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艺术的终结-DIKWP哲学的主观客观化

已有 2186 次阅读 2023-2-1 11:16 |系统分类:论文交流

原文链接如下：

The End of Art -DIKWP Philosophy's Subjectification of Objective Existence/Semantics,1st February 2023

DOI: 10.13140/RG.2.2.31630.84803

Project: DIKWP: Semantic Computation-Existence Computation-Essence Computation-Cognitive Computation Yucong Duan

艺术的终结-DIKWP哲学的主观客观化

The End of Art - DIKWP Philosophy’s Subjectification of Objective Existence/Semantics

Yucong Duan（段玉聪）

DIKWP research group, 海南大学(Hainan University)

Email: duanyucong@hotmail.com

DIKWP作为一种技术化的计算与推理哲学，不用担心应对米格尔·德·乌纳穆诺·伊·胡戈(Miguel De Unamuno Jugo)和王浩(Hao Wang, author of “Beyond Analytic Philosophy”)所担心的两难境遇：在狭窄的海峡中航行，海峡的一边是教条主义的明崖暗礁，另一边是附庸风雅主义的凶险漩涡。更不用担心重新经历鲁伊兹·艾格博特斯·杨·布劳威尔(Luitzen Egbertus Jan Brouwer ) 开创直觉主义时与大卫·希尔伯特(David Hilbert)的对立。

弗里德里希·威廉·尼采(Friedrich Wilhelm Nietzsche)认为艺术和美是人生最重要的价值，并使人们依恋和热爱生命。如果艺术是为人生服务，那么数字化时代的人是什么，将如何定义人？古希腊哲学中人被定义为会言语的动物。黑格尔描述，在古代寓言中，人由泥土(Humus)构造，活着就要操心(Cura)，泥土人在操心过程中实现可能的各种自由存在，也即完善(Perfecti)。

伊曼努尔·康德(Immanuel Kant)将哲学的基础问题“人是什么”分成“我们能够知道什么”、“我应该做什么”、“我能希望什么”。由于关于人是什么的概念众说纷纭，我们提出在数字化时代的人的组成成分可以被完整对应到数据成分(Data Property)、信息成分(Information Property)、知识成分(Knowledge Property)、智慧成分(Wisdom Property)、意图成分(Wisdom Property)-- DIKWP数字人，并在DIKWP的意图驱动的DIKWP成分转化(Transformation(D-I-K-W-P))中实现辩证式发展。通过将人定义为DIKWP化的人，我们将对人的意义从存在意义上获得比遴选各种人类概念更具体的DIKWP客观真实性以及DIKWP交互意义确认。至于人的发展与划分，男女性别的后天性可能都是主要的，西蒙娜·德·波伏娃(Simone de Beauvoir)直接提出“女性不是天生的，而是被塑造的”。那么DIKWP化的人的过程，从DIKWP机器学习链“数据学习->信息学习->知识学习->智慧学习->意图学习”看来包括：站在第三者人的观察视角，婴儿成长过程的主要部分，可以描述为以人和野兽差异的人的共性的数据学习为主；进而发展到以男女差异的信息学习为主；再到个体人的个性知识学习和智慧创造学习。王浩从现象学出发，面对“哲学究竟得做点什么”提出哲学现象描述的目标：忠实显露吾辈之所知、所信及所感的本相，并重点进行恰当遴选与排序。这正是DIKWP技术化的目标，DIKWP借助P驱动将遴选和排序由面向大众的不可能的调和，以及对变化的适应困难，变成了依据P的功能安排乃至权衡调配与效率优化。

艺术作为以艺术品为媒介的一种人与人之间或自我表达交流的通讯方式。现代数字技术的发展不仅是对传统艺术及艺术市场的复制，还包括各种颠覆。

(1)艺术发展空间的创新表达封闭与变化形式完结

DIKWP数字化的人将面对DIKWP化的实在与真实，涵盖：对应相同语义抽象的数据真实/实在(Data Reality/Truth), 对应主观差异语义的信息真实/实在(Information Reality/Truth), 对应完整语义的知识真实/实在(Knowledge Reality/Truth), 对应(价值驱动的)跨数据、信息、知识的类型间关联与转换的间接语义的智慧真实/实在(Wisdom Reality/Truth), 和呈现问题输入和输出语义对的意图真实/实在(Purpose Reality/Truth)： DIKWP 数字真实链(Digital Reality/Truth Chain)。

弗里德里希·威廉·尼采指出人的大部分内心活动是无意识的，有意识的部分包括思想或情绪状态，都不能用语言概念完全表达。进而词语概念的表达遗失了思想和情感的个性化部分，而将它们基于相同语义同质数据简化了。然而在理解的客观内容认知主观化过程中，每个人都将按各自的经验进行理解。我们认为按各自的DIKWP体系进行理解。我们认为是主观信息到客观数据化。我们认为主观就是信息化的，客观就是数据化的。进而我们提出按主观(SUB) vs. 客观(OBJ)的交互表达模式对艺术表达模式进行如下分类：

Pattern<SUB, OBJ>::={(OBJ-SUB), (SUB-OBJ), (OBJ-OBJ), (SUB-SUB)}

(OBJ-SUB)客观到主观-客观主观化(Subjectification of Objective Existence/Semantics )的感受、语义与情感表达、转换与传递(Objective to Subjective Sense-Semantics-Emotion Expression, Conversion and Transfer)。面对DIKWP真实意义，(OBJ-SUB)基础性对应：客观到主观的感受到语义与情感表达、转换与传递(Objective to Subjective Sense to Semantics-Emotion Expression, Conversion and Transfer)。

(SUB-OBJ)主观到客观-主观客观化(Objectification of Subjective Existence/Semantics )的感受、语义与情感表达、转换与传递(Subjective to Objective Sense-Semantics-Emotion Expression, Conversion and Transfer)。

面对DIKWP真实意义，(SUB-OBJ)基础性对应：主观到客观的语义与情感到感受的表达、转换与传递(Objective to Subjective Semantics-Emotion to Sense Expression, Conversion and Transfer)。

(OBJ-OBJ)客观到客观的感受、语义与情感表达、转换与传递(Objective to Objective Sense-Semantics-Emotion Expression, Conversion and Transfer)。面对DIKWP真实意义，(OBJ-OBJ)基础性对应：客观到客观的感受到感受传递(Objective to Objective Sense-Sense Transfer)。

(SUB-SUB)主观到主观的感受、语义与情感表达、转换与传递(Subjective to Subjective Sense-Semantics-Emotion Expression, Conversion and Transfer)。面对DIKWP真实意义，(SUB-SUB)基础性对应：客观到客观的情感到情感传递(Subjective to Subjective Emotion-Emotion Transfer)。

奥诺雷·德·巴尔扎克(Honoré·de Balzac)总结心底开朗的人喜欢同感落日过程。我们从主客观融合分析，用内心的光芒对接点燃与主导客观世界，并是一个从主观到客观的扩大和一体化过程，代表着伴随体验同一的自由主观空间的扩大(OBJ-SUB)；而心底悲观的人则会内心主观被外在客观的消融所影响与侵蚀，减少了主观自在的空间(SUB-OBJ)。

从直觉主义出发，DIKWP数字化的人将面对DIKWP实在构建DIKWP化的数字作品。在DIKWP真实的真实世界中，D体系是fixed的感知存在体系，I体系是相对的主观本质体系，K体系是主观存在假设，W体系是fixed的本质体系，P体系是驱动他们打通DIKWP的体系。

美作为对真实的感受和交流的认知媒介，对美评价就完全来自对DIKWP真实的发现、发掘、表述、传达的程度和效率的定性、比较与定量。其中对美的基本成分定性将按照{(OBJ-SUB), (SUB-OBJ), (OBJ-OBJ), (SUB-SUB)}进行对应。

当查尔斯·特纳(Charles Turner)把语义作为目标而不是实体或概念作为目标，颠覆的不仅是颜色和光线作为客观目标，实际上进行了从(OBJ-OBJ)到(SUB-OBJ)的转变：(OBJ-OBJ)->(SUB-OBJ)。

巴勃罗·毕加索(Pablo Picasso)曾经画其所知而非其所视，来实现客观数据到主观信息和知识的客观主观化认知以及从主观认知信息与知识的主观呈现，这进行了从(OBJ-OBJ)到(SUB-SUBJ)的转变：(OBJ-OBJ)->(SUB-SUB)。在DIKWP真实的意义上，这也实现了从数据客观数据真实审美到主观信息真实审美的审美认知转变。

埃德加·德加(Edgar Degas)的可能意识到(OBJ-OBJ)方式追求客观呈现对客观世界的真实完美所付出的审美代价或牺牲已经得不偿失，进而放弃约束乃至透视中心原则等，建立在肯定不完美的普遍真实性基础上的客观真实美。

奥斯卡-克劳德·莫奈(Oscar-Claude Monet)用细碎的色彩替代对数据细节细化的客观真实性追求，不继续承受客观精确化的持续确定性挑战，这是对客观数据真实的极限追求的不可得或不可达的辩证性对立转变为主观抽象替代，实现了(OBJ-OBJ)->(OBJ-SUB)。这一(OBJ-OBJ)->(OBJ-SUB)对立转变实现了审美从客观数据真实切换到主观数据真实。埃德加·德加事实上实践了用随意甚至随机框取的视角替代选择客观最优视角的优化带来的客观视角选取的挑战，不但避免了选取视角由于避免难以避免的主观性而越限越窄进入死胡同。这样的视角策略由于追求客观最优OBJ而放弃了不可达的避免主观SUBJ，反而通过大幅增加视角选取的随意性而柳暗花明的获取了观众认知中一种普遍意义上的数据客观真实性，赢得了审美认知空间伴随客观性的扩展，这一策略对应(SUB-OBJ)。视角组合。

保罗·塞尚(Paul Cézanne)借助多视点乃至直接将空间构造移除，实践信息组合的外化数据聚集以及抽象，实现了从对现实的数据客观真实再现(SUB-OBJ)到对现实的信息真实的再造(SUB-SUB)的真实审美的转变。

玛丽·卡萨特(Mary Cassatt)则主动进行(SUB-OBJ)视角的组合，进一步将二维平面的画面在时空中生动扩展，呈现了对信息真实和目标人物交互认知知识真实的主观感受，将数据真实美、信息真实美与知识真实美以多种认知交互方式组合在一起，包括(SUB-OBJ)与(SUB-SUB)。

爱德华·马奈(Édouard Manet)迁移日本版画的缺乏透视与中间色调的明暗的反立体空间的客观真实的审美取向，明确放弃现实中的客观真实性，并以平面呈现以及鲜明色彩的主观审美真实取而代之。

欧仁·德拉克罗瓦(Eugène Delacroix)在用色上考虑了颜色及其组合对人的心理影响的信息真实表达，从客观数据真实扩展了审美范畴到主观信息真实表达。乔治·修拉(Georges Seurat)不仅采用了夏尔.亨利的色彩和线条的系统化心理学知识，并基于光学和色彩理论通过实验进行客观科学和主观审美的结合。

奥斯卡-克劳德·莫奈后期从绘画的客观性真实的追求发展到主观性真实的追求，渐渐离开数据真实范畴的内容和意义而趋重信息真实的形式和质地，开创非具象艺术。他实际上追求的是从主观真实到主观真实的直接感受的感受以及情感的情感的直接认知交流的直接性的真实准确与相对间接性的效率优化。

野兽主义追求更为主观和强烈的艺术表现，更是提出借助绘画交流对心灵的治疗。从乔治·修拉、保罗·塞尚到文森特·威廉·梵高，基于对客观数据真实的突破到对客观数据主观信息化的突破，后印象派更进一步实现了信息到信息的主观到主观的传达和呈现，乃至主观客观化的表达创造。

文森特·威廉·梵高(Vincent Willem van Gogh)也经历了从眼见的客观数据真实的表达兴趣到对情绪、黑暗与力量等主观信息和抽象知识的理解的主观客观化(SUB-OBJ)表达的兴趣的转变，乃至激发了对生命、死亡和无限的感受的主观主观化(SUB-SUB)表达效果和效率的追求。

弗里德里希·威廉·尼采认为现代文明中作为手段的现代科学活动由于丧失目标而野蛮化了，并指出作为目的的文化的消失是根本原因。按照DIKWP哲学，作为手段的现代科学活动对于缺失了意图(Purpose)建构以及意图驱动(Purpose Driven)的DIKW体系，供求关系被独立与意图而外化与客观化为孤立决定一切事物的价值。在这样的DIKW体系之内只能构建缺乏主观性的客观机械化交互社会，即使也会呈现一定的商业“繁荣”，但以这样的只关注消费而隔离人的真正需求的商业为基础的被市场价格支配的文化中，人的真正内在价值不能被整体性的真正关注，而是成为碎片化的乃至盲目的外化客观价值和价格之间交互的牺牲品。在这样的文化中任何事物或活动本质上无法与主观人性包括人类关爱建立实在的联系，也就是客观物理世界与主观精神世界的本质联系，对应(SUB-OBJ)或(OBJ-SUB)。从DIKWP文化链“数据文化->信息文化->知识文化->智慧文化->意图文化”来看就是“数据文化->信息文化->知识文化”与“智慧文化->意图文化”的隔离。这种客观与主观的分离必将积累并最终以一种积累起来的冲突的形式体现在社会以及每个社会中的个体的人的统一性的不可达，也阻碍了社会文明发展到完整的DIKWP文明链“Data Civilization -> Information Civilization -> Knowledge Civilization -> Wisdom Civilization->Purpose Civilization”。后期的发展中虽然出现了彼得·德鲁克(Peter F.Drucker)等补救性的提出了目标管理，但目标拜仍域于交易导向的价值和价格客观化碎片空间从而无法突破公司以获利作为唯一目标的混乱加剧。

瓦西里·康定斯基(Wassily Kandinsky) 更进一步把(OBJ-OBJ)的数据客观真实当作表达内心精神世界的真实美的障碍加以排除。他不参照自然可见的任何数据真实，甚至排除了与数据真实有联系的描绘性和联想性的信息真实，以期待艺术美直达观看者的精神真实。他面向非客观物体或者没有客观真实主题的(SUB-SUB)限定的意图表现(包括精神反应或决断)，展现直觉表现和有意的抽象形式之间的关系。

面对客观与主观真实的在表达个性、感情、心灵时的对立，象征主义从极限意义否定客观数据真实世界通过媒介后的再次呈现的表达的客观真实的审美目的，进而面向观念、寓意、暗示的表达同时摒弃物质主义和现实主义，转向回归人性的直接对主观信息和知识的展现，对应从(OBJ-OBJ)与(SUB-OBJ))转变到(SUB-SUB)与(SUB-OBJ)：{(OBJ-OBJ),(SUB-OBJ)}->{(SUB-SUB),(OBJ-SUB)}。

奥蒂诺·雷东(Odilon Redon)虽然强调艺术的源泉来自对客观现实的观察，但认为绘画过程并不依赖视觉的直接传达以及再现，而展现出的更多的是主观想象，进而投身于寻找客观可观察数据目标物质现实后面隐藏的共性客观化的主观精神现实，并主动割断与客观数据真实的联系探寻对独立于客观数据真实的主观创造(SUB-SUB)的表达。

在保罗·高更（Paul Gauguin的克制遵循客观主观化后所知表现原则鼓励下，保罗.赛吕西耶(Paul Serusier)尝试了通过将线条和色彩基于主观客观化经验进行与被呈现主题进行理想化搭配，实现了对绘画者自身的个性化主观(SUB-OBJ)和呈现对象的客观主观化的结果(OBJ-SUB)的主观交互的综合高阶主观呈现，对应：{(SUB-OBJ), (OBJ-SUB)}。

我们认为由于语言的发明是对客观主观化再客观化的过程：从(OBJ-SUB)认知内化到(SUB-OBJ)语义概念化抽象化，因而语言的概念和语义的表达之间不可避免的权衡于范围和效率之间损失了其直接性。格奥尔格·威廉·弗里德里希·黑格尔(Georg Wilhelm Friedrich Hegel)、弗里德里希·威廉·尼采(Friedrich Wilhelm Nietzsche)、路德维希‧约瑟夫‧约翰‧维特根斯坦(Ludwig Josef Johann Wittgenstein) 都扼腕与抗争语言的不达，但又基于语言的概念化内在使用对这个(OBJ-SUB)到(SUB-OBJ)无解。而毕加索则探索了主观到客观再到主观的认知效率的改变的美的变美。

绘画和音乐的统一:

柏拉图时期音乐就已经经历了从 (OBJ-OBJ) 到(OBJ-SUB)再到(SUB-OBJ)到(SUB-SUB)的被认知和发掘过程，更被持续寄予教育乃至挽救、引导人类的使命。从现代神经科学的角度，音乐作为一定频段的波，其直接参与物理人乃至数字DIKWP人的交流和社会化塑造的无疑具有全面性。广义上讲一切可控或可预测或有规律的与人的感知以及认知进行的交互都是音乐，绘画、雕塑、舞蹈、体育、文学乃至数学等也是音乐。

如果传统的美就是对DIKWP主观与客观真实的经过媒介的表达与传达的主观与客观真实程度与效率。那么从效果上看，绘画是看的见的音乐，是视觉的音乐；音乐是听得到的绘画，是听觉的绘画。保罗·魏尔伦（Paul Verlaine）具体的进行了将词语的声音和绘画的色彩在情感效果上等同起来的实践。

(2)外在艺术存在必要性被主观感受生成替代

脑机接口将为人工生成数字化的视觉、数字化的触觉、数字化的嗅觉、数字化的听觉及其综合感受提供数字化的极大封闭空间。面对脑机接口的发展，艺术表达的空间主观内容进行客观外化的通讯方式将绕过语言及概念，将内在感受和外在行动数字化结合在一起，并以逐渐逼近人工认知或者人工意识的形态，借助电、磁、生物、化学、DNA/RNA等的认识物质化与精神物质化方式进行客观转换与实现。

脑脑接口(Brain-Brain Interface OR Cognition-Cognition Interface)作为一种可见的人工艺术(Artificial Art)必将出现，更将跨越主观客观化的脑机解码过程，以及客观主观化的机脑编码过程，实现主观到主观的双向直接通讯。最终这一发展将逐渐抛弃基于概念的语言的含混与低效，也将最终带来超越概念直接面向认知乃至无意识或下意识之间的联系与交流。

这种Artificial Art将不同于人工智能艺术(AI Art)仍属于对传统艺术的数字化或DIKWP化（包括数据艺术->信息艺术->知识艺术->智慧艺术->意图艺术），它超越Art频谱传递通讯，是全方位直接面向认知神经系统进行定制、感受与调节，是终极艺术技术。

不仅当前的艺术作为中介注定被抛弃，希腊哲学中用会言语定义的人的定义也将被颠覆，当然人作为“理性的动物”的理性也将被归于一隅。

进而艺术作为引发主观感受的客观呈现的外部物理媒介的存在必要性将被直接的生成的数字化结果主观感受服务所否定。在广义的元宇宙未来，这个数字化艺术感受服务提供需要人类价值和伦理的智慧准备和DIKWP治理支撑(包括“数据治理->信息治理->知识治理->智慧治理->意图治理”)，要应对数字毒品、数字霸权、数字暴力、数字正义、数字公平等。

(3)最后的艺术创新角落-The Last Corner of Art

这是一个“不存在的存在”与“存在的不存在”交汇的地方，也被确定的不确定之处。

如果您的读到这部分，并且对可能的艺术创新的空间感兴趣的话，请阅读参考文献[9]中提到的输入的不准确、不正确、不精确、不一致到输出的不准确、不正确、不精确、不一致定义的问题P：

P::={<Input(不准确、不正确、不精确、不一致), Output(不准确、不正确、不精确、不一致)>, Purpose Driven }

然后欢迎联系我的邮箱对此部分进行合作交流：Yucong Duan, DIKWP research group, Hainan University, Email: duanyucong@hotmail.com

结束语

艺术如此动人与璀璨，但创新也将离之不返。伴随着艺术作为中介的退场与落寞，DIKWP化的必然崛起将统一主客观融合，我们也将在解构、重构、变化中迎来新的人之为人。

References:

[1] Yucong Duan, DIKWP Ultimate of Digital Economy: From Asymmetric Data Economy, Asymmetric Information Economy to Symmetric Knowledge Economy and Symmetric Wisdom Economy, November 2022，DOI: 10.13140/RG.2.2.32178.48328

英文原文章阅读链接：

https://www.researchgate.net/publication/365635800_DIKWP_Ultimate_of_Digital_Economy_From_Asymmetric_Data_Economy_Asymmetric_Information_Economy_to_Symmetric_Knowledge_Economy_and_Symmetric_Wisdom_Economy

中文全文章阅读链接：

https://blog.sciencenet.cn/home.php?mod=space&uid=3429562&do=blog&id=1365170

[2] Yucong Duan, A philosophy of Purpose Driven Data, Information, Knowledge, Wisdom: DIKWP Philosophy (Purpose Driven Data, Information, Knowledge, Wisdom : DIKWP Philosophy)

英文原文章阅读链接：

https://www.researchgate.net/publication/367087836_A_philosophy_of_Purpose_Driven_Data_Information_Knowledge_Wisdom_DIKWP_Philosophy_Purpose_Driven_Data_Information_Knowledge_Wisdom_DIKWP_Philosophy

中文全文章阅读链接：

https://blog.sciencenet.cn/home.php?mod=space&uid=3429562&do=blog&id=1371722

[3] Yucong Duan, Uncertainty Processing: What is Objectification of Subjective Content AND Why we need the Transformation from Subjective to Objective？

英文原文章阅读链接：

https://www.researchgate.net/publication/359709063_Uncertainty_Processing_What_is_Objectification_of_Subjective_Content_AND_Why_we_need_the_Transformation_from_Subjective_to_Objective_buquedingxingchulishenmeshizhuguankeguanhuaweishenmexuyaocongzhugua

中文全文章阅读链接：

https://blog.sciencenet.cn/blog-3429562-1332419.html

[4] Yucong Duan, Science-Art-Innovation-DIKWP

英文原文章阅读链接：

https://www.researchgate.net/publication/367218067_Science-Art-Innovation-DIKWP?channel=doi&linkId=63c76e13e922c50e99a2ffcf&showFulltext=true

中文全文章阅读链接：

https://blog.sciencenet.cn/blog-3429562-1372464.html

[5] Yucong Duan, The end of “Objective” mathematics as a return to “Subjective”

英文原文章阅读链接：

https://www.researchgate.net/publication/358607773_The_end_of_Objective_mathematics_as_a_return_to_Subjective?channel=doi&linkId=620b63da634ff774f4ce987c&showFulltext=true

中文全文章阅读链接：

https://blog.sciencenet.cn/blog-3429562-1325495.html

[6] Yucong Duan, Uncertainty Processing: What is Objectification of Subjective Content AND Why we need the Transformation from Subjective to Objective？

英文原文章阅读链接：

中文全文章阅读链接：

https://blog.sciencenet.cn/blog-3429562-1332419.html

[7] Yucong Duan, Chains of DIKWP Digital Economics: DIKWP Digital Culture Chain::=Data Culture->Information Culture->Knowledge Culture->Wisdom Culture->Purpose Culture

英文原文章阅读链接：

https://www.researchgate.net/publication/366138154_DIKWP_Digital_Economics_DIKWP_Digital_Culture_Chain_Data_Culture-Information_Culture-Knowledge_Culture-Wisdom_Culture-Purpose_Culture?channel=doi&linkId=6392e6d9e42faa7e75ab6506&showFulltext=true

中文全文章阅读链接：

https://blog.sciencenet.cn/blog-3429562-1367243.html

[8] Yucong Duan, Chains of DIKWP Digital Economics: DIKWP Digital Civilization Chain::=Data Civilization -> Information Civilization -> Knowledge Civilization -> Wisdom Civilization->Purpose Civilization

英文原文章阅读链接：

https://www.researchgate.net/publication/366093541_DIKWP_Digital_Economics_DIKWP_Digital_Civilization_Chain_Data_Civilization_-_Information_Civilization_-_Knowledge_Civilization_-_Wisdom_Civilization-Purpose_Civilization?channel=doi&linkId=63915c8fe42faa7e75a61eb4&showFulltext=true

中文全文章阅读链接：

https://blog.sciencenet.cn/blog-3429562-1367042.html

[9] Yingtian MeiYucong Duan, Lei YuHaoyang Che , Purpose Driven Biological Lawsuit Modeling and Analysis Based on DIKWP，January 2023, DOI: 10.1007/978-3-031-24386-8_14, In book: Collaborative Computing: Networking, Applications and Worksharing

The End of Art - The Subjective Objectification of DIKWP Philosophy

The End of Art - DIKWP Philosophy’s Subjectification of Objective Existence/Semantics

Yucong Duan

DIKWP research group, Hainan University, China

Email: duanyucong@hotmail.com

DIKWP as a technical computing and reasoning philosophy, do not worry about dealing with Miguel De Unamuno y Hugo (Miguel De Unamuno Jugo) and Wang Hao (Hao Wang, author of “Beyond Analytic Philosophy” ) dreads the dilemma: navigating a narrow strait between the precipices of dogmatism on one side and the sinister eddies of artyism on the other. And don't worry about reliving Luitzen Egbertus Jan Brouwer 's intuitionistic opposition to David Hilbert.

Friedrich Wilhelm Nietzsche believed that art and beauty are the most important values in life and make people attach and love life. If art serves life, then what is a person in the digital age and how will a person be defined? In ancient Greek philosophy, man was defined as a speaking animal. Hegel described that in ancient fables, people are constructed from clay (Humus), and they have to worry about (Cura) to live. Clay people realize all possible free existences in the process of care, that is, perfection (Perfecti).

Immanuel Kant divided the basic question of philosophy "what is man" into "what can we know", "what should I do", and "what can I hope for". Since there are different opinions about what a person is, we propose that the components of a person in the digital age can be completely mapped to data components (Data Property), information components (Information Property), knowledge components (Knowledge Property), wisdom components (Wisdom Property) ), Wisdom Property - DIKWP digital human, and realize dialectical development in DIKWP's intent-driven DIKWP component transformation (Transformation (D-I-K-W-P)). By defining people as DIKWPized people, we will obtain more specific DIKWP objective authenticity and DIKWP interactive meaning confirmation for the meaning of people from the existential sense than selecting various human concepts. As for the development and division of human beings, the acquired nature of men and women may be the main one. Simone de Beauvoir (Simone de Beauvoir) directly proposed that "women are not born, but shaped". Then the DIKWP human process, from the DIKWP machine learning chain "data learning->information learning->knowledge learning->wisdom learning->intention learning" includes: from the perspective of a third person, the baby's growth process The main part of it can be described as the data learning based on the commonality of human beings and beasts; then it develops to the information learning based on the differences between men and women; and then to the learning of individual knowledge and wisdom creation of individual people. Starting from phenomenology, Wang Hao proposed the goal of describing philosophical phenomena in the face of "what should philosophy do?": faithfully reveal the truth of what we know, believe, and feel, and focus on proper selection and ranking. This is exactly the goal of DIKWP's technicalization. With the help of P-driven, DIKWP turns the selection and sorting from the impossible coordination for the public and the difficulty of adapting to changes to the functional arrangement based on P and even the trade-off deployment and efficiency optimization.

Art is a means of communication between people or self-expression through the medium of artworks. The development of modern digital technology is not only a copy of traditional art and the art market, but also various subversions.

(1) The innovative expression of art development space is closed and the form of change is completed

DIKWP digitized people will face the reality and reality of DIKWP, covering: Data Reality/Truth corresponding to the same semantic abstraction, Information Reality/Truth corresponding to subjective difference semantics, and completeness Knowledge Reality/Truth of semantics, Wisdom Reality/Truth of indirect semantics (Wisdom Reality/Truth) corresponding to (value-driven) association and conversion across data, information, and knowledge types, and presenting problem input Purpose Reality/Truth and Output Semantic Pair: DIKWP Digital Reality/Truth Chain.

Friedrich Wilhelm Nietzsche pointed out that most of people's inner activities are unconscious, and the conscious part, including thoughts or emotional states, cannot be fully expressed by language concepts. Furthermore, the expression of words and concepts loses the personalized part of thoughts and emotions, and simplifies them based on the same semantically homogeneous data. However, in the process of cognitive subjectification of the objective content of understanding, everyone will understand according to their own experience. We believe that it should be understood according to their respective DIKWP systems. We think it is from subjective information to objective data. We believe that subjectivity is information-based, and objective is data-based. Furthermore, we propose to classify artistic expression modes according to the interactive expression mode of subjective (SUB) vs. objective (OBJ) as follows:

Pattern<SUB, OBJ>::={(OBJ-SUB), (SUB-OBJ), (OBJ-OBJ), (SUB-SUB)}

(OBJ-SUB) Objective to Subjective Sense-Semantics-Emotion Expression, Conversion and Transfer of Subjectification of Objective Existence/Semantics. Facing the true meaning of DIKWP, (OBJ-SUB) basic correspondence: objective to subjective sense to semantics and emotional expression, conversion and transfer (Objective to Subjective Sense to Semantics-Emotion Expression, Conversion and Transfer).

(SUB-OBJ) Subjective to Objective Sense-Semantics-Emotion Expression, Conversion and Transfer of Objectification of Subjective Existence/Semantics.

Facing the real meaning of DIKWP, (SUB-OBJ) basic correspondence: from subjective to objective semantics and emotion to feeling expression, conversion and transfer (Objective to Subjective Semantics-Emotion to Sense Expression, Conversion and Transfer).

(OBJ-OBJ) Objective to Objective Sense-Semantics-Emotion Expression, Conversion and Transfer. Facing the true meaning of DIKWP, (OBJ-OBJ) basic correspondence: Objective to Objective Sense-Sense Transfer.

(SUB-SUB) Subjective to Subjective Sense-Semantics-Emotion Expression, Conversion and Transfer. Facing the true meaning of DIKWP, (SUB-SUB) basic correspondence: objective to objective emotion to emotion transfer (Subjective to Subjective Emotion-Emotion Transfer).

Honoré de Balzac concluded that open-minded people like to empathize with the sunset. We analyze from the fusion of subject and object, use inner light to ignite and dominate the objective world, and it is a process of expansion and integration from subjective to objective, which represents the expansion of the free subjective space (OBJ-SUB) accompanied by the same experience; and People who are pessimistic at the bottom of their hearts will be affected and eroded by the ablation of external objectivity, reducing the space for subjective freedom (SUB-OBJ).

Starting from intuition, DIKWP digitizers will actually construct DIKWP digital works in the face of DIKWP.

In the real world of DIKWP, the D system is the fixed perception existence system, the I system is the relative subjective essence system, the K system is the subjective existence assumption, the W system is the fixed essence system, and the P system is the system that drives them to get through DIKWP .

As beauty is a cognitive medium for real feelings and communication, the evaluation of beauty comes entirely from the qualitative, comparative and quantitative analysis of the degree and efficiency of DIKWP’s true discovery, excavation, expression, and communication. Among them, the characterization of the basic components of beauty will correspond to {(OBJ-SUB), (SUB-OBJ), (OBJ-OBJ), (SUB-SUB)}.

When Charles Turner made semantics the goal rather than entities or concepts, what was subverted was not only color and light as objective goals, but actually a shift from (OBJ-OBJ) to (SUB-OBJ) : (OBJ-OBJ)->(SUB-OBJ).

Pablo Picasso (Pablo Picasso) once painted what he knew rather than what he saw, to achieve objective and subjective cognition from objective data to subjective information and knowledge, and from subjective cognition to subjective presentation of information and knowledge. Transition from (OBJ-OBJ) to (SUB-SUBJ): (OBJ-OBJ) -> (SUB-SUB). In the true sense of DIKWP, this also realizes the transformation of aesthetic cognition from the real aesthetics of objective data to the real aesthetics of subjective information.

Edgar Degas may have realized that the (OBJ-OBJ) method pursues the objective presentation of the true perfection of the objective world at an aesthetic cost or sacrifice that is outweighed by the loss, and then abandons constraints and even the principle of perspective centering, etc., based on Affirming the beauty of objective reality based on the universal reality of imperfection.

Oscar-Claude Monet (Oscar-Claude Monet) used subdivided colors to replace the pursuit of objective truth in data details, and did not continue to bear the continuous challenge of objective precision, which is the limit of objective data truth The dialectical opposition of unobtainable or unreachable pursuit is transformed into subjective abstract substitution, realizing (OBJ-OBJ)->(OBJ-SUB). This (OBJ-OBJ)->(OBJ-SUB) opposite transformation realizes the aesthetic switch from objective data truth to subjective data truth. Edgar Degas actually practiced the challenge of objective perspective selection brought about by the optimization of selecting the objective optimal perspective with random or even randomly framed perspectives, not only avoiding the selection of perspectives from crossing the limit due to avoiding the inevitable subjectivity The narrower enters a cul-de-sac. This kind of perspective strategy gives up the unreachable avoidance of subjective SUBJ due to the pursuit of the objective optimal OBJ. Instead, by greatly increasing the randomness of perspective selection, it has obtained a general sense of objective authenticity of data in the audience's cognition, and won This strategy corresponds to (SUB-OBJ) the expansion of aesthetic cognition space accompanied by objectivity. combination of perspectives.

Paul Cézanne used multiple viewpoints and even directly removed the spatial structure, practiced the externalized data aggregation and abstraction of information combination, and realized the transformation from the objective and true representation of reality data (SUB-OBJ) to the information of reality Authentic aesthetic transformation for authentic reinvention (SUB-SUB).

Mary Cassatt (Mary Cassatt) took the initiative to combine (SUB-OBJ) perspectives, further expanding the two-dimensional plane picture vividly in time and space, presenting the subjective feeling of the real information and the real interactive cognition knowledge of the target characters , combining the real beauty of data, the real beauty of information and the real beauty of knowledge in a variety of cognitive interactive ways, including (SUB-OBJ) and (SUB-SUB).

Édouard Manet (Édouard Manet) migrated the objective and real aesthetic orientation of Japanese prints that lack perspective and the light and dark anti-stereoscopic space of mid-tones, explicitly abandoning the objective reality in reality, and presenting it in a plane and the subjective aesthetic reality of bright colors instead.

Eugène Delacroix considers the true expression of information that color and its combination have on people's psychological influence in the use of color, and expands the aesthetic category from objective data to the true expression of subjective information. Georges Seurat not only adopted Charles Henry's systematic psychological knowledge of color and line, but also combined objective science and subjective aesthetics through experiments based on optics and color theory.

Oscar-Claude Monet developed from the pursuit of objective truth in painting to the pursuit of subjective truth in his later period, gradually departing from the content and meaning of the category of data truth and focusing on the form and texture of information truth, creating non-figurative art. What he actually pursues is from the subjective truth to the direct perception of the subjective truth and the direct recognition and communication of emotion, the accuracy of the directness, the efficiency optimization of the relative indirection.

Fauvism pursues a more subjective and intense artistic expression, and even proposes the healing of the soul through painting and communication. From Georges Seurat, Paul Cézanne to Vincent William Van Gogh, based on the breakthrough of the real objective data and the subjective informatization of objective data, the Post-Impressionists further realized the subjective and subjective from information to information. The communication and presentation, and even the expression and creation of subjective objectification.

Vincent Willem van Gogh also experienced subjective objectification (SUB-OBJ) from the authentic expression of interest in objective data he saw to the understanding of subjective information and abstract knowledge such as emotions, darkness, and power The change of interest in expression even inspired the pursuit of expressive effect and efficiency of the subjective subjectification (SUB-SUB) of life, death and infinite feelings.

Friedrich Wilhelm Nietzsche believed that modern scientific activities as a means in modern civilization have been barbarized due to the loss of goals, and pointed out that the disappearance of culture as an end is the fundamental reason. According to the DIKWP philosophy, modern scientific activities as a means for the DIKW system that lacks the purpose (Purpose) construction and purpose drive (Purpose Driven), the supply and demand relationship is externalized and objectified by independence and intention to determine the value of all things in isolation. Within such a DIKW system, only an objective and mechanized interactive society lacking in subjectivity can be built. Even if there will be a certain degree of commercial "prosperity", but based on such a business that only focuses on consumption and isolates people's real needs, it is accepted by the market. In a price-dominated culture, the real inner value of people cannot be truly concerned by the whole, but becomes a victim of the fragmented and even blind interaction between externalized objective value and price. In such a culture, any thing or activity cannot establish a real connection with subjective humanity, including human care, that is, the essential connection between the objective physical world and the subjective spiritual world, corresponding to (SUB-OBJ) or (OBJ-SUB). From the perspective of the DIKWP culture chain "data culture->information culture->knowledge culture->wisdom culture->intention culture" is the isolation of "data culture->information culture->knowledge culture" and "wisdom culture->intent culture" . This separation of objective and subjective will inevitably accumulate and eventually manifest itself in the form of accumulated conflicts in society and the unreachability of the unity of individuals and people in each society, which also hinders the development of social civilization to complete DIKWP Civilization chain "Data Civilization -> Information Civilization -> Knowledge Civilization -> Wisdom Civilization -> Purpose Civilization". In the later development, although Peter F. Drucker and other remedial proposals for target management appeared, target worship is still limited to the transaction-oriented value and price objectification fragmentation space, so it is impossible to break through the company to make profits Chaos intensifies as the only goal.

Wassily Kandinsky (Wassily Kandinsky) further removed the objective reality of (OBJ-OBJ) data as an obstacle to expressing the true beauty of the inner spiritual world. He does not refer to any data that can be seen naturally, and even excludes descriptive and associative information that is related to the data, hoping that the beauty of art can directly reach the spiritual reality of the viewer. He shows the relationship between intuitive representations and intentional abstract forms, oriented towards non-objective objects or (SUB-SUB) delimited intentional representations (including mental responses or decisions) without an objectively real subject.

Faced with the opposition between objective and subjective truth in expressing personality, emotion, and soul, symbolism denies the objective and true aesthetic purpose of the re-presentation of the objective data and the real world through the media from the extreme meaning, and then faces concepts, meanings, and hints At the same time, it abandons materialism and realism, and turns to the direct display of subjective information and knowledge that returns to human nature, correspondingly changing from (OBJ-OBJ) and (SUB-OBJ) to (SUB-SUB) and (SUB-OBJ) : {(OBJ-OBJ),(SUB-OBJ)}->{(SUB-SUB),(OBJ-SUB)}.

Although Odilon Redon (Odilon Redon) emphasized that the source of art comes from the observation of objective reality, he believed that the painting process does not depend on the direct communication and reproduction of vision, but shows more subjective imagination, and then devotes himself to Look for the common objectified subjective spiritual reality hidden behind the objective material reality of objective and observable data, and actively cut off the connection with the real objective data to explore the expression of the subjective creation (SUB-SUB) independent of the real objective data.

Encouraged by Paul Gauguin's refraining from following the principle of representation of what is known after objectification, Paul Serusier experimented by combining lines and colors with the presented subject based on the experience of subjective objectification. The ideal collocation realizes the comprehensive high-level subjective presentation of the subjective interaction between the painter's own individualized subjectivity (SUB-OBJ) and the objective and subjective results of the presentation object (OBJ-SUB), corresponding to: {(SUB-OBJ ), (OBJ-SUB)}.

We believe that since the invention of language is a process of subjectivization and re-objectification of the object: from (OBJ-SUB) cognitive internalization to (SUB-OBJ) semantic conceptualization and abstraction, there is an inevitable gap between the concept of language and the expression of semantics The tradeoff between range and efficiency loses its immediacy. Georg Wilhelm Friedrich Hegel, Friedrich Wilhelm Nietzsche, Ludwig Josef Johann Wittgenstein Johann Wittgenstein) complained and fought against the inadequacy of language, but based on the inner use of conceptualization of language, there is no solution to this (OBJ-SUB) to (SUB-OBJ). Picasso explored the beauty of the change of cognitive efficiency from subjective to objective and then to subjective.

Unity of painting and music:

During the period of Plato, music has gone through the process of being recognized and discovered from (OBJ-OBJ) to (OBJ-SUB) to (SUB-OBJ) to (SUB-SUB), and it has been continuously entrusted with education, even saving and guiding human beings duty of. From the perspective of modern neuroscience, music, as a wave of a certain frequency band, is undoubtedly comprehensive in its direct participation in the communication and socialization of physical people and even digital DIKWP people. In a broad sense, all controllable, predictable, or regular interactions with human perception and cognition are music, as are paintings, sculptures, dances, sports, literature, and even mathematics.

If traditional beauty is the subjective and objective authenticity and efficiency of DIKWP's subjective and objective truth expressed and conveyed through media. From the effect point of view, painting is music that can be seen, it is music of vision; music is painting that can be heard, it is painting of hearing. Paul Verlaine embodied the practice of equating the sound of words with the color of paint in emotional effect.

(2) The necessity of the existence of external art is replaced by the creation of subjective feelings

The brain-computer interface will provide a huge digital enclosed space for artificially generating digital vision, digital touch, digital smell, digital hearing and their comprehensive feelings. In the face of the development of brain-computer interface, the communication method of objectively externalizing the subjective content of artistic expression space will bypass language and concepts, digitally combine inner feelings and external actions, and gradually approach artificial cognition or artificial consciousness. The form of knowledge is objectively transformed and realized with the help of electricity, magnetism, biology, chemistry, DNA/RNA and other methods of materialization of cognition and materialization of spirit.

Brain-Brain Interface OR Cognition-Cognition Interface (Brain-Brain Interface OR Cognition-Cognition Interface) will emerge as a visible artificial art (Artificial Art), which will transcend the subjective and objectified brain-computer decoding process and the objective and subjective computer-brain coding process , to achieve subjective to subjective two-way direct communication. In the end, this development will gradually abandon the ambiguity and inefficiency of concept-based language, and will eventually bring beyond concepts and directly face the connection and communication between cognition and even the unconscious or subconscious.

This kind of Artificial Art will be different from artificial intelligence art (AI Art), which still belongs to the digitization or DIKWP of traditional art (including data art->information art->knowledge art->wisdom art->intent art), it goes beyond the art spectrum Transmitting communication is an all-round way to customize, feel and adjust directly to the cognitive nervous system, and it is the ultimate art technology.

Not only is the current art as an intermediary doomed to be abandoned, but the definition of people who can speak in Greek philosophy will also be subverted. Of course, the rationality of people as "rational animals" will also be reduced to one corner.

Furthermore, the necessity of the existence of art as an external physical medium of objective presentation that triggers subjective feelings will be negated by the directly generated digital results that serve subjective feelings. In the future of the metaverse in a broad sense, this digital art experience service provides wisdom preparation and DIKWP governance support (including "data governance -> information governance -> knowledge governance -> wisdom governance -> intention governance") that requires human values and ethics. Tackling digital drugs, digital supremacy, digital violence, digital justice, digital equity, and more.

(3) The Last Corner of Art Innovation-The Last Corner of Art

It is a place where "being that does not exist" meets "non-being that exists" and where uncertainty is determined.

If you're reading this and are interested in the space of possible artistic innovations, read reference [9] from Inaccurate, Incorrect, Inaccurate, Inconsistent to Inaccurate, Inconsistent in Input to Inaccurate, Inaccurate in Output. Correct, imprecise, inconsistently defined problem P:

P::={<Input(inaccurate, incorrect, imprecise, inconsistent), Output(inaccurate, incorrect, imprecise, inconsistent)>, Purpose Driven }

Then please contact my email address for cooperation and exchange on this part: Yucong Duan, DIKWP research group, Hainan University, Email: duanyucong@hotmail.com

Conclusion

Art is so moving and brilliant, but innovation will never come back. With the retreat and desolation of art as an intermediary, the inevitable rise of DIKWP will unify subjectivity and objective integration, and we will also usher in a new human being in the process of deconstruction, reconstruction and change.

References: