge of a rocky ridge, but that in addition we are constantly caught the picture itself, completely flat surface on which no no traces of traditional techniques. However, this complex seems perfectly normal: this is the landscape during the outing, when we climb the hills or go winding roads. The desire to see things turn or consistently moves at different points in space clearly points to the relativity of time, or both occurring in it "7.

"Fotre draws a box as if we still had no clue about it, and before us is not so much the subject of much dispute between dreaming and waking, as if we feel after heading to the box, entering an area of ​​uncertainty, where contact is possible and a real artist ... certainly feels that everything could evolve differently .... "

"We Fotre stuff ... not easier, but is constantly evolving and complicated, grasping and assimilating the possible values, incorporating different aspects or moments of reality, feasting upon the lived experience ...."

"In its own way quite appropriate are those attributes that should be noted in the pictures [Dubuffet]: firstly, the attributes of infinity, not-clear, non-distinguishability (taken in its etymological sense). Watch according to optics [the material] is to see how broken contours familiar concepts, dissolve and fade characteristics of things and people, and if still corpuscles, lines, shapes, defined by some formal definition and visually recognizable, such optics still makes immerse them in a crisis, the subject of inflation, multiplying and mixing in the dance of the projections and split. "

So, "the reader" encouraging freedom of work, its infinite capacity to increase, the richness of its internal connections, exciting unconscious projections, the appeal is not subject to causal relationships and avoid the temptations of unique, engaging in a transaction, rich discoveries, all the more unpredictable.

Perhaps all these "reads" the most meaningful, and give the alarm is "reading" Audiberti, which tells us what he sees in the painting Camille Briand: "Finally, [it] as much of the abstract, how many and fine. A thin layer of semolina on the hips ibises, and even plumbers, contains, as an album, like a freak in the family, all sorts of postcards, Invalides, the Grand Hotel New Grand in Yokohama. Refraction of the atmosphere reflects the tissue minerals well composed mirages. Horde submedulyarnyh staphylococci arranged to outline the silhouette of the Chamber of Commerce in Mentone [...]. I think that the infinity in the painting Briana is more significant than if he limited himself to illustrate the conventional connection with the usual fixed-painting that was before and what will happen next. I repeat, it seems to me essential that, in my opinion, it is truly moving. It moves at every call of the space, as in the past and the future. She is immersed in a poisonous vegetation or the bottom, on the contrary, leaving the abyss of dental caries stubs of candles, ascends to blink our eyes or a handful, caught up in our hand. Molecule, its generators, the chemical substance and picturesque at the same time the energy and vision were dismayed souporyadochivayutsya a horizontal directional shower look. Here we are dealing with the phenomenon of a permanent building or permanent revelation. "Handwriting, Painting Briana does not fix as everything else, everything in this world, a permanent joint stock orders, the cuticle of spiders, screaming Cobalt forests, no ... Already being completed, invoiced and signed, and embedded in social and commercial context, it waiting for attention or contemplation of who looks at her, and from whom she makes a clairvoyant, shape and neformy offered its first approach, modified in the space in front of a cloth or sheet, as well as the soul of the seer, just before her! They are like little by little, shining suits your nest, give birth and re-framing the contours, each of which becomes significant in turn. Transparent layers are superimposed on the main image. Speaking the language of conventional wisdom, at art shows cybernetics. We finally see a piece of art that raschelovechivaetsya is exempt from the signature of human, begins to live an independent life, as the same computers, which will be made game of measurements, one has only to connect them properly. "

In this "record" at the same time reflects the limits and possibilities of public works. Even if half of the above reactions have nothing to do with aesthetic experience and is nothing but personal fantasies, inspired by signs pinned down, you still have to remember about this: is this the limit of our "reader", much more concerned free play of his own imagination, or limit of the product, in this case, taking on the role that in other situations, can perform the mescaline? However, without going into these limiting problems, we are focused on the most exalted possibilities of free inquiry, inexhaustible disclosure of contrasts and oppositions, in excess of appearing at every turn, to such an extent that when the "reader" is spiraling out of control works , at some point, it seems that it is itself pulled out from under the control of someone else, including the author, and starts talking sponte sua, a distraught electronic brain. Now it does not leave any field of possibilities, only one remains indiscernible, original, native uncertain, everything and anything.

.......

Whatever it was, in any event, the art of trying to give form to what may seem like a mess formlessness, decay, lack of any connection, again, is an exercise of reason seeking to reduce all things to the discursive clarity, and when his discourse seems dark, it is because the things themselves and our relationship to him are still very dark, thus, it would be too risky to try to identify them with immaculate heights of eloquence: it would turn into an attempt to escape from reality, to leave it for what it is. But it will not last, the ultimate symbol of alienation?