Contemporary Sculptural Haptics in Sociocultural Context

Maryna Protas; Igor Isychenko

doi:doi:10.11648/j.ajad.20230804.11

Research Article |

| Peer-Reviewed

Contemporary Sculptural Haptics in Sociocultural Context

Maryna Protas, Igor Isychenko^*

Published in American Journal of Art and Design (Volume 8, Issue 4)

Received: 23 October 2023 Accepted: 14 November 2023 Published: 24 November 2023

Views: Downloads:

Download PDF

Share This Article

Twitter
Linked In
Facebook

Abstract

In the paper the phenomenon of the so-called contemporary sculptural haptics is discussed. Under this term the authors understand the quality of contemporary art objects to make sight bodily, that is, to reduce any image or imagery that these objects (be they physical or virtual) attempt to represent to merely physical shapes, which is done in such a way that the horizon of the transcendental appears to be sealed off or cut off by immense sensory overload. Consequently, when dealing with sculptural haptics our eyes rather "touch" the art object (even if it is a seemingly shapeless and amorph sculpture) than look at it. This lack or collapse of transcendental horizon that was once glowing from the inside of things and especially works of art results in a form of sensual eternalism, when art is understood only as something that represents this or that form of "reality", be it the reality of concepts produced by our mind to describe the world we live in or the so-called "physical reality" of dense material objects or any other given, particular, defined form of reality, as opposed to Transcendental Reality as such. It is also stated that haptics of this kind, overall, results in an uncritical attitude when works of public art that are totally irrelated to the unique character of the place are installed in it (the so-called plop-art). Instead of this subtle form of the violence of international market economy and post-capitalism over the residents of the place where such artworks are installed, more subtle and sensitive to the environment site-specific works should instead be preferred.

Published in	American Journal of Art and Design (Volume 8, Issue 4)
DOI	10.11648/j.ajad.20230804.11
Page(s)	99-106
Creative Commons	This is an Open Access article, distributed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted use, distribution and reproduction in any medium or format, provided the original work is properly cited.
Copyright	Copyright © The Author(s), 2023. Published by Science Publishing Group

Keywords

Contemporary Haptics, Public Art, Plop Art, Site-Specific Art, Sculpture of Ukraine

References

[1]	Labyak, I. Scandal with a magnificent sculpture in Lviv: a wave of hate and eventually an attack by vandals. TSN. UA. 23 August 2023. https://tsn.ua/ukrayina/skandal-iz-pishnotiloyu-skulpturoyu-u-lvovi-2396008.html
[2]	Serra, R., Foster, H. Conversations about Sculpture. Yale University Press, 2018.
[3]	United Nations. Sustainable Development. Goal 11. Make cities and human settlements inclusive, safe, resilient and sustainable. https://sdgs.un.org/goals/goal11; https://sdgs.un.org/topics/sustainable-cities-and-human-settlements
[4]	Foster, H. Design and Crime (And Other Diatribes). London; New York: Verso, 2002, р. 4.
[5]	Shkepu, M. The Aesthetics of Ugliness of Karl Rosenkranz. Kyiv: Feniks, 2010, p. 9.
[6]	Fiedler, L. Cross the Border – Close the Gap. Art & Popular Culture. URL: https://www.artandpopularculture.com/Cross_the_Border_%E2%80%94_Close_the_Gap
[7]	Epstein, M. Philosophy of the body. Aleteia, 2006, p. 11–13, 36, 75, 80.
[8]	Plop art. https://en.wikipedia.org/wiki/Plop_art
[9]	Baudrillard, J. Symbolic Exchange and Death. London: Sage, 1993, p. 70.
[10]	Sculpture by the Sea. Exhibit Turns Australian Coastline Into an Open-Air Museum. Mu Boyan, Horizon, Bondi 2018. https://mymodernmet.com/sculpture-by-the-sea-2018/; https://sculpturebythesea.com/gallery/
[11]	Egor Zigura, Colossus Holding the World. https://www.egorzigura.art/items/32
[12]	Baudrillard, J. Fatal strategies. Lviv: Calvary, 2010, p. 8–10.
[13]	Fenner, D. Gardens and Plasticity. Contemporary Aesthetics. Vol. 21, 2023. https://contempaesthetics.org/2023/01/15/gardens-and-plasticity/
[14]	McGuigan, J. From cultural populism to cool capitalism. Art & the Public Sphere. Vol. 1(1), 2011, р. 7–18. https://doi.org/10.1386/aps.1.1.7_1
[15]	Platonova, A. Peter Osborne: "National identity should be sought in the future, not in the past." LB.ua. 17 February 2023. https://lb.ua/culture/2023/01/13/542239_piter_osborn_natsionalnu.html
[16]	Shkepu, Mariia. The Methodological Amorphousness of Post-Culturology and Antinomy of Creative Culture. Art research of Ukraine. Vol. 20, 2020, р. 121–130. https://doi.org/10.31500/2309-8155.20.2020.220931
[17]	Sustainable peace manifesto. Never again 2.0. Executive Summary. https://sustainablepeacemanifesto.org/uk/
[18]	Pushp, A. Retrocausality and Quantum Mechanics. Jul 18, 2023. Resonance Science Foundation. https://www.resonancescience.org/blog/retrocausality-and-quantum-mechanics?fbclid=IwAR3kDEoedH6nzAlfHVM38WZHeENiFlSSdgycrXkH0jxWNypyTxmXzmfY1UA
[19]	Hesmondhalgh, D., Pratt, A. Cultural industries and cultural policy. International Journal of Cultural Policy. London. 11 (1), 2005, pp. 1–14. https://doi.org/10.1080/10286630500067598
[20]	Lyotard, Jean-François. Anima Minima. In Moralités postmodernes. Paris: Galilée, 1993, р. 199–210.

Cite This Article

Plain Text BibTeX RIS

APA Style

Protas, M., Isychenko, I. (2023). Contemporary Sculptural Haptics in Sociocultural Context. American Journal of Art and Design, 8(4), 99-106. https://doi.org/10.11648/j.ajad.20230804.11

Copy | Download

ACS Style

Protas, M.; Isychenko, I. Contemporary Sculptural Haptics in Sociocultural Context. Am. J. Art Des. 2023, 8(4), 99-106. doi: 10.11648/j.ajad.20230804.11

Copy | Download

AMA Style

Protas M, Isychenko I. Contemporary Sculptural Haptics in Sociocultural Context. Am J Art Des. 2023;8(4):99-106. doi: 10.11648/j.ajad.20230804.11

Copy | Download

@article{10.11648/j.ajad.20230804.11,
  author = {Maryna Protas and Igor Isychenko},
  title = {Contemporary Sculptural Haptics in Sociocultural Context},
  journal = {American Journal of Art and Design},
  volume = {8},
  number = {4},
  pages = {99-106},
  doi = {10.11648/j.ajad.20230804.11},
  url = {https://doi.org/10.11648/j.ajad.20230804.11},
  eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.ajad.20230804.11},
  abstract = {In the paper the phenomenon of the so-called contemporary sculptural haptics is discussed. Under this term the authors understand the quality of contemporary art objects to make sight bodily, that is, to reduce any image or imagery that these objects (be they physical or virtual) attempt to represent to merely physical shapes, which is done in such a way that the horizon of the transcendental appears to be sealed off or cut off by immense sensory overload. Consequently, when dealing with sculptural haptics our eyes rather "touch" the art object (even if it is a seemingly shapeless and amorph sculpture) than look at it. This lack or collapse of transcendental horizon that was once glowing from the inside of things and especially works of art results in a form of sensual eternalism, when art is understood only as something that represents this or that form of "reality", be it the reality of concepts produced by our mind to describe the world we live in or the so-called "physical reality" of dense material objects or any other given, particular, defined form of reality, as opposed to Transcendental Reality as such. It is also stated that haptics of this kind, overall, results in an uncritical attitude when works of public art that are totally irrelated to the unique character of the place are installed in it (the so-called plop-art). Instead of this subtle form of the violence of international market economy and post-capitalism over the residents of the place where such artworks are installed, more subtle and sensitive to the environment site-specific works should instead be preferred.
},
 year = {2023}
}

Copy | Download

TY  - JOUR
T1  - Contemporary Sculptural Haptics in Sociocultural Context
AU  - Maryna Protas
AU  - Igor Isychenko
Y1  - 2023/11/24
PY  - 2023
N1  - https://doi.org/10.11648/j.ajad.20230804.11
DO  - 10.11648/j.ajad.20230804.11
T2  - American Journal of Art and Design
JF  - American Journal of Art and Design
JO  - American Journal of Art and Design
SP  - 99
EP  - 106
PB  - Science Publishing Group
SN  - 2578-7802
UR  - https://doi.org/10.11648/j.ajad.20230804.11
AB  - In the paper the phenomenon of the so-called contemporary sculptural haptics is discussed. Under this term the authors understand the quality of contemporary art objects to make sight bodily, that is, to reduce any image or imagery that these objects (be they physical or virtual) attempt to represent to merely physical shapes, which is done in such a way that the horizon of the transcendental appears to be sealed off or cut off by immense sensory overload. Consequently, when dealing with sculptural haptics our eyes rather "touch" the art object (even if it is a seemingly shapeless and amorph sculpture) than look at it. This lack or collapse of transcendental horizon that was once glowing from the inside of things and especially works of art results in a form of sensual eternalism, when art is understood only as something that represents this or that form of "reality", be it the reality of concepts produced by our mind to describe the world we live in or the so-called "physical reality" of dense material objects or any other given, particular, defined form of reality, as opposed to Transcendental Reality as such. It is also stated that haptics of this kind, overall, results in an uncritical attitude when works of public art that are totally irrelated to the unique character of the place are installed in it (the so-called plop-art). Instead of this subtle form of the violence of international market economy and post-capitalism over the residents of the place where such artworks are installed, more subtle and sensitive to the environment site-specific works should instead be preferred.

VL  - 8
IS  - 4
ER  -

Copy | Download

Author Information

Maryna Protas

Department of Curatorial Exhibition Activities and Cultural Exchange, Modern Art Research Institute of National Academy of Arts of Ukraine, Kyiv, Ukraine

Contact Email
Igor Isychenko

Department of Art Criticism Methodology, Modern Art Research Institute of National Academy of Arts of Ukraine, Kyiv, Ukraine

Contact Email

Download PDF

Sections

Plain Text BibTeX RIS

APA Style

Protas, M., Isychenko, I. (2023). Contemporary Sculptural Haptics in Sociocultural Context. American Journal of Art and Design, 8(4), 99-106. https://doi.org/10.11648/j.ajad.20230804.11

Copy | Download

ACS Style

Protas, M.; Isychenko, I. Contemporary Sculptural Haptics in Sociocultural Context. Am. J. Art Des. 2023, 8(4), 99-106. doi: 10.11648/j.ajad.20230804.11

Copy | Download

AMA Style

Protas M, Isychenko I. Contemporary Sculptural Haptics in Sociocultural Context. Am J Art Des. 2023;8(4):99-106. doi: 10.11648/j.ajad.20230804.11

Copy | Download

@article{10.11648/j.ajad.20230804.11,
  author = {Maryna Protas and Igor Isychenko},
  title = {Contemporary Sculptural Haptics in Sociocultural Context},
  journal = {American Journal of Art and Design},
  volume = {8},
  number = {4},
  pages = {99-106},
  doi = {10.11648/j.ajad.20230804.11},
  url = {https://doi.org/10.11648/j.ajad.20230804.11},
  eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.ajad.20230804.11},
  abstract = {In the paper the phenomenon of the so-called contemporary sculptural haptics is discussed. Under this term the authors understand the quality of contemporary art objects to make sight bodily, that is, to reduce any image or imagery that these objects (be they physical or virtual) attempt to represent to merely physical shapes, which is done in such a way that the horizon of the transcendental appears to be sealed off or cut off by immense sensory overload. Consequently, when dealing with sculptural haptics our eyes rather "touch" the art object (even if it is a seemingly shapeless and amorph sculpture) than look at it. This lack or collapse of transcendental horizon that was once glowing from the inside of things and especially works of art results in a form of sensual eternalism, when art is understood only as something that represents this or that form of "reality", be it the reality of concepts produced by our mind to describe the world we live in or the so-called "physical reality" of dense material objects or any other given, particular, defined form of reality, as opposed to Transcendental Reality as such. It is also stated that haptics of this kind, overall, results in an uncritical attitude when works of public art that are totally irrelated to the unique character of the place are installed in it (the so-called plop-art). Instead of this subtle form of the violence of international market economy and post-capitalism over the residents of the place where such artworks are installed, more subtle and sensitive to the environment site-specific works should instead be preferred.
},
 year = {2023}
}

Copy | Download

TY  - JOUR
T1  - Contemporary Sculptural Haptics in Sociocultural Context
AU  - Maryna Protas
AU  - Igor Isychenko
Y1  - 2023/11/24
PY  - 2023
N1  - https://doi.org/10.11648/j.ajad.20230804.11
DO  - 10.11648/j.ajad.20230804.11
T2  - American Journal of Art and Design
JF  - American Journal of Art and Design
JO  - American Journal of Art and Design
SP  - 99
EP  - 106
PB  - Science Publishing Group
SN  - 2578-7802
UR  - https://doi.org/10.11648/j.ajad.20230804.11
AB  - In the paper the phenomenon of the so-called contemporary sculptural haptics is discussed. Under this term the authors understand the quality of contemporary art objects to make sight bodily, that is, to reduce any image or imagery that these objects (be they physical or virtual) attempt to represent to merely physical shapes, which is done in such a way that the horizon of the transcendental appears to be sealed off or cut off by immense sensory overload. Consequently, when dealing with sculptural haptics our eyes rather "touch" the art object (even if it is a seemingly shapeless and amorph sculpture) than look at it. This lack or collapse of transcendental horizon that was once glowing from the inside of things and especially works of art results in a form of sensual eternalism, when art is understood only as something that represents this or that form of "reality", be it the reality of concepts produced by our mind to describe the world we live in or the so-called "physical reality" of dense material objects or any other given, particular, defined form of reality, as opposed to Transcendental Reality as such. It is also stated that haptics of this kind, overall, results in an uncritical attitude when works of public art that are totally irrelated to the unique character of the place are installed in it (the so-called plop-art). Instead of this subtle form of the violence of international market economy and post-capitalism over the residents of the place where such artworks are installed, more subtle and sensitive to the environment site-specific works should instead be preferred.

VL  - 8
IS  - 4
ER  -

Copy | Download