{"id":819,"date":"2018-04-25T14:28:56","date_gmt":"2018-04-25T14:28:56","guid":{"rendered":"https:\/\/www.arteallimite.com\/el-codigo-en-el-arte\/"},"modified":"2018-04-25T14:28:56","modified_gmt":"2018-04-25T14:28:56","slug":"el-codigo-en-el-arte","status":"publish","type":"post","link":"https:\/\/www.arteallimite.com\/en\/2018\/04\/25\/el-codigo-en-el-arte\/","title":{"rendered":"El c\u00f3digo en el arte [:en]The code in art"},"content":{"rendered":"<p style=\"text-align: center;\"><strong>1<\/strong><\/p>\n<p style=\"text-align: justify;\">Al final de una grabaci\u00f3n que hace Nanci Griffith de la canci\u00f3n de Bob Dylan titulada Boots of Spanish Leather se oye como exclama: Boots?, como sorprendida del regalo que pide la chica del poema; y nosotros nos sorprendemos porque parece que ella no ha comprendido el significado de la canci\u00f3n ni el sentido de su petici\u00f3n. En la canci\u00f3n, una pareja se despide: \u00e9l emigra y ella se queda a esperarle. \u00c9l le pregunta si quiere un recuerdo del lugar al que va, y ella, con un concepto espiritual del amor, rechaza un nexo f\u00edsico que no necesita, pues ese es el significado de los regalos. Pero, tanto insiste \u00e9l en lo material, que acaba por destruir la concepci\u00f3n ideal que ella tiene de su relaci\u00f3n y, entonces, ella, en lugar de esperarle, decide irse. Griffith lo ten\u00eda f\u00e1cil para comprender lo que significa la canci\u00f3n pues seguro que conoce esa otra titulada <em>These Boots Are Made for Walking<\/em>, que dice expl\u00edcitamente que las botas sirven para alejarse de alguien. Si quieres traerme alguna cosa no va a ser para unirnos, dice ella, sino para separarnos. Pero bueno, cuida que sea de Espa\u00f1a. Ese final es una iron\u00eda.<\/p>\n<ul>\n<li style=\"text-align: center;\"><span style=\"color: #00ccff;\"><strong>Te podr\u00eda interesar:<\/strong><\/span><\/li>\n<\/ul>\n<p style=\"text-align: center;\"><a href=\"https:\/\/www.arteallimite.com\/2018\/04\/18\/maritza-caneca-diarios-del-agua\/\">Maritza Caneca | Diarios del Agua<\/a><\/p>\n<p style=\"text-align: center;\"><a href=\"https:\/\/www.arteallimite.com\/2018\/04\/09\/catalina-prado-la-irrealidad-lo-real\/\">Catalina Prado | La irrealidad de lo real<\/a><\/p>\n<div id=\"attachment_63825\" style=\"width: 1034px\" class=\"wp-caption alignnone\"><a href=\"https:\/\/www.arteallimite.com\/wp-content\/uploads\/2018\/04\/02-the-deep-dream1.jpg\"><img decoding=\"async\" aria-describedby=\"caption-attachment-63825\" class=\"size-large wp-image-63825\" src=\"https:\/\/www.arteallimite.com\/wp-content\/uploads\/2018\/04\/02-the-deep-dream1-1024x683.jpg\" alt=\"\u00a9 M0thart (Marta Bevacqua), The Deep Dream1\" width=\"1024\" height=\"683\" \/><\/a><p id=\"caption-attachment-63825\" class=\"wp-caption-text\">\u00a9 M0thart (Marta Bevacqua), The Deep Dream1<\/p><\/div>\n<p style=\"text-align: justify;\">Mucha gente cree, porque se lo hacen creer, que quien est\u00e1 todo el d\u00eda en el agua sabe nadar. Pero quien conoce a esos acu\u00e1filos sabe que, la mayor\u00eda, no se moja m\u00e1s que hasta las rodillas, que pocos nadan y, menos, bucean.<\/p>\n<p style=\"text-align: justify;\">El conocimiento es un asunto m\u00e1s delicado que la nitroglicerina, un paso en falso y, en lugar de llegar a la verdad, se acaba en el error o en la fantas\u00eda, cuando no, deliberadamente, en la falsedad. Los sabios que alcanzan la verdad no lo hacen ajenos a las evidencias. Pero toda conclusi\u00f3n que se establece \u00fanicamente a partir del pensamiento corre el peligro que ser una mera construcci\u00f3n mental. La raz\u00f3n es enormemente seductora pues parece llevarnos, con seguridad, a una conclusi\u00f3n incuestionable, pero, basta con que falte un dato o se aplique mal un principio l\u00f3gico, para que el resultado no sea correcto. La intuici\u00f3n, por su parte, es admitida por los defensores de lo que nos dice y negada por sus detractores. En conclusi\u00f3n, decimos que aquello que no se puede constatar mediante la experiencia se sostiene, entre los ignorantes, por el consenso y por la imposici\u00f3n, resultando, as\u00ed, que el conocimiento puede acabar siendo solo una fe.<\/p>\n<div id=\"attachment_63826\" style=\"width: 1034px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.arteallimite.com\/wp-content\/uploads\/2018\/04\/03-karen-jerzyk-.jpg\"><img decoding=\"async\" aria-describedby=\"caption-attachment-63826\" class=\"size-large wp-image-63826\" src=\"https:\/\/www.arteallimite.com\/wp-content\/uploads\/2018\/04\/03-karen-jerzyk--1024x682.jpg\" alt=\"\u00a9 karen Jerzyk\" width=\"1024\" height=\"682\" \/><\/a><p id=\"caption-attachment-63826\" class=\"wp-caption-text\">\u00a9 karen Jerzyk<\/p><\/div>\n<p style=\"text-align: center;\"><strong>2<\/strong><\/p>\n<p style=\"text-align: justify;\">Las vanguardias trajeron unas formas art\u00edsticas que provocaron una incomprensi\u00f3n de la sociedad respecto del valor de tales obras. \u00a0La ausencia de belleza y las figuras con formas y colores alterados daban la sensaci\u00f3n de que, en lugar de una creaci\u00f3n, los artistas realizaban una destrucci\u00f3n, y no se equivocaban. As\u00ed, una parte de la sociedad, que present\u00eda que algo no iba bien, tem\u00eda las consecuencias de esa forma de pensamiento, mientras que otros ide\u00f3logos ve\u00edan la forma de sacar partido de la situaci\u00f3n.<\/p>\n<p style=\"text-align: justify;\">La dificultad para definir el arte del siglo XX llev\u00f3 a sustituir la definici\u00f3n por la evidencia. Pero, en realidad, los sabios ten\u00edan el problema de dar una definici\u00f3n del arte a todo el arte, por lo que no debe sorprender que no sepan darla para el arte contempor\u00e1neo y moderno.<\/p>\n<div id=\"attachment_63827\" style=\"width: 1034px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.arteallimite.com\/wp-content\/uploads\/2018\/04\/04-Last-days-in-earth-084aal.jpg\"><img decoding=\"async\" aria-describedby=\"caption-attachment-63827\" class=\"size-large wp-image-63827\" src=\"https:\/\/www.arteallimite.com\/wp-content\/uploads\/2018\/04\/04-Last-days-in-earth-084aal-1024x682.jpg\" alt=\"\u00a9 karen Jerzyk, Last days in earth 84\" width=\"1024\" height=\"682\" \/><\/a><p id=\"caption-attachment-63827\" class=\"wp-caption-text\">\u00a9 karen Jerzyk, Last days in earth 84<\/p><\/div>\n<p style=\"text-align: justify;\">Ya la misma divisi\u00f3n que se hace de la historia es bastante cuestionable y, por ello, indicio de incomprensi\u00f3n, por su parte, de la cultura.\u00a0 Crist\u00f3bal Celarius dividi\u00f3, en 1685, la historia en Edad Antigua (5.000 A.C \u2013 476 D.C.), Media (476-1492) \u00a0y Moderna (1492-1789). Posteriormente se a\u00f1adir\u00eda, al principio, la Prehistoria, y, al final, la Edad Contempor\u00e1nea.<\/p>\n<p style=\"text-align: justify;\">Meter en el mismo saco, por estar todo roto, a Grecia, idealista, y a Roma, materialista, parece un completo error. Lo mismo que juntar en la prehistoria, por estar los objetos enterrados, al paleol\u00edtico y al neol\u00edtico. La Alta Edad Media nada tiene que ver con la Baja Edad Media, aunque, ya se dijo, que la Edad Media era una forma de rellenar el espacio entre la Edad Antigua y la Moderna.<\/p>\n<div id=\"attachment_63828\" style=\"width: 835px\" class=\"wp-caption alignnone\"><a href=\"https:\/\/www.arteallimite.com\/wp-content\/uploads\/2018\/04\/05-Silla-Argentino-Foto-Antonella-Arismendi-3.jpg\"><img decoding=\"async\" aria-describedby=\"caption-attachment-63828\" class=\"size-full wp-image-63828\" src=\"https:\/\/www.arteallimite.com\/wp-content\/uploads\/2018\/04\/05-Silla-Argentino-Foto-Antonella-Arismendi-3.jpg\" alt=\"\u00a9 Antonella Arismendi, Jackie 10\" width=\"825\" height=\"550\" \/><\/a><p id=\"caption-attachment-63828\" class=\"wp-caption-text\">\u00a9 Antonella Arismendi, Jackie 10<\/p><\/div>\n<p style=\"text-align: justify;\">Aunque, a veces, se diga que esa divisi\u00f3n es m\u00e1s pol\u00edtica que cultural, resulta que no puede haber grandes diferencias entre la evoluci\u00f3n de una y la de la otra. Hegel, por ejemplo, mantiene la existencia de un per\u00edodo cl\u00e1sico, greco-romano; uno cristiano, que llega y culmina en el g\u00f3tico; y otro, final, rom\u00e1ntico.<\/p>\n<p style=\"text-align: justify;\">Danto, con una definici\u00f3n m\u00e1s moderna, fruto de la raz\u00f3n, y, por ello, m\u00e1s err\u00f3nea, ha logrado imponer su opini\u00f3n entre los adoradores del dios Logos a quien persiguen como a una hermos\u00edsima meretriz cuyos encantos ser\u00e1n f\u00e1ciles de poseer hasta por quien carezca del arte de la conquista y de cualquier clase de valores personales y materiales. Danto dice que hay una era del arte, desde 1400 a 1967, y un arte antes y despu\u00e9s de esa era.<\/p>\n<div id=\"attachment_63829\" style=\"width: 1034px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.arteallimite.com\/wp-content\/uploads\/2018\/04\/06-Colors-1-02aal.jpg\"><img decoding=\"async\" aria-describedby=\"caption-attachment-63829\" class=\"size-large wp-image-63829\" src=\"https:\/\/www.arteallimite.com\/wp-content\/uploads\/2018\/04\/06-Colors-1-02aal-1024x682.jpg\" alt=\"\u00a9 karen Jerzyk, Colors-1, 2\" width=\"1024\" height=\"682\" \/><\/a><p id=\"caption-attachment-63829\" class=\"wp-caption-text\">\u00a9 karen Jerzyk, Colors-1, 2<\/p><\/div>\n<p style=\"text-align: center;\"><strong>3<\/strong><\/p>\n<p style=\"text-align: justify;\">Al analizar lo ocurrido con las vanguardias, algunos recurren, por simple conveniencia, a la descripci\u00f3n. Y lo que advertimos es que tampoco quieren describir el arte, que lo que quieren hacer es describir los efectos del arte. Nada de preguntarse por la naturaleza de las cosas, dejemos para el pasado el hablar de la esencia de las obras, cojamos el arte y d\u00e9mosle una utilidad porque \u00bfQu\u00e9 hace el arte? El arte destruye la sociedad, el arte de vanguardia es un arte corrosivo.<\/p>\n<p style=\"text-align: justify;\">Asentado el efecto de las cosas como definici\u00f3n, el arte debe ser eternamente corrosivo. Hoy sigue existiendo un arte que cree que tales efectos determinan la naturaleza art\u00edstica de la obra. Con independencia de la trascendencia social de esos hechos, debemos plantearnos si una obra corrosiva puede ser arte, es decir, debemos plantearnos las condiciones del arte, para identificar cu\u00e1ndo la corrosi\u00f3n es art\u00edstica y cu\u00e1ndo solo es una cr\u00edtica social realizada por un artista.<\/p>\n<div id=\"attachment_63830\" style=\"width: 424px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.arteallimite.com\/wp-content\/uploads\/2018\/04\/07-2ccea1a.jpg\"><img decoding=\"async\" aria-describedby=\"caption-attachment-63830\" class=\"size-full wp-image-63830\" src=\"https:\/\/www.arteallimite.com\/wp-content\/uploads\/2018\/04\/07-2ccea1a.jpg\" alt=\"\u00a9 Cat\u00e1logo de Dollskill\" width=\"414\" height=\"576\" \/><\/a><p id=\"caption-attachment-63830\" class=\"wp-caption-text\">\u00a9 Cat\u00e1logo de Dollskill<\/p><\/div>\n<p style=\"text-align: center;\"><strong>4<\/strong><\/p>\n<p style=\"text-align: justify;\">Un an\u00e1lisis de la cuesti\u00f3n del arte como lenguaje nos lleva a la conclusi\u00f3n de que la comunicaci\u00f3n nace de la percepci\u00f3n del receptor que es capaz de extraer conclusiones de las observaciones de la existencia y que, el hombre, teniendo capacidad de deducci\u00f3n, entiende que puede convertirse en emisor de se\u00f1ales que ese receptor perciba como significantes de un hecho. Por ejemplo, mediante la m\u00edmesis se imita el acto de un tercero y as\u00ed se puede trasmitir bien\u00a0 informaci\u00f3n de unos hechos pasados o de unas intenciones futuras.<\/p>\n<p style=\"text-align: justify;\">La comunicaci\u00f3n emplea un c\u00f3digo que pueda generar el emisor y decodificar el receptor. El c\u00f3digo de la comunicaci\u00f3n, tiene, como consecuencia de las condiciones de la naturaleza humana, dos formas, que llamaremos tipos, uno es el objetivo, como el lenguaje verbal, y otro es el subjetivo, como la pintura.<\/p>\n<p style=\"text-align: justify;\">Los c\u00f3digos de los lenguajes, tanto el verbal como el art\u00edstico, var\u00edan de un lugar a otro y de un tiempo a otro. Cada una de las formas que adoptan los lenguajes art\u00edsticos se denominan estilos. Las condiciones del tiempo y lugar determinan la forma de los c\u00f3digos, por eso, el lat\u00edn se trasform\u00e9 en varios y distintos idiomas que siguen evolucionando.<\/p>\n<div id=\"attachment_63831\" style=\"width: 1034px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.arteallimite.com\/wp-content\/uploads\/2018\/04\/08-SCOTT_2011_9301aal.jpg\"><img decoding=\"async\" aria-describedby=\"caption-attachment-63831\" class=\"size-large wp-image-63831\" src=\"https:\/\/www.arteallimite.com\/wp-content\/uploads\/2018\/04\/08-SCOTT_2011_9301aal-1024x683.jpg\" alt=\"\u00a9 Scott London, Burning Man, 2014\" width=\"1024\" height=\"683\" \/><\/a><p id=\"caption-attachment-63831\" class=\"wp-caption-text\">\u00a9<span style=\"color: #333333;\"><a style=\"color: #333333;\" href=\"http:\/\/www.scottlondon.com\/\"> Scott London<\/a><\/span>, Burning Man, 2014<\/p><\/div>\n<p style=\"text-align: justify;\">En la comunicaci\u00f3n, debemos distinguir claramente la existencia y diferencia entre el mensaje y la informaci\u00f3n. La informaci\u00f3n es el contenido de la comunicaci\u00f3n que se quiere trasmitir, mientras que el mensaje es el conjunto de signos que, sujetos a un c\u00f3digo, contienen, codificada, la informaci\u00f3n que, una vez trasmitido el mensaje, recibido por el destinatario, y decodificado por este, llega a su conocimiento.<\/p>\n<p style=\"text-align: justify;\">Generalmente se produce una confusi\u00f3n entre mensaje e informaci\u00f3n debido a que, al hablar de comunicaci\u00f3n,\u00a0 se suele pensar en el lenguaje verbal, en el que\u00a0 mensaje e informaci\u00f3n coinciden. En espa\u00f1ol, si quiero decir te quiero, digo, efectivamente, te quiero. Pero si trasmitimos la informaci\u00f3n en un lenguaje diferente veremos claramente que, si la informaci\u00f3n sigue siendo te quiero, el mensaje resulta ser <em>I love you<\/em>, y se deshace la confusi\u00f3n.<\/p>\n<div id=\"attachment_63832\" style=\"width: 669px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.arteallimite.com\/wp-content\/uploads\/2018\/04\/09-BM2005-018.jpg\"><img decoding=\"async\" aria-describedby=\"caption-attachment-63832\" class=\"size-full wp-image-63832\" src=\"https:\/\/www.arteallimite.com\/wp-content\/uploads\/2018\/04\/09-BM2005-018.jpg\" alt=\"\u00a9 Scott London, Burning Man, 2005\" width=\"659\" height=\"400\" \/><\/a><p id=\"caption-attachment-63832\" class=\"wp-caption-text\">\u00a9 <span style=\"color: #333333;\"><a style=\"color: #333333;\" href=\"http:\/\/www.scottlondon.com\/\">Scott London<\/a><\/span>, Burning Man, 2005<\/p><\/div>\n<p style=\"text-align: center;\"><strong>5<\/strong><\/p>\n<p style=\"text-align: justify;\">Entonces la grave cuesti\u00f3n de determinar si una obra corrosiva es o no arte, parte de establecer la distinci\u00f3n a la que acabamos de hacer referencia, la que existe entre el mensaje y la informaci\u00f3n.<\/p>\n<p style=\"text-align: justify;\">El arte, como hemos dicho, es un lenguaje. La propiedad de los lenguajes es la de poder trasmitir informaci\u00f3n, aunque no exclusivamente, pues tambi\u00e9n se pueden plantear interrogaciones y se pueden dar \u00f3rdenes, pero es condici\u00f3n del lenguaje poder expresar diversas informaciones y no exclusivamente una.<\/p>\n<p style=\"text-align: justify;\">Entonces, en un determinado lenguaje, una persona podr\u00eda dar diferentes tipos de informaci\u00f3n, algunas, por ejemplo, corrosivas; y, si se ha elegido un lenguaje art\u00edstico, estar\u00edamos hablando de un arte corrosivo, pero entend\u00e1moslo, no de un lenguaje art\u00edstico corrosivo sino de una obra de arte corrosiva.<\/p>\n<div id=\"attachment_63833\" style=\"width: 455px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.arteallimite.com\/wp-content\/uploads\/2018\/04\/10-BM2008_013.jpg\"><img decoding=\"async\" aria-describedby=\"caption-attachment-63833\" class=\"size-full wp-image-63833\" src=\"https:\/\/www.arteallimite.com\/wp-content\/uploads\/2018\/04\/10-BM2008_013.jpg\" alt=\"\u00a9 Scott London, Burning Man, 2008\" width=\"445\" height=\"500\" \/><\/a><p id=\"caption-attachment-63833\" class=\"wp-caption-text\">\u00a9 <span style=\"color: #333333;\"><a style=\"color: #333333;\" href=\"http:\/\/www.scottlondon.com\/\">Scott London<\/a><\/span>, Burning Man, 2008<\/p><\/div>\n<p style=\"text-align: justify;\">Si nos encontramos por la calle con alguien que se dirige a nosotros pero somos incapaces de comprender lo que nos est\u00e1 diciendo, no podemos determinar, sin m\u00e1s informaci\u00f3n, si es que nos est\u00e1 hablando en un idioma que no conocemos o si est\u00e1 farfullando. En el primer caso, estar\u00eda intentando una comunicaci\u00f3n, en el segundo, hacernos perder el tiempo.<\/p>\n<p style=\"text-align: justify;\">Si esa situaci\u00f3n se produce con formas art\u00edsticas, tendr\u00edamos que averiguar si el artista se est\u00e1 expresando en un lenguaje que desconocemos y se ajusta a unos c\u00f3digos para la construcci\u00f3n de mensajes que no comprendemos pero que son v\u00e1lidos, y estamos ante una obra de arte; o si lo que \u201cdice\u201d carece absolutamente de sentido y de arte.<\/p>\n<p style=\"text-align: justify;\">La identificaci\u00f3n de lo art\u00edstico corresponde a los cr\u00edticos, pues, hoy en d\u00eda, la calidad t\u00e9cnica no es suficiente, ni necesaria a veces, para hacer arte. El problema que ve el p\u00fablico es que los cr\u00edticos no justifican con sus explicaciones la condici\u00f3n art\u00edstica que defienden de esas obras que califican como de arte. Les falta una explicaci\u00f3n te\u00f3rica suficientemente fundamentada y m\u00e1s veros\u00edmil que la de la existencia de un mundo del arte, que ser\u00eda un mundo aparte del mundo real, lo cual ni es una explicaci\u00f3n l\u00f3gica ni convincente.<\/p>\n<h6 style=\"text-align: justify;\">Im\u00e1genes con derechos reservados, prohibida su reproducci\u00f3n. \/ Im\u00e1gen inicial: \u00a9 Antonella Arismendi.<\/h6>\n[:en]\n<p style=\"text-align: center;\"><strong>1<\/strong><\/p>\n<p style=\"text-align: justify;\">At the end of a recording of the Bob Dylan\u2019s song, Boots of a Spanish Leather, made by Nancy Griffith you can hear how she asks: \u201cboots?\u201d said by the girl in the poem. As if she\u2019s surprised by the gift requested; and we are surprised because she hasn\u2019t understood the meaning of the song, neither the point of the request. In the song, a couple is bidding farewell: He\u2019s emigrating and she\u2019s staying to wait for him. He asks her if she wants something from where he\u2019s going, and she, as a conceptual spirited love, rejects an unneeded material bond, because that\u2019s the meaning of gifts. However, he insists so strongly on the material he ends up destroying the ideal conception she has on the relationship, and then instead of waiting for him, she decides to leave. Griffith had it easy to understand the meaning of the song, sure she knows about the other song titled <em> These Boots are Made for Walking<\/em>, which says explicitly that the boots are made to walk away from someone. If you want to bring me something, it won\u2019t be to unite us but will only tear us apart. So, at least care they are Spanish. The ending is an irony.<\/p>\n<ul>\n<li style=\"text-align: center;\"><span style=\"color: #00ccff;\"><strong>Te podr\u00eda interesar:<\/strong><\/span><\/li>\n<\/ul>\n<p style=\"text-align: center;\"><a href=\"https:\/\/www.arteallimite.com\/2018\/04\/18\/maritza-caneca-diarios-del-agua\/\">Maritza Caneca | Diarios del Agua<\/a><\/p>\n<p style=\"text-align: center;\"><a href=\"https:\/\/www.arteallimite.com\/2018\/04\/09\/catalina-prado-la-irrealidad-lo-real\/\">Catalina Prado | La irrealidad de lo real<\/a><\/p>\n<div id=\"attachment_63825\" style=\"width: 1034px\" class=\"wp-caption alignnone\"><a href=\"https:\/\/www.arteallimite.com\/wp-content\/uploads\/2018\/04\/02-the-deep-dream1.jpg\"><img decoding=\"async\" aria-describedby=\"caption-attachment-63825\" class=\"size-large wp-image-63825\" src=\"https:\/\/www.arteallimite.com\/wp-content\/uploads\/2018\/04\/02-the-deep-dream1-1024x683.jpg\" alt=\"\u00a9 M0thart (Marta Bevacqua), The Deep Dream1\" width=\"1024\" height=\"683\" \/><\/a><p id=\"caption-attachment-63825\" class=\"wp-caption-text\">\u00a9 M0thart (Marta Bevacqua), The Deep Dream1<\/p><\/div>\n<p style=\"text-align: justify;\">A lot of people believe or are made to believe, who\u2019s all day in the water, knows how to swim. But the people who have seen these water-lovers know a majority of them don\u2019t go far in the water, just below the knees, and little to no one is a swimmer or a diver.<\/p>\n<p style=\"text-align: justify;\">Knowledge must be treated with care, even more than nitroglycerin. A wrong step and instead of finding the truth, you end up in error and fantasy and when not, consciously, on falsehood. The wise who find truth don\u2019t do it ignorant of the evidence. But every conclusion product of thought only is at risk of being a mere mental construction. The reason is highly seductive because it seems to takes us, with certainty, to an unquestionable conclusion but it only takes a missing piece of information or a misapplied logic principle to be wrong. For its part, Intuition is accepted by the defendants of what it says to us and rejected by its detractors. In conclusion, what we say about what can\u2019t be proved by experience is maintained by ignorant people via consensus and imposition, in that way, the knowledge can become faith.<\/p>\n<div id=\"attachment_63826\" style=\"width: 1034px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.arteallimite.com\/wp-content\/uploads\/2018\/04\/03-karen-jerzyk-.jpg\"><img decoding=\"async\" aria-describedby=\"caption-attachment-63826\" class=\"size-large wp-image-63826\" src=\"https:\/\/www.arteallimite.com\/wp-content\/uploads\/2018\/04\/03-karen-jerzyk--1024x682.jpg\" alt=\"\u00a9 karen Jerzyk\" width=\"1024\" height=\"682\" \/><\/a><p id=\"caption-attachment-63826\" class=\"wp-caption-text\">\u00a9 karen Jerzyk<\/p><\/div>\n<p style=\"text-align: center;\"><strong>2<\/strong><\/p>\n<p style=\"text-align: justify;\">The vanguard came up with artistic forms which caused incomprehension of society in regards of the value of those works. The lack of beauty and the figures with altered colors and forms gave the impression that, somewhere along the way, artists were destructing something, and they were not wrong. Thus a part of society, thinking something was wrong, were frightened about the consequences of that mindset, meanwhile others ideologists were looking for a way to profit from it.<\/p>\n<p style=\"text-align: justify;\">The difficulties to define the art of the 20th century led to a substitution of its definition for the evidence. Actually, the wise were having trouble defining all art; so, it mustn\u2019t surprise us now there isn\u2019t one for contemporary and modern art.<\/p>\n<div id=\"attachment_63827\" style=\"width: 1034px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.arteallimite.com\/wp-content\/uploads\/2018\/04\/04-Last-days-in-earth-084aal.jpg\"><img decoding=\"async\" aria-describedby=\"caption-attachment-63827\" class=\"size-large wp-image-63827\" src=\"https:\/\/www.arteallimite.com\/wp-content\/uploads\/2018\/04\/04-Last-days-in-earth-084aal-1024x682.jpg\" alt=\"\u00a9 Karen Jerzyk, Last days in earth 84\" width=\"1024\" height=\"682\" \/><\/a><p id=\"caption-attachment-63827\" class=\"wp-caption-text\">\u00a9 Karen Jerzyk, Last days in earth 84<\/p><\/div>\n<p style=\"text-align: justify;\">In history, the same division is done and is pretty questionable too; and indicates a misunderstanding of culture. Christoph Cellarius, in 1658, divided history into Ancient (5.000 A.C \u2013 476 D.C.), Medieval (476-1492) and Modern (1492-1789). Prehistory, in the beginning, and Contemporary, in the end, would be added later.<\/p>\n<p style=\"text-align: justify;\">It appears to be a total mistake mixing in an idealist Greek and a materialist Rome, just because everything is in ruins. The same happens when mixing in the Prehistoric, the Paleolithic and the Neolithic periods because everything is buried. In the Middle Age occurs the same, there\u2019s nothing alike between Early and Late Middle Age; although, it was already said that the Middle Ages were a way to fill in between the Ancient and the Modern history.<\/p>\n<div id=\"attachment_63828\" style=\"width: 835px\" class=\"wp-caption alignnone\"><a href=\"https:\/\/www.arteallimite.com\/wp-content\/uploads\/2018\/04\/05-Silla-Argentino-Foto-Antonella-Arismendi-3.jpg\"><img decoding=\"async\" aria-describedby=\"caption-attachment-63828\" class=\"size-full wp-image-63828\" src=\"https:\/\/www.arteallimite.com\/wp-content\/uploads\/2018\/04\/05-Silla-Argentino-Foto-Antonella-Arismendi-3.jpg\" alt=\"\u00a9 Antonella Arismendi, Jackie 10\" width=\"825\" height=\"550\" \/><\/a><p id=\"caption-attachment-63828\" class=\"wp-caption-text\">\u00a9 Antonella Arismendi, Jackie 10<\/p><\/div>\n<p style=\"text-align: justify;\">Even if, sometimes, that division is more political than cultural, in the end, there aren\u2019t many differences in the evolution of one and the other. For example, Hegel maintains the notion of a Classic period, a Greco-Roman period, a Christian period (culminating in the Gothic period) and a last, Romantic period.<\/p>\n<p style=\"text-align: justify;\">Danto, who holds a more modern definition, born from reason, therefore erroneous, has accomplished to enforce his opinion into the followers of Logos, who are chasing it like a beautiful prostitute whose enchants are easy to have, even to the ones that lack the charm of flirting and any kind of material or personal value. Danto says there is a period of art, from 1400 to 1967 and then periods before and after.<\/p>\n<div id=\"attachment_63829\" style=\"width: 1034px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.arteallimite.com\/wp-content\/uploads\/2018\/04\/06-Colors-1-02aal.jpg\"><img decoding=\"async\" aria-describedby=\"caption-attachment-63829\" class=\"size-large wp-image-63829\" src=\"https:\/\/www.arteallimite.com\/wp-content\/uploads\/2018\/04\/06-Colors-1-02aal-1024x682.jpg\" alt=\"\u00a9 karen Jerzyk, Colors-1, 2\" width=\"1024\" height=\"682\" \/><\/a><p id=\"caption-attachment-63829\" class=\"wp-caption-text\">\u00a9 karen Jerzyk, Colors-1, 2<\/p><\/div>\n<p style=\"text-align: center;\"><strong>3<\/strong><\/p>\n<p style=\"text-align: justify;\">Some people analyze what happened with the vanguards and resort to describe, by mere convenience. And we remark that they aren\u2019t even trying to describe art, they want to describe its effects. There\u2019s no wondering about the nature of things, let the past worry about the essence of things, let\u2019s take art and give it some use because what does art do? Art destroys society, vanguard art is corrosive.<\/p>\n<p style=\"text-align: justify;\">Using the effect of things as its definition, then art must be eternally corrosive. Even today there\u2019s art that believes such effects determine the artistic nature of things. Independently of social transcendence, we must wonder if a corrosive piece is art, in other words, we need to identify when a piece\u2019s corrosiveness is artistic and when it\u2019s just a social critique made by an artist.<\/p>\n<div id=\"attachment_63830\" style=\"width: 424px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.arteallimite.com\/wp-content\/uploads\/2018\/04\/07-2ccea1a.jpg\"><img decoding=\"async\" aria-describedby=\"caption-attachment-63830\" class=\"size-full wp-image-63830\" src=\"https:\/\/www.arteallimite.com\/wp-content\/uploads\/2018\/04\/07-2ccea1a.jpg\" alt=\"\u00a9 Cat\u00e1logo de Dollskill\" width=\"414\" height=\"576\" \/><\/a><p id=\"caption-attachment-63830\" class=\"wp-caption-text\">\u00a9 Cat\u00e1logo de Dollskill<\/p><\/div>\n<p style=\"text-align: center;\"><strong>4<\/strong><\/p>\n<p style=\"text-align: justify;\">When we analyze the question of art as a language, we conclude that communication is a product of the perception of the receiver which is capable of drawing conclusions on the observation of existence and man, able to deduce, understands he can become a source of signs that receiver sees as a meaningful event. For example, by mimesis something done by a third person is imitated and you can transfer information well about past deeds or future intentions.<\/p>\n<p style=\"text-align: justify;\">Communication uses a code generated by a source and decoded by a receiver. As a result of the human condition, the communication code has two forms; which we will call \u2018types\u2019 one objective, like a verbal language, and one subjective, like a painting.<\/p>\n<p style=\"text-align: justify;\">The language codes, verbal and artistic alike, vary in different time and different places. The artistic languages adopt many forms, called styles. Time and place condition the form of the codes, because this Latin has evolved into diverse languages and continues to.<\/p>\n<div id=\"attachment_63831\" style=\"width: 1034px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.arteallimite.com\/wp-content\/uploads\/2018\/04\/08-SCOTT_2011_9301aal.jpg\"><img decoding=\"async\" aria-describedby=\"caption-attachment-63831\" class=\"size-large wp-image-63831\" src=\"https:\/\/www.arteallimite.com\/wp-content\/uploads\/2018\/04\/08-SCOTT_2011_9301aal-1024x683.jpg\" alt=\"\u00a9 Scott London, Burning Man, 2014\" width=\"1024\" height=\"683\" \/><\/a><p id=\"caption-attachment-63831\" class=\"wp-caption-text\">\u00a9<a href=\"http:\/\/www.scottlondon.com\/\"> Scott London<\/a>, Burning Man, 2014<\/p><\/div>\n<p style=\"text-align: justify;\">In communication, we must identify clearly the difference between the message and the information. The information is the content of the desired communication, while the message is a group of signs, which subjected by a code, it retains the information coded, so when the message is transferred, received and decoded by the receiver, it can be understood.<\/p>\n<p style=\"text-align: justify;\">Usually, when discussing communication there is a misunderstanding between message and information because communication is mistaken with verbal language, in which message and information are the same. In Spanish, when you want to say \u201cte quiero\u201d, you say \u201cthe quiero\u201d but if we transfer the information into a different language we\u2019ll see clearly if the information is the same, the message ends up being <em>I love you<\/em> and the confusion ends there.<\/p>\n<div id=\"attachment_63832\" style=\"width: 669px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.arteallimite.com\/wp-content\/uploads\/2018\/04\/09-BM2005-018.jpg\"><img decoding=\"async\" aria-describedby=\"caption-attachment-63832\" class=\"size-full wp-image-63832\" src=\"https:\/\/www.arteallimite.com\/wp-content\/uploads\/2018\/04\/09-BM2005-018.jpg\" alt=\"\u00a9 Scott London, Burning Man, 2005\" width=\"659\" height=\"400\" \/><\/a><p id=\"caption-attachment-63832\" class=\"wp-caption-text\">\u00a9 <a href=\"http:\/\/www.scottlondon.com\/\">Scott London<\/a>, Burning Man, 2005<\/p><\/div>\n<p style=\"text-align: center;\"><strong>5<\/strong><\/p>\n<p style=\"text-align: justify;\">Therefore, in the serious issue of designating a corrosive piece is or is not art we must first state the difference, just as we discussed, between message and information.<\/p>\n<p style=\"text-align: justify;\">Art, as we discussed, is a language. The languages properties are the capacity of transferring information, but not exclusively because they can present questions, orders, but is a condition of language being able to express a plethora of information, not just one.<\/p>\n<p style=\"text-align: justify;\">So, in a particular language, someone can express different kinds of information, some may be corrosive; and if an artistic language was chosen, we would be discussing a corrosive piece of art, but we must realize it\u2019s not an artistic corrosive language, it\u2019s a corrosive piece of art.<\/p>\n<div id=\"attachment_63833\" style=\"width: 455px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.arteallimite.com\/wp-content\/uploads\/2018\/04\/10-BM2008_013.jpg\"><img decoding=\"async\" aria-describedby=\"caption-attachment-63833\" class=\"size-full wp-image-63833\" src=\"https:\/\/www.arteallimite.com\/wp-content\/uploads\/2018\/04\/10-BM2008_013.jpg\" alt=\"\u00a9 Scott London, Burning Man, 2008\" width=\"445\" height=\"500\" \/><\/a><p id=\"caption-attachment-63833\" class=\"wp-caption-text\">\u00a9 <a href=\"http:\/\/www.scottlondon.com\/\">Scott London<\/a>, Burning Man, 2008<\/p><\/div>\n<p style=\"text-align: justify;\">If we see someone approaching us in the street, talking in a way we can\u2019t understand, we won\u2019t be able to discern, without more information, what he or she is talking about; it may be a language we don\u2019t know or it\u2019s just babbling. In the first case, he or she may be trying to communicate, on the second, just wasting your time.<\/p>\n<p style=\"text-align: justify;\">If that situation happens in an artistic form, we must be able to discern if the artist is expressing in a language that we don\u2019t know the codes of, but they are correct and we are before a work of art; or what\u2019s \u2018said\u2019 is just nonsense and lacks any artistic sense.<\/p>\n<p style=\"text-align: justify;\">The recognition of what is artistic belongs to the critics because today technical quality is not enough, even unnecessary sometimes, to make art. The public feels there is a problem when critics don\u2019t explain their thought process when defending a work they qualify as art. The critics lack a legitimate theoretical explanation besides the existence of an art world, apart from the real world, which is not even a logical or even compelling explanation.<\/p>\n<h6 style=\"text-align: justify;\">Im\u00e1genes con derechos reservados, prohibida su reproducci\u00f3n. \/ Im\u00e1gen inicial: \u00a9 Antonella Arismendi.<\/h6>\n","protected":false},"excerpt":{"rendered":"<p><span class=\"excerpt_part\">1 Al final de una grabaci&oacute;n que hace Nanci Griffith de la canci&oacute;n de Bob Dylan titulada Boots of Spanish Leather se oye como exclama: Boots?, como sorprendida del regalo&#8230;<\/span><\/p>\n","protected":false},"author":150,"featured_media":820,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"categories":[23,79],"tags":[97,98,99,100,101],"ano":[],"artista":[],"class_list":{"0":"post-819","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-articulos","8":"category-miradas","9":"tag-antonella-arismendi","10":"tag-dollskill","11":"tag-karen-jerzyk","12":"tag-marta-bevacqua","13":"tag-scott-london"},"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - 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