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The real reality is there, but everything you KNOW about “it” is in your mind and your
to do with as you like. Conceptualization is art, and YOU ARE THE ARTIST
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Gregory Hill (Principia Discordia ● Or ● How I Found Goddess and What I Did to Her When I Found Her: The Magnum Opiate of Malaclypse the Younger)
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Conceptual art isn't art, but it is Jewish. It signals the culmination of the Jewish takeover of modern art. Conceptual art requires no artistic ability, talent or skill. That's why Jews gravitate toward it and promote it. It's an example of Jews defining art as what they do rather than defining art in its relationship to Logos.
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E. Michael Jones (The Jews and Moral Subversion)
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It true, Bigfoot career been in hole lately. Bigfoot mania of the ‘70’s and ‘80’s but distant memory. I famous for ability to not be see but don’t think I not notice you not notice. I blame music television and internet. People too lazy and stupid to appreciate conceptual artist like Bigfoot who appeal is absence.
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Graham Roumieu (Me Write Book: It Bigfoot Memoir)
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What roles do you want to play? Consider, for example the roles of: team builder; manager; individual contributor; change agent; technical expert; relationship builder; trouble shooter; someone who makes things happen; consolidator; problem solver; conceptualizer; big picture thinker; marketer; decision-maker; talent spotter/nurturer; mentor; turnaround artist; mediator.
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Barbara Moses (What Next? Updated)
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Breakthrough artists always expand the very concept of freedom.
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Talismanist Giebra (Talismanist: Fragments of the Ancient Fire. Philosophy of Fragmentism Series.)
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Making art depends upon noticing things — things about yourself, your methods, your subject matter. Sooner or later, for instance, every visual artist notices the relationship of the line to the picture’s edge. Before that moment the relationship does not exist; afterwards it’s impossible to imagine it not existing. And from that moment on every new line talks back and forth with the picture’s edge. People who have not yet made this small leap do not see the same picture as those who have — in fact, conceptually speaking, they do not even live in the same world.
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David Bayles (Art & Fear: Observations on the Perils (and Rewards) of Artmaking)
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Construction work was the city’s new brutalist art form, erecting its installations wherever you looked. Tall buildings fell and construction sites rose. Pipes and cables rose from and descended into the hidden depths. Telephone landlines ceased to work and water and power and gas services were randomly suspended. Construction work was the art of making the city become aware of itself as a fragile organism at the mercy of forces against which there was no appeal. Construction work was the mighty metropolis being taught the lessons of vulnerability and helplessness. Construction workers were the grand conceptual artists of our time and their installations, their savage holes in the ground, inspired not only hatred—because most people disliked modern art—but also awe.
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Salman Rushdie (The Golden House)
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Courage in an artist or writer is different from the courage of firefighters, who rescue people and risk their own lives. Artistic courage might be conceptualized as an internal drama about overcoming rules or inhibitions, dicta of all kinds, the art a manifestation or result of a multitude of processes.
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Lynne Tillman (The Complete Madame Realism and Other Stories)
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Some feminist artists have chosen a fundamentally sexual or erotic imagery... Others have opted for a realist or conceptual celebration of female experience in which birth, motherhood, rape, maintenance, household imagery, windows, menstruation, autobiography, family background and portraits of friends figure prominently...
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Lucy R. Lippard
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As to the role of emotions in art and the subconscious mechanism that serves as the integrating factor both in artistic creation and in man’s response to art, they involve a psychological phenomenon which we call a sense of life. A sense of life is a pre-conceptual equivalent of metaphysics, an emotional, subconsciously integrated appraisal of man and of existence.
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Ayn Rand (The Romantic Manifesto)
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Not long ago I stood with a friend next to an art work made of four wood beams laid in a long rectangle, with a mirror set behind each corner so as to reflect the others. My friend, a conceptual artist, and I talked about the minimalist basis of such work: its reception by critics then, its elaboration by artists later, its significance to practitioners today, all of which are concerns of this book as well. Taken by our talk, we hardly noticed his little girl as she played on the beams. But then, signaled by her mother, we looked up to see her pass through the looking glass. Into the hall of mirrors, the mise-en-abîme of beams, she moved farther and farther from us, and as she passed into the distance, she passed into the past as well.
Yet suddenly there she was right behind us: all she had done was skip along the beams around the room. And there we were, a critic and an artist informed in contemporary art, taken to school by a six-year-old, our theory no match for her practice. For her playing of the piece conveyed not only specific concerns of minimalist work - the tensions among the spaces we feel, the images we see, and the forms we know - but also general shifts in art over the last three decades - new interventions into space, different construction of viewing, and expanded definitions of art. Her performance became allegorical as well, for she described a paradoxical figure in space, a recession that is also a return, that evoked for me the paradoxical figure in time described by the avant-garde. For even as the avant-garde recedes into the past, it also returns from the future, repositioned by innovative art in the present. This strange temporality, lost in stories of twentieth-century art, is a principal subject of this book.
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Hal Foster
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I am a firm believer that digital imaging has already rivaled the chemical process in its ability to make fine prints. An exceptional digital print, on a fine quality paper, can take on all the delicacy of a masterful photogravure. Each is, after all, ink on paper. The unfortunate thing is that skillful digital fine art photography is being created by so few, and today’s artworld is brimming with hastily made, conceptually oriented, digital bric-a-brac.
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Waswo X. Waswo (India Poems: The Photographs)
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It seems an almost transcendental quality of the mind that we can even know we see the world differently from others — and more amazing yet that we can share our separate realities with one another. Having spent a lifetime developing one mental map of the world — our own — consider the conceptual leap needed to make that lateral shift into an entirely different framework. Nonetheless, we do it all the time. Embedded within the simple phrase, “What if...?” lay a plurality of worlds.
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Ted Orland (The View From The Studio Door - How Artists Find Their Way In An Uncertain World)
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FV: Hasn't all art, in a way, submitted to words - reduced itself to the literary...admitted its failure through all the catalogues and criticism, monographs and manifestos —
ML: Explanations?
FV: Exactly. All the artistry, now, seems expended in the rhetoric and sophistry used to differentiate, to justify its own existence now that so little is left to do. And who's to say how much of it ever needed doing in the first place? [...] Nothing's been done here but the re-writing of rules, in denial that the game was already won, long ago, by the likes of Duchamp, Arp, or Malevich. I mean, what's more, or, what's less to be said than a single black square?
ML: Well, a triangle has fewer sides, I suppose.
FV: Then a circle, a line, a dot. The rest is academic; obvious variations on an unnecessary theme, until you're left with just an empty canvas - which I'm sure has been done, too.
ML: Franz Kline, wasn't it? Or, Yves Klein - didn't he once exhibit a completely empty gallery? No canvases at all.
FV: I guess, from there, to not exhibit anything - to do absolutely nothing at all - would be the next "conceptual" act; the ultimate multimedia performance, where all artforms converge in negation and silence. And someone's probably already put their signature to that, as well. But even this should be too much, to involve an artist, a name. Surely nothing, done by no-one, is the greatest possible artistic achievement. Yet, that too has been done. Long, long ago. Before the very first artists ever walked the earth.
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Mort W. Lumsden (Citations: A Brief Anthology)
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And just as rhythm is not an artificial embellishment of language but a form of expression which predates language, so visual images and symbols are not fanciful embroideries of concepts, but precursors of conceptual thought. The artist does not climb a ladder to stick ornaments on a facade of ideas-he is more like a pot-holer in search of underground rivers. To quote Kretschmer for the last time: 'Such creative products of the artistic imagination tend to emerge from a psychic twilight, a state of lessened consciousness and diminished attentivity to external stimuli. Further, the condition is one of "absent-mindedness" with hypnoidal over-concentration on a single focus, providing an entirely passive experience, frequently of a visual character, divorced from the categories of space and time, and reason and will. These dreamlike phases of artistic creation evoke primitive phylogenetic tendencies towards rhythm and stylization with elemental violence; and the emergent images thus acquire in the very act of birth regular form and symmetry.
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Arthur Koestler (The Act of Creation)
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Androgyny, which some feminists promote as a pacifist blueprint for sexual utopia, belongs to the contemplative rather than active life. It is the ancient prerogative of priests, shamans, and artists. Feminists have politicized it as a weapon against the masculine principle. Redefined, it now means men must be like women and women can be whatever they like. Androgyny is a cancellation of male concentration and projection. Prescriptions for the future by bourgeois academics and writers carry their own bias. The reform of a college English department cuts no ice down at the corner garage. Male concentration and projection are visible everywhere in the aggressive energy of the streets. Fortunately, male homosexuals of every social class have preserved the cult of the masculine, which will therefore never lose its aesthetic legitimacy. Major peaks of western culture have been accompanied by a high incidence of male homosexuality—in classical Athens and Renaissance Florence and London. Male concentration and projection are self-enhancing, leading to supreme achievements of Apollonian conceptualization.
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Camille Paglia (Sexual Personae)
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Indeed, it’s easier to conclude that ‘the only definition of art,’ as the American conceptual artist Joseph Kosuth put it, ‘is art.’ Which is another way of saying that art is not a theory, it’s an activity. And, by extension, that art today is less about the formal or aesthetic properties of an object than a way of talking about the intricately entangled, increasingly unstable world in which we live.
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Ben Eastham (The Imaginary Museum)
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A person who believes in a particular conceptual system believes that everything can be explained by reference to that conceptual system. Whereas the artist sees the pattern and feels the mystery that looms beyond the pattern. […] Great art is pattern over mystery, it is juggling words over whirlpools of silence.
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Douglas Glover
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One morning at breakfast he pointed out an article in the newspaper to me. It was about a Japanese artist, Yoko Ono, who had made a film that consisted of close-up shots of people’s bottoms. ‘Cyn, you’ve got to look at this. It must be a joke. Christ, what next? She can’t be serious!’ We laughed and shook our heads. ‘Mad,’ John said. ‘She must be off her rocker.’ I had to agree. We had no understanding at all of avant-garde art or conceptualism at that point and the newspaper went into the bin. We didn’t discuss Yoko Ono again until one night when we were lying in bed, reading, I asked John what his book was. It was called Grapefruit and looked very short. ‘Oh, something that weird artist woman sent me,’ he said.
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Cynthia Lennon (John)
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This great church is an incomparable work of art. There is neither aridity nor confusion in the tenets it sets forth. . . . It is the zenith of a style, the work of artists who had understood and assimilated all their predecessors' successes, in complete possession of the techniques of their times, but using them without indiscreet display nor gratuitous feats of skill. It was Jean d'Orbais who undoubtedly conceived the general plan of the building, a plan which was respected, at least in its essential elements, by his successors. This is one of the reasons for the extreme coherence and unity of the edifice. —REIMS CATHEDRAL GUIDEBOOK[1] Conceptual
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Frederick P. Brooks Jr. (The Mythical Man-Month: Essays on Software Engineering)
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The special problem here is that the artistic medium of fiction writers—language—is not innately sensual. The medium is unforgiving whenever we look for it in our minds. Some visual artists do a lot of conceptualizing and still end up creating terrific works of art. They are able to do so because once they get out there in front of their canvases or their blocks of granite, they have to leave those ideas behind. The medium itself won’t let them think. Literature—language, fiction—does not as a medium force you to leave your ideas behind. And if you think it into being, if you will a story into being, by God, it’s going to show.
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Robert Olen Butler (From Where You Dream: The Process of Writing Fiction)
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The irrational numbers were created conceptually to serve the likes of me and not of the artists and mathematicians.
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Ibrahim Ibrahim (The Mill of Egypt: The Complete Series Fused)
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After they became a couple, they collaborated on deliriously optimistic projects, from their famous bed-ins to the creation of a conceptual country called Nutopia. The skeptics were incensed, and the duo withstood all the criticism slung at prominent optimists of the past, though it hardly slowed them down. 'Some critic recently commented on us, John and I, as being lollipop artists who are preoccupied with blowing soap-bubbles forever,' Ono wrote. 'I thought that was beautiful.
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Jessica Kerwin Jenkins (Encyclopedia of the Exquisite: An Anecdotal History of Elegant Delights)
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In Taiwan during the 1960s and mainland China in the 1980s, conceptualism played a role similar to that of Dada, that is, as a vehicle for upsetting conventions - aesthetic, social, and political. Almost all Chinese conceptual artists proclaimed an allegiance to Dada. On the mainland, they also embraced traditional Chan Budhism, wich encourages an ironic sensibility and rejects the privileging of any one doctrine in the search for enlightment. Combined, Dada and Chan Budhism became a potent weapon in the Chinese avant-garde's assault on business as usual.
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Gao Minglu
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They include conceptual artist and “environmental music” composer Annea Lockwood, who created a work entitled Piano Burning. Debuted in London in 1968, it requires the performer to select an upright piano in disrepair, put it in an open space with the lid closed, and set it on fire with a twist of paper doused in lighter fluid. (Optional balloons may be stapled to the piano.) “Play whatever pleases you for as long as you can,” she suggests. To which any responsible writer would add, please do not try this at home.
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Stuart Isacoff (A Natural History of the Piano: The Instrument, the Music, the Musicians--from Mozart to Modern Jazz and Everything in Between)
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If we are right in claiming that mimesis, like the god Janus, is double-faced, both philosophical in theoretical conception and artistic in affective dramatization, then, in order to understand its workings, mimetic patho(-)logy will have to confront both its conceptual and its affective face, both the pathos and the logos that transect this Janus-faced concept.
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Nidesh Lawtoo (The Phantom of the Ego: Modernism and the Mimetic Unconscious (Studies in Violence, Mimesis & Culture))
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2. Abstract concepts. It is extremely difficult to explain how any set of purely physical actions and interactions could possibly invest consciousness with the immaterial—which is to say, purely abstract—concepts by which all experience is necessarily interpreted and known. It is almost impossible to say how a purely material system of stimulus and response could generate universal categories of understanding, especially if (and one hopes that most materialists would grant this much) those categories are not mere idiosyncratic personal inflections of experience, but real forms of knowledge about reality. In fact, they are the very substance of our knowledge of reality. As Hegel argued perhaps more persuasively than any other philosopher, simple sense-knowledge of particular things, in itself, would be utterly vacuous. My understanding of anything, even something as humbly particular as that insistently red rose in my garden, is composed not just of a collection of physical data but of the conceptual abstractions that my mind imposes upon them: I know the rose as a discrete object, as a flower, as a particular kind of flower, as a kind of vegetation, as a horticultural achievement, as a biological system, as a feature of an ecology, as an object of artistic interest, as a venerable and multi-faceted symbol, and so on; some of the concepts by which I know it are eidetic, some taxonomic, some aesthetic, some personal, and so on. All of these abstractions belong to various kinds of category and allow me, according to my interests and intentions, to situate the rose in a vast number of different sets: I can associate it eidetically not only with other flowers, but also with pictures of flowers; I can associate it biologically not only with other flowers, but also with non-floriferous sorts of vegetation; and so on. It is excruciatingly hard to see how any mechanical material system could create these categories, or how any purely physical system of interactions, however precisely coordinated, could produce an abstract concept. Surely no sequence of gradual or particulate steps, physiological or evolutionary, could by itself overcome the qualitative abyss between sense experience and mental abstractions.
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David Bentley Hart (The Experience of God: Being, Consciousness, Bliss)
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We started our inquiry into the aesthetics of games with various accounts that tried to subsume games under more familiar forms of art - fictions, conceptual art, and the like. But, I've argued, some of the most important kin to game design are actually urban planners, and government designers. All these are attempts to cope and corral the agency of users, to achieve certain effects. Games are an artistic cousin to cities and governments. They are systems of rules and constraints for active agents. But game designers have a trick up their sleeves that the designers of cities and governments do not. They can substantially design the nature of agents who will act within them. The medium of agency is active, then, in two directions. It creates a distinctive recalcitrance - the recalcitrance of agential distance. And it offers a a distinctive sort of solution - the manipulation of agency.
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C. Thi Nguyen (Games: Agency As Art (Thinking Art))
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Shiva’s world-destroying dance is another potent symbol that can be understood both cosmologically and psychologically. From a yogic perspective, the dance disentangles all the mental webs by which we have imprisoned ourselves through our incessant karmic activities or volitions. Shiva, as Natarāja (“Lord of Dance”), is the destroyer of our delusions and illusions. He is an inner force that undermines our laboriously created conceptualizations of the world, so that we may see reality “as it is” (yathā-bhūta). The Goddess Mohinī (“She who deludes”) is thought to tempt us with misconceptions and delusional fantasies, so that only serious spiritual seekers can find their way to Reality. The elephant-headed, pot-bellied God Ganesha, again, is traditionally called upon to remove all such obstacles. Each deity represents a particular symbolic function whose depth we can plumb only when we delve into our own psyche by means of Yoga. The artistic representations of the numerous deities of Hinduism, Buddhism, and Jainism all are full of yogic symbolism. That symbolism is most prominent in the profound teachings of Tantra. To appreciate this fact, we just need to look at the esoteric meaning of hatha—as in Hatha-Yoga, a branch of Tantra. The dictionary meaning of the term hatha is simply “force” or “power,” and the commonly used ablative hathāt means “by force of.” Esoterically, however, the syllables ha and tha—quite meaningless in themselves—are said to symbolize “Sun” and “Moon” respectively. Specifically, they refer to the inner luminaries: the “sun” or solar energy coursing through the right energetic pathway (i.e., the pingalānādī) and the “moon” or lunar energy traveling through the left pathway (i.e., the idā-nādī). Hatha-Yoga utilizes these two currents—corresponding to the sympathetic and parasympathetic nervous systems respectively—in order to achieve a psychoenergetic balance and mental tranquillity. When this energetic harmony is achieved, the central channel (i.e., the sushumnā-nādī) is activated. As soon as the life force (prāna) flows into and up the central channel, it awakens the serpent power (kundalinī-shakti) and pulls it into the central channel as well. Thereafter the kundalinī rises to the crown of the head, leading to a sublime state of mind-transcending unified consciousness (or nirvikalpa-samādhi, “formless ecstasy”).
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Georg Feuerstein (The Deeper Dimension of Yoga: Theory and Practice)
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Conceptual artists believed it was the message that mattered, not the medium, as if thought could be immaterial.
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Suzanne Hudson (Contemporary Painting (World of Art))
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The Very Difference Between Game Design & 3D Game Development You Always Want to Know
Getting into the gaming industry is a dream for many people. In addition to the fact that this area is always relevant, dynamic, alive and impenetrable for problems inherent in other areas, it will become a real paradise for those who love games. Turning your hobby into work is probably the best thing that can happen in your career.
What is Game Designing?
A 3D Game Designer is a creative person who dreams up the overall design of a video game. Game design is a large field, drawing from the fields of computer science/programming, creative writing, and graphic design. Game designers take the creative lead in imagining and bringing to life video game worlds. Game designers discuss the following issues:
• the target audience;
• genre;
• main plot;
• alternative scenarios;
• maps;
• levels;
• characters;
• game process;
• user interface;
• rules and restrictions;
• the primary and secondary goals, etc
Without this information, further work on the game is impossible. Once the concept has been chosen, the game designers work closely with the artists and developers to ensure that the overall picture of the game is harmonized and that the implementation is in line with the original ideas. As such, the skills of a game designer are drawn from the fields of computer science and programming, creative writing and graphic design. Game designers take the creative lead in imagining and bringing to life video game stories, characters, gameplay, rules, interfaces, dialogue and environments.
A game designer's role on a game development outsourcing team differs from the specialized roles of graphic designers and programmers. Graphic designers and game programmers have specific tasks to accomplish in the division of labor that goes into creating a video game, international students can major in those specific disciplines if desired.
The game designer generates ideas and concepts for games. They define the layout and overall functionality of the Game Animation Studio. In short, they are responsible for creating the vision for the game. These geniuses produce innovative ideas for games. Game designers should have a knack for extraordinary and creative vision so that their game may survive in the competitive market. The field of game design is always in need of artists of all types who may be drawn to multiple art forms, original game design and computer animation. The game designer is the artist who uses his/her talents to bring the characters and plot to life.
Who is a Game Development?
Games developers use their creative talent and skills to create the games that keep us glued to the screen for hours and even days or make us play them by erasing every other thought from our minds. They are responsible for turning the vision into a reality, i.e., they convert the ideas or design into the actual game. Thus, they convert all the layouts and sketches into the actual product. It may involve concept generation, design, build, test and release. While you create a game, it is important to think about the game mechanics, rewards, player engagement and level design.
3D Game development involves bringing these ideas to life. Developers take games from the conceptual phase, through *development*, and into reality. The Game Development Services side of games typically involves the programming, coding, rendering, engineering, and testing of the game (and all of its elements: sound, levels, characters, and other assets, etc.).
Here are the following stages of 3D Game Development Service, and the best ways of learning game development (step by step).
• High Concept
• Pitch
• Concept
• Game Design Document
• Prototype
• Production
• Design
• Level Creation
• Programming
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GameYan
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Conceptual Automation (Legendary) Concepts, the underpinning laws of reality, given power through the belief of sentient life throughout the multiverse. You have proven time and again that your understanding of these Concepts far exceeds the norm. This skill takes that understanding a step further, allowing you to grant temporary “life” to multiversal Concepts. Using objects that resonate with a Concept, you are able to create living representations of these multiversal Concepts. Mana Cost decreases by 1% per Skill Level. Percentage increase in Power equal to 20% of Intellect and Magic Power. Additionally increased by the volume of mana used. Duration and Power based on Tier of materials used. Duration increases by 20% of Creativity plus 1% per Skill Level.
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Ellake (Painted Path (The Runic Artist #2))
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Crash films…shot between 1948 and 1950, before Colombia. As the Web authors explained, this was a series of nineteen films whose sole aim was to display things never before attempted in the medium, a kind of artistic exploit on celluloid. Lacombe didn’t care about the point of a film, only about the public’s reactions: its passivity toward images, its relationship to plot and story line, its voyeuristic tendencies, its fascination with intimacy, and also its tolerance for conceptual cinema. He challenged people’s watching habits and turned filmmaking conventions on their heads. Always a need to innovate, disturb, shock…
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Franck Thilliez (Syndrome E)
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In Rank’s inspired conceptualization, the difference is put like this: … it is this very fact of the ideologization of purely psychical conflicts that makes the difference between the productive and the unproductive types, the artist and the neurotic; for the neurotic’s creative power, like the most primitive artist’s, is always tied to his own self and exhausts itself in it, whereas the productive type succeeds in changing this purely subjective creative process into an objective one, which means that through ideologizing it he transfers it from his own self to his work.18 The neurotic exhausts himself not only in self-preoccupations like hypochondriacal fears and all sorts of fantasies, but also in others: those around him on whom he is dependent become his therapeutic work project; he takes out his subjective problems on them. But people are not clay to be molded; they have needs and counter-wills of their own. The neurotic’s frustration as a failed artist can’t be remedied by anything but an objective creative work of his own. Another way of looking at it is to say that the more totally one takes in the world as a problem, the more inferior or “bad” one is going to feel inside oneself. He can try to work out this “badness” by striving for perfection, and then the neurotic symptom becomes his “creative” work; or he can try to make himself perfect by means of his partner.
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Ernest Becker (The Denial of Death)
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This is the shape that Renaissance innovation takes, seen from a great (conceptual) distance. Most innovation clusters in the third quadrant: non-market individuals. A handful of outliers are scattered fairly evenly across the other three quadrants. This is the pattern that forms when information networks are slow and unreliable, and entrepreneurial economic conventions are poorly developed. It’s too hard to share ideas when the printing press and the postal system are still novelties, and there’s not enough incentive to commercialize those ideas without a robust marketplace of buyers and investors. And so the era is dominated by solo artists: amateur investigators, usually well-to-do, working on their own private obsessions. Not surprisingly, this period marks the birth of the modern notion of the inventive genius, the rogue visionary who somehow sees beyond the horizon that limits his contemporaries—da Vinci, Copernicus, Galileo. Some of those solo artists (Galileo most famously) worked outside of broader groups because their research posed a significant security threat to the established powers of the day. The few innovations that did emerge out of networks—the portable, spring-loaded watches that first appeared in Nuremberg in 1480, the double-entry bookkeeping system developed by Italian merchants—have their geographic origins in cities, where information networks were more robust. First-quadrant solo entrepreneurs, crafting their products in secret to ensure their eventual payday, turn out to be practically nonexistent. Gutenberg was the exception, not the rule.
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Steven Johnson (Where Good Ideas Come From)
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CEO Vanessa Place, conceptual artist, writer, and attorney, cites the company’s motto as its mantra: We are what we sell, we sell what we are—-It’s not the point, it’s the platform. With her international team of dedicated professional poets and artists, each of whom brings a singular aesthetic perspective to the collective corporate venture, Place makes it the company’s number one priority to fully serve the higher-culture customer. Your desires are our needs.
To contact us, visit CONTACT.
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Vanessa Place
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Nasıl sanatçılar (conceptual artists), yeni fikirler ve kavramlar yaratıp sonra da bu kavramı ortaya en iyi koyacak yöntem, malzeme, tarz arayışına girerlerse kavramsal marka yaratıcıları da önce ürünü değil, insanları etrafına toplayacakları anlamlı kavramları tespit etmekle işe başlarlar. Jan Rijkenberg’de bugün rekabet etmekte zorlanan ürün odaklı pazarlama yaklaşımını aşmanın tek yolunun “konseptleri” yönetmek olduğunu söyler. Bu anlayışla şirketleri “ürün yaşam eğrisine”(PLC) değil, tüketicileri cezbedecek kavramları yaratmaya ve yönetmeye teşvik eder. Bu yaklaşımda markanın seçtiği kavram bütün pazarlama yaklaşımını içine alan bir “bakış açısıdır.” İçinde makanın inancını, dünya görüşünü, değer yargılarını ve üslubunu barındırır. Markanın sahiplendiği kavram, bütün pazarlama faaliyetlerine ruh ve can verir. Bu kavram hitap ettiği insanlarla bir hayat anlayışını, hayat felsefesini ve hayatın anlamını paylaşır.
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Anonymous
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The art of the 1960’s devalued the imaginative , bodily and expressive potentialities of the artists as a creative human subject. In focussing on the physical existence of the art-work in isolation, the late Modernism of the 1960’s produced work that was alienated from men and women; those damned ‘modular units’; mere things. The art of the 1970’s went further, abandoning tradition and stuff. Expression had been destroyed. Art revealed itself in the Conceptualism of the 1970’s as naked Ideology.
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Peter Fuller (Beyond the Crisis in Art)
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The condensed truth is that all art is conceptual, but conceptual art is a con. What really separates Michelangelo from Damien Hirst is that Michelangelo was an artist and Damien Hirst isn’t.
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Julian Spalding (Con Art - Why you ought to sell your Damien Hirsts while you can)
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Music industry defenders of streaming muzak like to point out that artists themselves have been making functional music for decades. The argument usually begins by pointing to Brian Eno’s 1978 Ambient 1: Music for Airports, widely considered the first ambient record, which came with a manifesto outlining how ambient “must be able to accommodate many levels of listening attention without enforcing one in particular; it must be as ignorable as it is interesting.” For example, the cofounder of Endel, a German app that builds on the logic of the functional playlist boom by generating “personalized functional soundscapes,” cites Eno as his biggest influence.10 Today’s functional music front-runners seem to miss something essential about the history of ambient, though, and the traditions it draws from and helped shape. For his part, Eno claims to have conceptualized ambient as a direct response to the cultural pervasiveness of Muzak, rather than a recreation of it. He called ambient music “an atmosphere or a surrounding influence: a tint,” which he created to suit “a wide variety of moods and atmospheres.” In Eno’s explanation of it, consummate artists were not supposed to make background music, and he asked, why not? “I use it to make the space that I want to live in.”11
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Liz Pelly (Mood Machine: The Rise of Spotify and the Costs of the Perfect Playlist)
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While every visual metaphor is individual and unrivaled and therefore always knows how to escape all rubricating, the large structure of the concepts shows the rigid regularity of a Roman columbarium and exhales in logic that rigor and coolness that is inherent in mathematics. Anyone who is breathed in by this coolness will hardly believe that the term, bony and octagonal like a cube and relocatable like that, but only remains as the residue of a metaphor, and that the illusion of the artistic transfer of a nerve stimulus into images, if not the mother is the grandmother of every concept. Within this dice game of terms, however, “truth” means — to use each dice as it is designated; to count his eyes exactly, to form correct rubrics and never to violate the caste order and the order of the ranking classes as the Romans and Etruscans cut the sky through rigid mathematical lines and banned a god into such a delimited space as a templum, so every people has such a mathematically divided conceptual sky and understands by the requirement of truth that every conceptual god only looked for in his sphere. One can admire the human being here as a mighty architectural genius who succeeds in building an infinitely complex conceptual dome on movable foundations and, as it were, on flowing water; Of course, in order to find support on such foundations, it must be a structure made of spider threads, so delicate that the wave carries it away, so firm that it is not blown apart by the wind. As building genius, man rises far above bees to such a degree: the bees are built from wax that they collect from nature, and he builds from the much more delicate material of the concepts which he first has to fabricate from himself.
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Friedrich Nietzsche (On Truth and Lies in a Nonmoral Sense)
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【V信83113305】:Founded in 1886, the Minneapolis College of Art and Design (MCAD) stands as a premier institution dedicated to nurturing the next generation of creative leaders. Located in the vibrant art community of Minneapolis, the college offers a comprehensive range of undergraduate and graduate programs in fine arts, design, media, and more. MCAD is renowned for its rigorous, hands-on curriculum that emphasizes both technical skill and conceptual development, encouraging students to explore and innovate across disciplines. The campus fosters a collaborative environment with state-of-the-art facilities, including cutting-edge studios and galleries. Committed to making a significant impact in the creative world, MCAD empowers students to develop a unique artistic voice and build a meaningful career in the global arts landscape.,原版定制MCOAAD明尼阿波利斯艺术设计学院毕业证书, MCOAAD明尼阿波利斯艺术设计学院电子版毕业证, 定制-明尼阿波利斯艺术设计学院毕业证MCOAAD毕业证书, 硕士文凭定制MCOAAD明尼阿波利斯艺术设计学院毕业证书, 购买明尼阿波利斯艺术设计学院毕业证, 最爱-美国-MCOAAD毕业证书样板, 1分钟获取明尼阿波利斯艺术设计学院毕业证最佳办理渠道, 网上购买假学历MCOAAD明尼阿波利斯艺术设计学院毕业证书, 办理美国-MCOAAD毕业证书明尼阿波利斯艺术设计学院毕业证
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