Conceptual Art, Analytic Proposition and Generative Art: An historic and a current case
This text aims to compare Historical Conceptual Art and New Media Art focused on language and more specifically, the creation of prose through the use of algorithms. The comparison is carried out by analyzing two cases: Joseph Kosuth’s manifesto Art After Philosophy (1969) and the piece Poetry Machi...
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Universidad Diego Portales
2018
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| الوصول للمادة أونلاين: | https://www.revista180.udp.cl/index.php/revista180/article/view/442 |
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oai:ojs.revista180.cl:article-4422018-11-20T14:17:36Z Conceptual Art, Analytic Proposition and Generative Art: An historic and a current case Arte conceptual, proposición analítica y arte generativo: un caso histórico y un caso actual Schopf Olea, Demian algorithm; analytic proposition, conceptual art; generative art; Internet Arte; Teoría del Arte; Artes Mediales algoritmo; arte conceptual; arte generativo; internet; proposición analítica This text aims to compare Historical Conceptual Art and New Media Art focused on language and more specifically, the creation of prose through the use of algorithms. The comparison is carried out by analyzing two cases: Joseph Kosuth’s manifesto Art After Philosophy (1969) and the piece Poetry Machine (2001) by the German writer, philosopher and media artist David Link. The valuable contributions made by Liz Kotz on the subject of Historical Conceptualism in her book Words to Be Looked at (2007) have been incorporated. At the end of the text, as a conclusion, differences, similarities and an analysis of the initial hypothesis are established: the relationship between art and the analytical proposition, constituent of historical conceptualism, is still alive in works such as Link's. There, however, the use of the analytic proposition is considered renewed by a contingency that was impossible to anticipate during the decade of the 1970s: the automation of linguistic analysis and the creation of verbal content on the Internet through the use of computer programs. This is an occurrence that involves important theoretical reassessments, in this case, stemming from the thought of Ludwig Wittgenstein, Saul Kripke (and his evaluations on the subject of the analytical proposition, necessary truths and a priori truths) and, finally, by media archaeologist Wolfgang Ernst. In the conclusion certain aspects of Link’s work are analyzed as seen through some of Ernst’s ideas. Este texto tiene por objeto comparar el arte conceptual histórico y el arte con nuevos medios cuyo objeto es el lenguaje y, más concretamente, la generación de prosa mediante algoritmos. El cotejo se efectúa analizando dos casos: el manifiesto Art after Philosophy (1969) de Joseph Kosuth y la obra Poetry Machine (2001) del escritor, filósofo y artista medial alemán David Link. Sobre el conceptualismo histórico, se han incorporado los valiosos aportes de Liz Kotz en Words to be locked at (2007). Al final del texto, en una conclusión, se establecen diferencias, semejanzas y un análisis de la hipótesis inicial: la relación entre el arte y la proposición analítica, constituyente del conceptualismo histórico, sigue viva en obras como la de Link. Sin embargo, en ellas la proposición analítica se da renovada por una contingencia imposible de haber sido anticipada en los años setenta del siglo pasado: la automatización del análisis lingüístico y la creación de contenido verbal en la red mediante programas, lo cual implica replanteamientos teóricos considerables, en este caso, desde el pensamiento de Ludwig Wittgenstein, Saul Kripke (y sus reconsideraciones acerca de la proposición analítica, las verdades necesarias y las verdades a priori) y, finalmente, del arqueólogo medial Wolfgang Ernst. En la conclusión, se analizan determinados aspectos de la obra de Link a la luz de algunas ideas de Ernst. Universidad Diego Portales 2018-11-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://www.revista180.udp.cl/index.php/revista180/article/view/442 10.32995/rev180.Num-41.(2018).art-442 Revista 180; Núm. 41 (2018) Revista 180; Núm. 41 (2018) 0718-669X 0718-2309 spa https://www.revista180.udp.cl/index.php/revista180/article/view/442/379 Copyright (c) 2018 Revista 180 https://creativecommons.org/licenses/by/4.0 |
| institution |
Universidad Diego Portales |
| collection |
OJS |
| language |
spa |
| format |
Online |
| author |
Schopf Olea, Demian |
| spellingShingle |
Schopf Olea, Demian Conceptual Art, Analytic Proposition and Generative Art: An historic and a current case |
| author_facet |
Schopf Olea, Demian |
| author_sort |
Schopf Olea, Demian |
| title |
Conceptual Art, Analytic Proposition and Generative Art: An historic and a current case |
| title_short |
Conceptual Art, Analytic Proposition and Generative Art: An historic and a current case |
| title_full |
Conceptual Art, Analytic Proposition and Generative Art: An historic and a current case |
| title_fullStr |
Conceptual Art, Analytic Proposition and Generative Art: An historic and a current case |
| title_full_unstemmed |
Conceptual Art, Analytic Proposition and Generative Art: An historic and a current case |
| title_sort |
conceptual art, analytic proposition and generative art: an historic and a current case |
| description |
This text aims to compare Historical Conceptual Art and New Media Art focused on language and more specifically, the creation of prose through the use of algorithms. The comparison is carried out by analyzing two cases: Joseph Kosuth’s manifesto Art After Philosophy (1969) and the piece Poetry Machine (2001) by the German writer, philosopher and media artist David Link. The valuable contributions made by Liz Kotz on the subject of Historical Conceptualism in her book Words to Be Looked at (2007) have been incorporated. At the end of the text, as a conclusion, differences, similarities and an analysis of the initial hypothesis are established: the relationship between art and the analytical proposition, constituent of historical conceptualism, is still alive in works such as Link's. There, however, the use of the analytic proposition is considered renewed by a contingency that was impossible to anticipate during the decade of the 1970s: the automation of linguistic analysis and the creation of verbal content on the Internet through the use of computer programs. This is an occurrence that involves important theoretical reassessments, in this case, stemming from the thought of Ludwig Wittgenstein, Saul Kripke (and his evaluations on the subject of the analytical proposition, necessary truths and a priori truths) and, finally, by media archaeologist Wolfgang Ernst. In the conclusion certain aspects of Link’s work are analyzed as seen through some of Ernst’s ideas. |
| publisher |
Universidad Diego Portales |
| publishDate |
2018 |
| url |
https://www.revista180.udp.cl/index.php/revista180/article/view/442 |
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