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Socio-Philosophical Critique of the Global Public Art’s Visual Order: The Context of National Self-identity

Received: 23 February 2022     Accepted: 25 March 2022     Published: 31 March 2022
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Abstract

Today a necessity has arisen in a critical socio-philosophical analysis and the development of such a theoretical framework for contemporary globalization that will consider this latter as a visual and ideological impact of cognitive biocapitalism on the collective consciousness of nations, which manifests itself as repressive pressure in the form of Aesthetics of Globalization. This distorts the art system, distorting the fundamental freedom of creative expression of artists, critics and academics, as abstract mass hybridization of professional thought in the context of global public art’s visual order is implanted by the cultural-industrial logic of the transnational art market ruled and managed by globalized capital, which has transformed the art, the artist, and the analyst into merely trivial commodities. Since the millennium, commodified art production in the world is perceived exclusively as a business integrated into politics and economics, but the capitalization of the arts ignores the national interests of unbiased processes of culture-creation, unifying artistic expression, depriving it of spiritual need for self-identification. This latter needs to be further researched, in particular in the context of the development of Ukrainian image-formation practices, which devalues its potential in the new socio-political conditions. Therefore, the article emphasizes the need to return to the Ukrainian socio-cultural dimension of the evaluation criteria of transcendental aesthetics, especially since cordocentrism and Christian kalokagatia have historically formed the basis of Ukrainian culture and mindset.

Published in American Journal of Art and Design (Volume 7, Issue 1)
DOI 10.11648/j.ajad.20220701.15
Page(s) 29-38
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), 2022. Published by Science Publishing Group

Keywords

Global Public Art, Contemporary Art, Ideology of the Culture Industry, Massification of Commodity Art, National Self-identity, Transcendental Aesthetics, Aesthetics of Globalization

References
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    Maryna Protas. (2022). Socio-Philosophical Critique of the Global Public Art’s Visual Order: The Context of National Self-identity. American Journal of Art and Design, 7(1), 29-38. https://doi.org/10.11648/j.ajad.20220701.15

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    Maryna Protas. Socio-Philosophical Critique of the Global Public Art’s Visual Order: The Context of National Self-identity. Am. J. Art Des. 2022, 7(1), 29-38. doi: 10.11648/j.ajad.20220701.15

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    Maryna Protas. Socio-Philosophical Critique of the Global Public Art’s Visual Order: The Context of National Self-identity. Am J Art Des. 2022;7(1):29-38. doi: 10.11648/j.ajad.20220701.15

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  • @article{10.11648/j.ajad.20220701.15,
      author = {Maryna Protas},
      title = {Socio-Philosophical Critique of the Global Public Art’s Visual Order: The Context of National Self-identity},
      journal = {American Journal of Art and Design},
      volume = {7},
      number = {1},
      pages = {29-38},
      doi = {10.11648/j.ajad.20220701.15},
      url = {https://doi.org/10.11648/j.ajad.20220701.15},
      eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.ajad.20220701.15},
      abstract = {Today a necessity has arisen in a critical socio-philosophical analysis and the development of such a theoretical framework for contemporary globalization that will consider this latter as a visual and ideological impact of cognitive biocapitalism on the collective consciousness of nations, which manifests itself as repressive pressure in the form of Aesthetics of Globalization. This distorts the art system, distorting the fundamental freedom of creative expression of artists, critics and academics, as abstract mass hybridization of professional thought in the context of global public art’s visual order is implanted by the cultural-industrial logic of the transnational art market ruled and managed by globalized capital, which has transformed the art, the artist, and the analyst into merely trivial commodities. Since the millennium, commodified art production in the world is perceived exclusively as a business integrated into politics and economics, but the capitalization of the arts ignores the national interests of unbiased processes of culture-creation, unifying artistic expression, depriving it of spiritual need for self-identification. This latter needs to be further researched, in particular in the context of the development of Ukrainian image-formation practices, which devalues its potential in the new socio-political conditions. Therefore, the article emphasizes the need to return to the Ukrainian socio-cultural dimension of the evaluation criteria of transcendental aesthetics, especially since cordocentrism and Christian kalokagatia have historically formed the basis of Ukrainian culture and mindset.},
     year = {2022}
    }
    

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    AB  - Today a necessity has arisen in a critical socio-philosophical analysis and the development of such a theoretical framework for contemporary globalization that will consider this latter as a visual and ideological impact of cognitive biocapitalism on the collective consciousness of nations, which manifests itself as repressive pressure in the form of Aesthetics of Globalization. This distorts the art system, distorting the fundamental freedom of creative expression of artists, critics and academics, as abstract mass hybridization of professional thought in the context of global public art’s visual order is implanted by the cultural-industrial logic of the transnational art market ruled and managed by globalized capital, which has transformed the art, the artist, and the analyst into merely trivial commodities. Since the millennium, commodified art production in the world is perceived exclusively as a business integrated into politics and economics, but the capitalization of the arts ignores the national interests of unbiased processes of culture-creation, unifying artistic expression, depriving it of spiritual need for self-identification. This latter needs to be further researched, in particular in the context of the development of Ukrainian image-formation practices, which devalues its potential in the new socio-political conditions. Therefore, the article emphasizes the need to return to the Ukrainian socio-cultural dimension of the evaluation criteria of transcendental aesthetics, especially since cordocentrism and Christian kalokagatia have historically formed the basis of Ukrainian culture and mindset.
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Author Information
  • Department of Curatorial Exhibition Activities and Cultural Exchange, Modern Art Research Institute, National Academy of Arts of Ukraine, Kyiv, Ukraine

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