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The End of Art-Version2

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The End of Art — The Subjectification of Objectivity in DIKWP Philosophy-Version2

Yucong Duan

International Standardization Committee of Networked DIKWfor Artificial Intelligence Evaluation(DIKWP-SC)

World Artificial Consciousness CIC(WAC)

World Conference on Artificial Consciousness(WCAC)

(Email: duanyucong@hotmail.com)

Abstract

This article deeply explores the complex relationship between art development in the digital age and DIKWP (Data, Information, Knowledge, Wisdom, Purpose) philosophy. By introducing more representative artworks and artists, it provides a detailed analysis of the evolution of art from objectivity to subjectivity, and how this transformation is reflected within the DIKWP framework. The article aims to elucidate the end and rebirth of art in the digital context, and how DIKWP philosophy offers new perspectives for understanding human cognition, artistic innovation, and future social development.

IntroductionDIKWP as a Technological Philosophy of Computation and Reasoning

DIKWP Philosophy is a framework that integrates Data, Information, Knowledge, Wisdom, and Purpose, aiming to understand and describe human cognition and decision-making processes. It is not only applicable in technological and computational fields but also provides new analytical tools for philosophy, art, and social sciences.

Historically, philosophers have been exploring the essence of human cognition and the value of art. Friedrich Wilhelm Nietzsche believed that art and beauty are the most important values in life, making people attached to and love life. He emphasized the transcendence of art, considering that art can give life meaning and depth.

However, with the advent of the digital age, we must rethink the definitions of "human" and "art." In Ancient Greek philosophy, humans were defined as rational animals (animal rationale). Georg Wilhelm Friedrich Hegel described in ancient allegories that humans are made of clay (Humus), living requires care (Cura), and through caring, they achieve free existence, that is, perfection (Perfecti).

Immanuel Kant divided the fundamental philosophical question "What is man?" into:

  1. What can we know?

  2. What should I do?

  3. What may I hope for?

Since there are various concepts about "what is man," we propose that in the digital age, the components of man can correspond completely to Data, Information, Knowledge, Wisdom, and Purpose—that is, the DIKWP digital human. In the transformation driven by Purpose in DIKWP (Transformation(D-I-K-W-P)), dialectical development is realized.

By defining man as the DIKWP-ized human, our understanding of the meaning of man is no longer limited to abstract existential significance but obtains a more concrete DIKWP objective reality and confirmation of DIKWP interactive meaning.

The Development Process of DIKWP-ized Humans

Simone de Beauvoir pointed out in her book "The Second Sex" that "One is not born, but rather becomes, a woman," emphasizing the importance of postnatal factors in shaping one's identity and characteristics.

Therefore, the process of DIKWP-izing humans, from the DIKWP machine learning chain "Data Learning → Information Learning → Knowledge Learning → Wisdom Learning → Purpose Learning," includes:

  1. Data Learning: In the process of infant growth, mainly data learning of human commonality that differentiates humans from animals; perceiving the world, collecting sensory input, forming basic cognition.

  2. Information Learning: Development into information learning of gender differences; understanding symbols, language, social norms, forming personal cognition.

  3. Knowledge Learning: Accumulation of individual knowledge, building systematic understanding and theories through education and experience.

  4. Wisdom Learning: Forming in-depth understanding and application of knowledge through reflection and critical thinking.

  5. Purpose Learning: Clarifying personal goals and values, driving actions and decisions.

Hao Wang, from the phenomenological perspective, facing "what philosophy should do," proposed the goal of philosophical phenomenological description: Faithfully revealing the true nature of what we know, believe, and feel, and focusing on proper selection and ordering. This is precisely the goal of DIKWP technologization. DIKWP, driven by Purpose, transforms selection and ordering from impossible reconciliation facing the masses and the difficulty of adapting to changes into functional arrangement based on purpose, as well as trade-offs and efficiency optimization.

The Expression Modes of Art and the DIKWP FrameworkArt as a Means of Communication

Since ancient times, art has been an important medium for humans to express emotions, thoughts, and ideas. It is not only a presentation of beauty but also a means of communication between people or self-expression. Art can transcend the limitations of language and directly touch human emotions and the spiritual level.

The development of modern digital technology not only replicates traditional art and the art market but also includes various subversions. Digital technology provides artists with new tools and media, causing fundamental changes in the way art is created and disseminated, such as digital painting, virtual reality art, and interactive installations.

The Interaction Expression Mode of Subjectivity and Objectivity

We propose to classify art expression according to the interaction modes of Subjective (SUB) and Objective (OBJ):

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

  1. (OBJ-OBJ): Objective to Objective expression. Emphasizes faithful reproduction of objective reality, typical of traditional realistic painting.

  2. (OBJ-SUB): Objective to Subjective expression. The artist starts from objective reality and recreates through subjective feelings, emphasizing the influence of subjective experience on objective objects.

  3. (SUB-OBJ): Subjective to Objective expression. The artist expresses inner subjective emotions and thoughts through objective forms.

  4. (SUB-SUB): Subjective to Subjective expression. Completely detached from objective reality, directly expressing the inner spiritual world and abstract concepts.

DIKWP Digital Reality Chain

The DIKWP-ized human will face the DIKWP-ized reality and truth, encompassing:

  • Data Reality/Truth: Corresponds to data reality with identical semantic abstraction. Emphasizes objective, measurable facts.

  • Information Reality/Truth: Corresponds to information reality with subjective semantic differences. Data is interpreted and understood to form meaningful information.

  • Knowledge Reality/Truth: Corresponds to knowledge reality with complete semantics. Information is systematized and verified to form knowledge.

  • Wisdom Reality/Truth: Corresponds to wisdom reality with indirect semantics of cross-type association and transformation. In-depth understanding and application of knowledge, capable of judgment and decision-making.

  • Purpose Reality/Truth: Presents the purpose reality of the semantic pair of problem input and output. Clear goals and motivations driving actions.

The Evolution of Art Development and Analysis of Representative Artists

Art's development can be seen as an evolution from (OBJ-OBJ) to (SUB-SUB)—that is, from reproducing objective reality to expressing inner subjectivity. This process reflects the continuous deepening of human self-consciousness and cognition.

(OBJ-OBJ): Objective to Objective ExpressionThe Rise of Realism

Realism emerged in the mid-19th century, emphasizing objective depiction of real life and reflecting the true state of society. Artists tried to observe the world scientifically and rationally, abandoning Romanticism's fantasies.

Representative Artists:

  • Gustave Courbet

    • Work: "The Stone Breakers" (1849)

      Depicts two workers laboring arduously, reflecting the real life of the social lower class.

  • Jean-François Millet

    • Work: "The Gleaners" (1857)

      Shows peasants working in the fields, emphasizing the dignity and hardship of labor.

Transition from (OBJ-OBJ) to (OBJ-SUB)Emergence of Impressionism

With industrialization and urbanization, social pace accelerated, and artists began to focus on instantaneous impressions and changes in light and shadow.

Representative Artists:

  • Claude Monet

    • Work: "Impression, Sunrise" (1872)

      Captures the change of light at sunrise, emphasizing subjective visual perception.

    • Work: "Water Lilies" series (1897–1926)

      Multiple works depicting water lilies in a pond, exploring changes in light and color.

  • Pierre-Auguste Renoir

    • Work: "Bal du moulin de la Galette" (1876)

      Depicts social life in Paris suburbs, with bright colors and light brushwork.

Deepening in Post-Impressionism

After Impressionism, artists further explored subjective feelings and personal styles.

Representative Artists:

  • Paul Cézanne

    • Work: "Mont Sainte-Victoire" series (1882–1906)

      Explores the essence of objects through geometric forms and colors, laying the foundation for modern art.

  • Paul Gauguin

    • Work: "The Yellow Christ" (1889)

      Uses flattened colors and symbolism to express inner spiritual pursuits.

  • Vincent van Gogh

    • Work: "Sunflowers" (1888)

      Strong colors and brushwork express passion for life.

    • Work: "The Starry Night" (1889)

      Expresses inner emotions and spiritual state, with swirling brushwork symbolizing inner turmoil.

(OBJ-SUB): Objective to Subjective Expression

Artists began to proceed more from subjective perspectives, emphasizing personal feelings and emotions.

Rise of Expressionism

Expressionism emphasizes directly expressing emotions and inner experiences through artworks.

Representative Artists:

  • Edvard Munch

    • Work: "The Scream" (1893)

      Expresses inner anxiety and fear through distorted images and intense colors.

  • Ernst Ludwig Kirchner

    • Work: "Street, Berlin" (1913)

      Reflects the alienation of urban life with exaggerated lines and colors.

(SUB-OBJ): Subjective to Objective Expression

Artists express inner subjective emotions and thoughts through objective forms.

Exploration of Surrealism

Surrealism attempts to reveal the subconscious and dreams, breaking the limitations of reality through irrational means.

Representative Artists:

  • Salvador Dalí

    • Work: "The Persistence of Memory" (1931)

      Melting clocks symbolize the passage of time and the flow of the subconscious.

  • René Magritte

    • Work: "The Son of Man" (1964)

      Mysterious images challenge the viewer's cognition and imagination.

(SUB-SUB): Subjective to Subjective Expression

Artists completely detach from objective reality, directly expressing inner spiritual worlds and abstract concepts.

Emergence of Abstract Art

Abstract art no longer reproduces images of the real world but directly expresses emotions and ideas through colors, lines, and shapes.

Representative Artists:

  • Wassily Kandinsky

    • Work: "Improvisation 31" (1913)

      Expresses musical emotions through colors and shapes.

  • Piet Mondrian

    • Work: "Broadway Boogie Woogie" (1942–1943)

      Reflects the rhythm of New York City with geometric shapes and colors.

  • Mark Rothko

    • Work: "Orange, Red, Yellow" (1961)

      Creates immersive emotional experiences through large color fields.

Diversified Development of Contemporary Art

Contemporary art shows diversified characteristics, integrating various media and ideas, challenging traditional definitions of art.

Installation Art and Conceptual Art

Artists use space, objects, text, etc., to create new artistic experiences.

Representative Artists:

  • Joseph Beuys

    • Work: "How to Explain Pictures to a Dead Hare" (1965)

      Explores the relationship between art and the audience through performance art.

  • Marina Abramović

    • Work: "The Artist Is Present" (2010)

      Explores interpersonal relationships and existence through silent sitting and eye contact with the audience.

Digital Art and New Media Art

With technological development, digital art has become a new art form.

Representative Artists:

  • Rafael Lozano-Hemmer

    • Work: "Breathing Wall" (2006)

      An interactive installation where the viewer's breathing affects changes in the artwork.

  • teamLab

    • Work: "Borderless World" (2018)

      A large-scale digital art exhibition where the audience immerses in dynamic digital spaces.

The End and Rebirth of ArtThe Impact of Technology on Art

With the development of technologies such as Artificial Intelligence (AI), Virtual Reality (VR), Augmented Reality (AR), and Brain-Computer Interfaces (BCIs), the ways art is created and experienced have undergone revolutionary changes.

AI Art

AI can generate new artworks by learning large amounts of data.

Representative Cases:

  • Obvious Art Collective

    • Work: "Portrait of Edmond de Belamy" (2018)

      A portrait generated by a GAN, sold at Christie's for $432,500.

  • Refik Anadol

    • Work: "Machine Hallucinations" (2019)

      Creates immersive digital spaces by processing millions of images with AI.

Virtual Reality and Augmented Reality Art

Artists use VR and AR technologies to create experiences that transcend physical space.

Representative Cases:

  • Laurie Anderson

    • Work: "Chalkroom" (2017)

      A VR environment where viewers can explore text and sound in virtual space.

  • Mariko Mori

    • Work: "Phantom" (2012)

      An AR installation integrating real and virtual elements.

The Emergence of Artificial Art

Artificial Art surpasses traditional art by directly customizing, sensing, and adjusting through Brain-Computer Interfaces and other technologies, targeting the cognitive nervous system to achieve direct communication from subjectivity to subjectivity.

Application of Brain-Computer Interface Technology

BCIs can directly read or influence brain activity, achieving direct communication between humans and machines.

Representative Research:

  • Elon Musk

    • Company: Neuralink

      Aims to develop high-bandwidth BCIs to integrate the human brain with computers.

  • Bryan Johnson

    • Company: Kernel

      Researches BCI technology to enhance human cognitive abilities.

The End and Rebirth of Art

In this context, the traditional significance of art may face an end, as its necessity as an external physical medium that evokes subjective feelings through objective presentation is diminished. However, this does not mean the disappearance of art but heralds the birth of a new form of art.

The new art form will integrate technology, philosophy, and human creativity, breaking the boundaries between material and spirit, achieving the unity of subjectivity and objectivity. This also poses new challenges to human values, ethics, and social structures.

The Last Corner of Artistic Innovation

The "last corner of artistic innovation" is a field full of uncertainties, with great possibilities and challenges. It involves the problem P where both inputs and outputs are inaccurate, incorrect, imprecise, and inconsistent:

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

This means seeking new artistic expressions and innovative methods in uncertainty and ambiguity, challenging traditional modes of cognition and perception, and exploring the boundaries of human consciousness and experience.

DIKWP Philosophy and the Future of ArtApplication of the DIKWP Framework

DIKWP Philosophy provides a new framework for understanding the development of art in the digital age.

  • Data: The abundance of data brought by digital technology provides new materials and possibilities for artistic creation.

  • Information: Through processing and interpreting data, meaningful information is formed, inspiring artistic creativity.

  • Knowledge: Artists need to understand technology, society, and cultural knowledge to create works with depth.

  • Wisdom: Comprehensive reflection on knowledge forms a profound understanding of art and human experience.

  • Purpose: Clear creative motives and values guide the direction and impact of art.

Ethical and Value Considerations

As technology deepens, the relationship between art and humanity becomes more complex, involving ethical and value issues.

  • Can artificial intelligence create genuine art?

  • Is the impact of technology on human experience positive or negative?

  • How to balance the commercialization of art with its social value?

The Future of Human Creativity

Despite the enormous changes brought about by technological development, human creativity and imagination remain irreplaceable.

  • Technology is a tool, not an end.

  • Human emotions, experiences, and values endow art with unique meaning.

  • Future art will be a collaboration between humans and technology, not a replacement.

Conclusion

The development of art reflects the trajectory of human cognition and social progress. From depicting the objective world to exploring inner subjectivity, artists' creativity has propelled humanity's understanding of themselves and the world.

In an era of rapid digital and technological development, the form and connotation of art are undergoing profound changes. DIKWP Philosophy offers us a new framework to understand the evolution of human cognition and art. It emphasizes the interrelationships between data, information, knowledge, wisdom, and purpose, helping us comprehend art's transformation and expression between subjectivity and objectivity.

The end of art does not signify its disappearance but heralds the birth of new art forms and expressions. At the intersection of subjectivity and objectivity, material and spirit, tradition and innovation, we anticipate the arrival of new waves of art. This will be a new era integrating technology, philosophy, and human creativity, and we will welcome a new human being through deconstruction, reconstruction, and transformation.

References

  1. Miguel de Unamuno y Jugo. "The Tragic Sense of Life"

  2. Hao Wang. "Beyond Analytic Philosophy"

  3. Friedrich Wilhelm Nietzsche. "The Birth of Tragedy"

  4. Simone de Beauvoir. "The Second Sex"

  5. Immanuel Kant. "Critique of Pure Reason"

  6. Georg Wilhelm Friedrich Hegel. "Phenomenology of Spirit"

  7. Wassily Kandinsky. "Concerning the Spiritual in Art"

  8. Yucong Duan. "DIKWP Research Papers"

  9. J.M.W. Turner. "The Slave Ship"

  10. Gustave Courbet. "The Stone Breakers"

  11. Jean-François Millet. "The Gleaners"

  12. Claude Monet. "Impression, Sunrise"

  13. Pierre-Auguste Renoir. "Bal du moulin de la Galette"

  14. Paul Cézanne. "Mont Sainte-Victoire" series

  15. Paul Gauguin. "The Yellow Christ"

  16. Vincent van Gogh. "The Starry Night"

  17. Edvard Munch. "The Scream"

  18. Salvador Dalí. "The Persistence of Memory"

  19. René Magritte. "The Son of Man"

  20. Wassily Kandinsky. "Improvisation 31"

  21. Piet Mondrian. "Broadway Boogie Woogie"

  22. Mark Rothko. "Orange, Red, Yellow"

  23. Joseph Beuys. "How to Explain Pictures to a Dead Hare"

  24. Marina Abramović. "The Artist Is Present"

  25. Refik Anadol. "Machine Hallucinations"

  26. Laurie Anderson. "Chalkroom"

  27. teamLab. "Borderless World"

  28. [Contact the author for more information]

Acknowledgments

I would like to thank all artists and philosophers who have contributed to the development of art and philosophy; your thoughts and works provide us with endless inspiration and motivation for exploration. Thanks to the members of the DIKWP research group for their support and discussions, which have made the thoughts in this article deeper and more comprehensive.

AppendixTable: Correspondence of Artists, Representative Works, and Expression Modes

ArtistRepresentative WorkExpression ModeDescription
Gustave Courbet"The Stone Breakers" (1849)(OBJ-OBJ)Representative of Realism, emphasizing objective reproduction of social reality.
Jean-François Millet"The Gleaners" (1857)(OBJ-OBJ)Depicts scenes of peasant labor, emphasizing the dignity of labor.
Claude Monet"Impression, Sunrise" (1872)(OBJ-OBJ) → (OBJ-SUB)Captures momentary changes in light and shadow, emphasizes subjective perception; initiates Impressionism.
Pierre-Auguste Renoir"Bal du moulin de la Galette" (1876)(OBJ-SUB)Displays social scenes with bright colors and light brushwork.
Paul Cézanne"Mont Sainte-Victoire" series (1882–1906)(SUB-OBJ) & (SUB-SUB)Explores the essence of objects through geometric forms and colors.
Vincent van Gogh"The Starry Night" (1889)(SUB-OBJ) & (SUB-SUB)Strong colors and brushwork expressing inner emotions and spiritual state.
Edvard Munch"The Scream" (1893)(SUB-OBJ) & (SUB-SUB)Distorted images and intense colors express inner fear and anxiety; a paradigm of Expressionism.
Salvador Dalí"The Persistence of Memory" (1931)(SUB-OBJ) & (SUB-SUB)Representative of Surrealism; explores subconscious and dreams, expressing inner subjectivity.
Wassily Kandinsky"Improvisation 31" (1913)(SUB-SUB)Completely abstract art expressing the inner spiritual world; pioneer of abstract art.
Piet Mondrian"Broadway Boogie Woogie" (1942–1943)(SUB-SUB)Uses geometric shapes and colors to reflect the rhythm of the city.
Mark Rothko"Orange, Red, Yellow" (1961)(SUB-SUB)Color field painting with large color areas creating immersive emotional experiences.
Joseph Beuys"How to Explain Pictures to a Dead Hare" (1965)(SUB-OBJ)Performance art exploring the relationship between art and the audience.
Marina Abramović"The Artist Is Present" (2010)(SUB-OBJ)Explores interpersonal relationships and existence through eye contact with the audience.
Andy Warhol"Campbell's Soup Cans" (1962)(SUB-OBJ)Pop Art representative; explores consumer culture and art's commercialization, integrating objective images with subjective critique.
Refik Anadol"Machine Hallucinations" (2019)(SUB-SUB)Creates immersive digital art spaces using AI and big data.

Diagram: Evolution of Artistic Expression ModesscssCopy code(OBJ-OBJ) → (OBJ-SUB) → (SUB-OBJ) → (SUB-SUB)

  • (OBJ-OBJ): Traditional Realism, emphasizing objective reproduction of reality.

  • (OBJ-SUB): Impressionism, emphasizing the influence of subjective perception on objective scenes.

  • (SUB-OBJ): Expressionism, Surrealism; subjective emotions presented objectively through new forms.

  • (SUB-SUB): Abstract Art; complete expression of inner subjectivity.

Relationship Between the DIKWP Framework and Artistic Expression

DIKWP ComponentCorresponding Artistic ExpressionDescription
Data(OBJ-OBJ)Faithful reproduction of objective reality, focusing on details and facts.
Information(OBJ-SUB)Subjective perception of objective reality, emphasizing personal experience and emotion.
Knowledge(SUB-OBJ)Expressing subjective thoughts and emotions through objective forms, creating works with universal significance.
Wisdom(SUB-SUB)Exploring the inner spiritual world, pursuing universal truths and meanings beyond specific forms.
PurposeArtists' creative motives and goals, throughout each stageArtists convey thoughts, emotions, and values through their works, achieving self-expression and social impact.

Concluding Remarks

Art's development reflects the trajectory of human cognition and social evolution. From depicting the objective world to exploring inner subjectivity, artists' creativity has propelled humanity's understanding of themselves and the world. In contemporary times, the rapid development of technology provides new tools and media for art, bringing new challenges and opportunities.

DIKWP Philosophy offers us a novel perspective to understand the transformation and expression of art across data, information, knowledge, wisdom, and purpose. It helps us consider how art can continue to exert its unique value and influence in the digital age.

Looking forward, art will continue to be an essential means of human expression and communication, constantly evolving and innovating. In the integration of subjectivity and objectivity, we anticipate the birth of new art forms and ideas, enriching the human spiritual world and promoting social progress and development.



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