The emergence of
language and the consecutive experience of recording led to the
association of skills with the writing of the language, that is,
drawing and reading it to others, performing it in rituals.
The domain of art seems to be characteristic only of the human
species. Since the practical experience of art is so close to
our biogenetic structural reality, while at the same time
constitutive of a non-existential domain, the making of art and
the cultural appropriation of art are perceived as similar
experiences. Nevertheless, language exercised coordination for
the simple reason that successive motivations of the art
experience-such as the mytho-magical, practical, ritual, sexual,
gnoseologic, political, or economic-and the underlying structure
of art belong to different domains. The underlying structure of
art defines its aesthetics. The underlying structure of magic,
ritual, or the sexual defines their respective condition, as it
expresses human understanding of the unknown, or the many
aspects of sexuality.
The interaction between artist and society, once markets emerged
and art was acknowledged as a product with its own identity,
resulted in specific forms of recurrence: recognition of the
uniqueness of the work, of the artist, and of interpretive
patterns. Once the framework for recognizing artworks as
merchandise was established, transactions in artworks became
transactions in the artist-society relation, with a lot of
give-and-take that was difficult, if not impossible, to encode.
Pages:
741
742
743
744
745
746
747
748
749
750
751
752
753
754
755
756
757
758
759
760
761
762
763
764
765