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Semiotics, Art and Experience

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Semiotics, Law & Art

Part of the book series: Law and Visual Jurisprudence ((LVJ,volume 2))

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Abstract

This Chapter is dedicated to discuss the concept of art. This concept is elaborated considering the importance of the philosophical notion of artistic experience. Also, this Chapter points out the importance of artistic languages to creating process, to social memory, to permanence, but also to the exercise of power. But, here it is considered that art is a place of social disputes and its meaning is always open to discussion. Therefore, the tension between freedom and power is structuring from the beginning to the end this Chapter.

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Notes

  1. 1.

    Cf. Rancière (2014), p. 24.

  2. 2.

    Cf. Rancière (2009a, b), p. 37.

  3. 3.

    Cf. Dondis (2007), p. 09.

  4. 4.

    Vide Malland (2012).

  5. 5.

    Cf. Dewey (2010), p. 215.

  6. 6.

    Cf. Dewey (2010), p. 215.

  7. 7.

    Cf. Dondis (2007), p. 210.

  8. 8.

    Cf. Rancière (2014), p. 119.

  9. 9.

    Cf. Santaella (2016a, b), p. 235.

  10. 10.

    Cf. Santaella (2016a, b), p. 231.

  11. 11.

    Cf. Plaza (2010), p. 13.

  12. 12.

    Cf. Dondis (2007), p. 205.

  13. 13.

    Cf. Dondis (2007), p. 27.

  14. 14.

    Cf. Rancière (2014), p. 81.

  15. 15.

    Cf. Pignatari (1987), p. 19.

  16. 16.

    Cf. Eco (1991), p. 60.

  17. 17.

    Cf. Dondis (2007), p. 18.

  18. 18.

    Cf. Dondis (2007), p. 58.

  19. 19.

    “Ed eliminato l’apparente scoglio della pittura astratta, è chiaro che tutte le altre opere d’arte passano agevolmente sotto la categoria del segno” (“And having eliminated the apparent obstacle of abstract painting, it is clear that all the other works of art pass easily under the category of the sign”—translation) (Brandi 1986, p. 09).

  20. 20.

    Cf. Eco (2016), p. 226.

  21. 21.

    Cf. da Cunha (2010), p. 229.

  22. 22.

    Cf. Eco (2016), p. 144.

  23. 23.

    Cf. Geertz (2014), p. 113.

  24. 24.

    Cf. Geertz (2014), p. 98.

  25. 25.

    Cf. Hermann (2005), p. 31.

  26. 26.

    Cf. Lacoste (1986), p. 108.

  27. 27.

    Cf. Perissé (2004), p. 77.

  28. 28.

    Cf. Geertz (2014), p. 103.

  29. 29.

    Cf. Xerez (2016), pp. 456–457.

  30. 30.

    Cf. Pastore (2009), p. 20.

  31. 31.

    Cf. Pastore (2009), p. 22.

  32. 32.

    Vide Calado (2007), p. 47.

  33. 33.

    Cf. Hermann (2005), p. 42.

  34. 34.

    Cf. Rendon (2014), p. 135.

  35. 35.

    Cf. Salazar (1961), p. 183.

  36. 36.

    Cf. Salazar (1961), p. 48.

  37. 37.

    Cf. Geertz (2014), pp. 100–101.

  38. 38.

    Cf. de Barros (2010), p. 383, translation.

  39. 39.

    Cf. Calado (2007), pp. 07–09.

  40. 40.

    Cf. Calado (2007), pp. 07–10.

  41. 41.

    Cf. Calado (2007), p. 08.

  42. 42.

    Cf. Calado (2007), p. 07.

  43. 43.

    Cf. Dewey (2010), p. 431.

  44. 44.

    Cf. Rancière (2009a, b), p. 42.

  45. 45.

    “L’impiego estetico del linguaggio (il linguaggio poetico) implica dunque un uso emotivo delle referenze ed un uso referenziale delle emozioni, perché la reazione sentimentale si manifesta come realizzazione di un campo di significati connotati” (“The aesthetic use of language (the poetic language) therefore implies an emotional use of references and a referential use of emotions, because the sentimental reaction is manifested as the realization of a field of connotations”—translation) (Eco 1993, p. 84).

  46. 46.

    Cf. Pignatari (1995), p. 52.

  47. 47.

    Cf. da Cunha (2010), p. 233.

  48. 48.

    Cf. Eco (2007), p. 302.

  49. 49.

    Cf. Danto (2015), p. 65.

  50. 50.

    Cf. Santaella (2016a, b), pp. 232–233.

  51. 51.

    Vide Eco (2007), p. 10.

  52. 52.

    Cf. Nazario (2005), p. 51.

  53. 53.

    Vide Danto (2015), p. 10.

  54. 54.

    Cf. Nazario (2005), p. 24.

  55. 55.

    Cf. Danto (2015), p. 05.

  56. 56.

    “Nous lisons ainsi chez Warhol : «La toile est un objet absolument quotidien, au même titre que cette chaise ou cette affiche». Applaudissons à cette conception démocratique, mais reconnaissons qu’elle est bien naïve ou de bien mauvaise foi. Si l’art veut signifier le quotidien, il ne l’est pas : c’est confondre la chose et le sens. Or, l’art est contraint de signifier, il ne peut même pas se suicider dans le quotidien” (“We read at Warhol’s: ‘The canvas is an absolutely everyday object, just like this chair or this poster’. Let us applaud this democratic conception, but let us acknowledge that it is naive or in bad faith. If art wants to signify the everyday, it is not: it is confusing the thing with meaning. But art is forced to signify, it can't even commit suicide in everyday life”—translation) (Baudrillard 1972, p. 123).

  57. 57.

    Cf. Danto (2015), p. 17.

  58. 58.

    Cf. Dewey (2010), p. 227.

  59. 59.

    Cf. Dewey (2010), pp. 59–60.

  60. 60.

    Cf. Boas (2015), p. 15.

  61. 61.

    Cf. Dewey (2010), p. 63.

  62. 62.

    Cf. Dewey (2010), pp. 64–65.

  63. 63.

    Cf. Dewey (2010), p. 61.

  64. 64.

    Cf. Argan (2013), p. 285.

  65. 65.

    Cf. Boas (2015), p. 15.

  66. 66.

    Cf. Dewey (2010), p. 67.

  67. 67.

    Cf. Dewey (2010), p. 67.

  68. 68.

    Cf. Lipovetsky and Serroy (2014), p. 26.

  69. 69.

    Cf. Dewey (2010), p. 69.

  70. 70.

    Cf. Dewey (2010), p. 251.

  71. 71.

    Cf. Dewey (2010), p. 69.

  72. 72.

    Cf. Dewey (2010), p. 452.

  73. 73.

    Cf. Dewey (2010), p. 65.

  74. 74.

    Cf. Dewey (2010), p. 70.

  75. 75.

    Cf. Dewey (2010), p. 441.

  76. 76.

    Cf. Dewey (2010), p. 504.

  77. 77.

    “L’arte è il frutto dell’ingegno e dello spirito più nobile dell’uomo” (“Art is the fruit of man’s noblest genius and spirit.”) (Mazzucco 2017, p. 11).

  78. 78.

    Cf. Dewey (2010), p. 492.

  79. 79.

    Cf. Dewey (2010), p. 497.

  80. 80.

    Cf. Dewey (2010), pp. 434–435.

  81. 81.

    Cf. Dewey (2010), p. 472.

  82. 82.

    Cf. Dewey (2010), p. 472.

  83. 83.

    Cf. Dewey (2010), p. 84.

  84. 84.

    Cf. Dewey (2010), p. 89.

  85. 85.

    “The initial hypothesis of this work runs as follows: the experience of modernization is an experience of acceleration” (Rosa 2015, p. 201).

  86. 86.

    “Thus the guiding hypothesis of this work runs as follows: modern society can be understood as an “acceleration society” in the sense that it displays a highly conditioned (voraussetzungsreich) structural and cultural linkage of both forms of acceleration - technical acceleration and an increase in the pace of life due to chronic shortage of time resources - and therefore also a strong linkage of acceleration and growth” (Rosa 2015, p. 68).

  87. 87.

    Cf. Dewey (2010), p. 139.

  88. 88.

    Cf. Dewey (2010), p. 92.

  89. 89.

    Cf. Dewey (2010), p. 381.

  90. 90.

    Cf. Franca Filho (2011), p. 25.

  91. 91.

    Cf. Boas (2015), p. 87.

  92. 92.

    Cf. Salazar (1961), p. 09.

  93. 93.

    Cf. Dewey (2010), p. 198.

  94. 94.

    Cf. Dewey (2010), p. 126.

  95. 95.

    Cf. Galeffi (1979), p. 27.

  96. 96.

    Vide Pignatari (1995), p. 34.

  97. 97.

    Cf. Lacoste (1986), p. 187.

  98. 98.

    Cf. Dewey (2010), p. 169.

  99. 99.

    Cf. Dondis (2007), p. 51.

  100. 100.

    Cf. Dewey (2010), p. 132.

  101. 101.

    Cf. Benjamin (1996a, b, c, d), p. 37.

  102. 102.

    Cf. Rancière (2014), p. 63.

  103. 103.

    “El arte no es político, tampoco, por la manera en que representa las estructuras de la sociedad, los conflitos o las identidades de los grupos sociales. Es político por la misma distancia que toma con respecto a sus funciones, por la classe de tempo y de espacio que instituye, por la manera en que recorta este tempo y puebla este espacio” (“Art is not political, either, because of the way it represents the structures of society, conflicts or the identities of social groups. It is political because of the distance it takes from its functions, because of the class of time and space it establishes, because of the way it cuts out this time and populates this space”—translation) (Rancière 2011, p. 33).

  104. 104.

    “Porque la autonomia estética no es la autonomia del ‘hacer’ artístico que el modernismo há celebrado. Es la autonomia de uma forma de experiência sensible. Y es esta experiencia la que aparece como el germen de una nueva humanidade, de una nueva forma individual y colectiva de vida” (“Because aesthetic autonomy is not the autonomy of artistic ‘doing’ that modernism has celebrated. It is the autonomy of a form of sensitive experience. And it is this experience that appears as the germ of a new humanity, of a new individual and collective form of life”—translation) (Rancière 2011, p. 44).

  105. 105.

    Cf. Dondis (2007), p. 185.

  106. 106.

    Cf. Castelnuovo (2006), p. 17.

  107. 107.

    Cf. Castelnuovo (2006), p. 103.

  108. 108.

    Cf. Dewey (2010), p. 67.

  109. 109.

    Cf. Rancière (2009a, b), p. 26.

  110. 110.

    Cf. Bucci (2016), p. 107.

  111. 111.

    Cf. de Campos Barros (2016), p. 209.

  112. 112.

    Cf. Rancière (2014), p. 60.

  113. 113.

    “Fra il 726 e l’842 d.C. l’Oriente e l’Occidente sono scossi dalla crisi iconoclasta. Cioè dalla grave lotta sulla legitimità del culto delle immagini e sulla legitimità del potere che intende disciplinare tale culto” (“Between 726 and 842 A.D., the East and the West were shaken by the iconoclastic crisis. That is, the serious struggle over the legitimacy of the cult of images and the legitimacy of the power that intends to regulate this cult”—translation) (Tuzet 2014, p. 175).

  114. 114.

    Cf. Dewey (2010), p. 343.

  115. 115.

    Cf. Eco (2007), p. 190.

  116. 116.

    Vide Báez (2006), p. 132.

  117. 117.

    Cf. Báez (2006), p. 96.

  118. 118.

    Cf. Báez (2006), p. 159.

  119. 119.

    Cf. Báez (2006), p. 241.

  120. 120.

    Cf. Marcuse (2007), p. 62.

  121. 121.

    Cf. Adorno (2001), p. 231. See too Hermann (2005), p. 31.

  122. 122.

    Cf. Martins (2017), p. 98.

  123. 123.

    Cf. Salgado (2014), p. 56.

  124. 124.

    Cf. Bucci (2015), p. 27.

  125. 125.

    Cf. Panofsky (2000), p. 08.

  126. 126.

    Cf. Pignatari (1995), p. 133.

  127. 127.

    Cf. Eco (1990), p. 97.

  128. 128.

    “Le poetiche contemporanee, nel proporre strutture artistiche che richiedono un particolare impegno autonomo del fruitore, spesso una ricostruzione, sempre variabile, del materiale proposto, riflettono una generale tendenza della nostra cultura verso quei processi in cui, invece di una sequenza univoca e necessaria di eventi, si stabilisce come un campo di probabilità, una ambiguità di situazione, tale da stimolare scelte operative o interpretative volta a volta diverse” (“The contemporary poetics, in proposing artistic structures that require a particular autonomous commitment of the user, often a reconstruction, always variable, of the proposed material, reflect a general tendency of our culture towards those processes in which, instead of a univocal and necessary sequence of events, is established as a field of probability, an ambiguity of situation, such as to stimulate different operational or interpretative choices from time to time”—translation) (Eco 1993, p. 95).

  129. 129.

    Cf. Gomes (1985), p. 19.

  130. 130.

    Cf. de Barros (2010), p. 458.

  131. 131.

    Apud Gomes (1985), p. 43 (translated).

  132. 132.

    Cf. Salgado (2014), p. 58.

  133. 133.

    Cf. Pignatari (1987), p. 21.

  134. 134.

    Cf. Eco (1990), p. 44.

  135. 135.

    Cf. Xerez (2016), p. 468.

  136. 136.

    “Dès lors, il est indispensable pour une sémiotique de l’art (c’est le corollaire épistémologique) de pouvoir étudier quelque chose en tant que ‘création’” (“From then on, it is indispensable for a semiotics of art (this is the epistemological corollary) to be able to study something as a ‘creation’”—translation) (Tore 2011, p. 01).

  137. 137.

    Cf. Tore (2011), p. 04.

  138. 138.

    Cf. Plaza (2010), p. 08.

  139. 139.

    Cf. Junqueira (2014), pp. 39–42.

  140. 140.

    Cf. Hobsbawn (2008), p. 61.

  141. 141.

    Cf. Hobsbawn (2008), p. 61.

  142. 142.

    Cf. Hobsbawn (2008), p. 47.

  143. 143.

    Cf. Calado (2007), p. 10.

  144. 144.

    Cf. Hobsbawn (2008), p. 53.

  145. 145.

    Cf. Calado (2007), p. 41.

  146. 146.

    Cf. Pietroforte (2016), p. 21.

  147. 147.

    Cf. Pietroforte (2016), p. 21.

  148. 148.

    Cf. Calado (2007), p. 07.

  149. 149.

    Cf. Calado (2007).

  150. 150.

    Cf. Calado (2007).

  151. 151.

    Cf. Calado (2007).

  152. 152.

    Cf. Calado (2007).

  153. 153.

    Cf. Calado (2007).

  154. 154.

    Cf. Calado (2007).

  155. 155.

    Cf. Calado (2007), p. 8.

  156. 156.

    Cf. Calado (2007), p. 07.

  157. 157.

    Cf. Eco (2016), p. 15.

  158. 158.

    Cf. Eco (2016), p. 29.

  159. 159.

    Cf. Calado (2007), p. 11.

  160. 160.

    Cf. Pietroforte (2016), pp. 21–22.

  161. 161.

    Cf. Junqueira (2014), p. 42.

  162. 162.

    Cf. Calabrese (2015), pp. 17–18.

  163. 163.

    Cf. Baudrillard (1972), p. 114.

  164. 164.

    Cf. Nöth (2012), p. 16.

  165. 165.

    Cf. Xerez (2016), p. 462.

  166. 166.

    Cf. Santaella and Nöth (1998), p. 53.

  167. 167.

    See Eco (1993), p. 34.

  168. 168.

    “L’apertura quindi è, sotto questo aspetto, la condizone di ogni fruizione estetica e ogni forma fruibile in quanto dotata di valore estetico è aperta. Lo è, como se è visto, anche quando l’artista mira a una comunicazione univoca e non ambigua” (“Openness is therefore, in this respect, the condition of every aesthetic use and every usable form because it has aesthetic value that is open. It is, as if it is seen, even when the artist aims at a univocal and unambiguous communication”—translation) (Eco 1993, p. 89).

  169. 169.

    Cf. Franca Filho (2011), p. 83.

  170. 170.

    Cf. Eco (1990), p. 150.

  171. 171.

    Cf. Eco (1991), p. 31.

  172. 172.

    Cf. Eco (2016), p. 30.

  173. 173.

    Cf. Benjamin (1996a, b, c, d), p. 112.

  174. 174.

    Cf. Marcuse (2007), p. 18.

  175. 175.

    Vide Seligman-Silva (2012), p. 72.

  176. 176.

    Cf. Cardenuto (2016), p. 21.

  177. 177.

    Cf. Marcuse (2007), p. 63.

  178. 178.

    Vide Salgado (2014), pp. 48–49.

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  1. Faculty of Law, University of São Paulo, São Paulo, Brazil

    Eduardo C. B. Bittar

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Bittar, E.C.B. (2021). Semiotics, Art and Experience. In: Semiotics, Law & Art. Law and Visual Jurisprudence, vol 2. Springer, Cham. https://doi.org/10.1007/978-3-030-58880-9_2

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