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Introduction Process as Value I really did believe that process would set you free. A signature style is about how it happened, not what is made.
I think of myself as an orchestrator of experience. The fact that so many artists consider themselves to be primarily engaged with process, albeit understood in varied ways, reflects widely shared assumptions about the meaning and purpose of art and the work of the artist.
The embrace of artistic process is a value claim, and An introduction to the analysis of aphasia and artistic realization is the purpose of this book to explore the history and significance of process as term of value. How and why have so many artists embraced process as the most significant aspect of their activity?
How was artistic process perceived and valued in earlier periods of Western art? How has the creation of art objects been theorized and evaluated in comparison to the production of craft and industrial objects? What general social and cultural attitudes have contributed to the elevation of artistic process?
Finally, what does the high valuation of artistic process indicate about the place of artists and the arts in contemporary society? This study is intended to provide answers to these questions and others in its careful examination of the meaning of artistic process.
When artists state that for them it is all about the process, they are saying many different things. At the simplest level it is a declaration that they are dedicated and attentive to their creative labors.
It is the doing of the work rather than the outcome that is the most important thing for such artists.
If that were all there were to the concept of process in contemporary art discourse, it would be simple to paraphrase it as follows: Accepting this paraphrase, however, fails to acknowledge the extent to which artists have taken refuge, so to speak, in the concept of process.
It has become a strategy artists use to preserve their integrity in the face of a seemingly endless onslaught of theoretical interpretations and critical positions. Rather than assuming the position of an intellectual theorist, many artists prefer simply to assert the fundamental motivation of their work as located within the making of the work itself.
It sounds simple, but it is not so straightforward. Studio processes are only the beginning of a topic that expands to embrace the purpose and meaning of art at every level, from the local to the global and even the universalthe biological to the artificial, the secular to the spiritual.
The extreme malleability of the concept of process in relation to art poses certain difficulties for analysis. In order to understand the appeal of process as a key concept for contemporary art, it is necessary to take a wide view of its significance in terms of both its present and historical usages and implications.
In this study the concept of process is understood and examined in several different ways specifically relevant to visual art.
This topic is connected with much broader issues raised by labor in general, especially the relationship of manual work to both intellectual and mechanical labor. Considering artistic working processes also leads to examination of those who engage in artistic processes but are not necessarily considered artists, such as craftspeople, students, and amateurs, and the effects such engagements have on both the definition of art and artists, and the social role of art making.
This places concern for artistic process in counterpoint to formalist approaches derived from Kantian concepts of beauty and disinterested evaluation, and it challenges the commodity status of artworks. In accordance with a widespread cultural suspicion of industrial production and commodification in the modern era, artists increasingly stressed the distinctions between artistic and nonartistic processes of production in ways that elevated the significance of the resulting artworks.
The artist became a very special type of maker, engaged in important human processes. Considering art in terms of process is thus to trace a history of the strategies used to define the value of art outside the scales of value usually employed for other luxury commodities.
Its products are mere traces and remains of that physical and mental activity; they are in themselves of little to no value to their creator. In this way the artist is freed, at least theoretically, from directly engaging in commodity production. Examining the discourse of artistic process is to study the discursive relationship of artistic making to other forms of making, notably utilitarian and industrial production.
Distinctions between art and craft are also a key topic for analysis, as these distinctions often shift with the changes in emphasis on artistic process that characterize modern and contemporary art.
Experience becomes a, and often the, primary value—and experience is a value that resists standardization and critical evaluation. The centrality of process in contemporary art discourse must be viewed, in part, as an attempt to redress the oversights and omissions of previously dominant ways of discussing and understanding art.
It is the personality of the individual artist as divined from biographical information that attracts the attention of the general public, while the concerns of the working artist and his or her relation to the work produced are neglected. The formalist approaches that dominated art world discourse for the first two-thirds of the twentieth century take the opposite tack.
They are directed solely to the analysis of the artwork itself, typically the aesthetic effects of the artwork as an object, rather than consideration of who made it or precisely how it was made. Since the s, conceptual art and theoretical concerns have dominated contemporary art discourses and have offered more interpretive distractions from artistic process.
This is particularly true of the forms of conceptual art that elevate the idea over any form of making. It should be noted, however, that engagement with process is a significant aspect of some conceptual art, as will be discussed later in this book.
Process also remains outside the purview of some structuralist and post-structuralist approaches in which artworks are valued primarily for their engagement with theoretical issues.is and in to a was not you i of it the be he his but for are this that by on at they with which she or from had we will have an what been one if would who has her.
- Wernicke’s Aphasia Wernicke’s Aphasia Background Aphasia can be defined as a disorder that is caused by damage to parts of the brain that are responsible for language (“Aphasia” n.p.). Wernicke’s aphasia is a type of fluent aphasia (with the other type being nonfluent).
In many ways the situationist idea of the realization and suppression of art is similar to the theoretical realization and suppression of philosophy undertaken by Marx.
In keeping Marx’s theory alive, the situationists, like Marx, drew inspiration from Hegel.
Cost estimating is defined as the art of predetermining the lowest realistic cost and price of an item or activity which Cost analysis of supplier quotes 3. Estimates based on current program history Introduction Descriptive Estimating Method Comparison Estimating Method.
Aphasic Discourse Analysis (1) - Download as PDF File .pdf), Text File .txt) or read online.
aphasia. Feb 15, · Neologistic jargon aphasia and agraphia in primary progressive aphasia. It is noteworthy that detailed analysis of speech errors in patients with AD Alajouanine T. Verbal realization in aphasia. Brain. ; – 2.