Art × Knowledge

Art and Knowledge

Browse 4 quotations catalogued under art with "knowledge" in the text or topic label. Read matching entries and available source details.

4 quotes

This collection contains 4 quotations filed under Art with "knowledge" in the quote text or topic label. These keyword matches offer a starting point for exploring Art and Knowledge; they do not by themselves establish a shared argument or a historical connection between the authors.

The authors represented include Logan Pearsall Smith, Frank Popper, Alfred Freddy Krupa. Read each quotation in its own context rather than assuming that these authors share a position.

One matching quotation reads: "The truth is that the phenomena of artistic production are still so obscure, so baffling, we are still so far from an accurate scientific and psychological kno…" The full quotation and any available source details appear below.

Another matching quotation reads: "One of the main reasons for my interest early on in the art and technology relationship was that during my studies of movement and light in…" Compare the wording and source context to decide how each passage relates to your question.

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4 Quotes on Art and Knowledge

"The truth is that the phenomena of artistic production are still so obscure, so baffling, we are still so far from an accurate scientific and psychological knowledge of their genesis or meaning, that we are forced to accept them as empirical facts; and empirical and non-explanatory names are the names that suit them best. The complete explanation of any fact is the very last step in human thought; and it is reached, as I have said, if indeed it is ever reached, by the preliminary processes of recognition, designation, and definition. It is with these preliminary processes that our aesthetic criticism is still occupied."

— Logan Pearsall Smith

"One of the main reasons for my interest early on in the art and technology relationship was that during my studies of movement and light in art I was struck by the technical components in this art. Contrary to most, if not all, specialists in the field who put the stress on purely plastic issues and in the first place on the constructivist tradition, I was convinced that the technical and technological elements played a decisive part in this art. One almost paradoxical experience was my encounter with the kinetic artist and author of the book Constructivism, George Rickey, and my discovery of the most subtle technical movements in his mobile sculptures. But what seemed to me still more decisive for my option towards the art and technology problematic was the encounter in the early 1950s with artists like Nicholas Schöffer and Frank Malina whose works were based on some first hand or second hand scientific knowledge and who effectively or symbolically employed contemporary technological elements that gave their works a prospective cultural meaning. The same sentiment prevailed in me when I encountered similar artistic endeavors from the 1950s onwards in the works of Piotr Kowalski, Roy Ascott and many others which confirmed me in the aesthetic option I had taken, particularly when I discovered that this option was not antinomic to another aspect of the creative works of the time, i.e. spectator participation."

— Frank Popper

"I also explore the amalgamation of Eastern and Western painting styles and methods, which falls within borders of the contemporary art phenomena named “New Ink Art Movement.” This is the core element, but I do not limit myself. I also love the feeling of creation in various other artists’ philosophies and concepts And I don’t restrict or delude myself with any political agenda or religious doctrine. If there is a creative urge, I can paint or draw a formal portrait or an erotic nude with the same vigor. I honor freedom of expression based on knowledge, essence, and genuine expression. This attitude is reflected in my works."

— Alfred Freddy Krupa

"However, terms such as “hidden space dimensions,” “weird curved spaces,” “duality,” “mirror symmetry,” and others found in the physical theory of strings are exactly the terms that we have to apply if we want to accurately describe some of the arts approaches and techniques such as this basic calligraphy and ink painting in particular. How to interpret it? Where does this timeless contemporaneous state come from? It is possible to correctly interpret it if we recognize and acknowledge the next creative mechanism: the authentic “artistic mind,” that is, when it functions in synchrony with the assumed multidimensional “reality,” behaves according to the nature and structure of this reality apparently spontaneously , pulling those lines that, as enlarged one-dimensional strings, describe “gravitational forces and the most logical paths through seemingly empty and non-existent space” on the paper surface in an attempt to present the motif essence."

— Alfred Freddy Krupa

Key thinkers on this theme

Logan Pearsall Smith· Literature Frank Popper· Education Alfred Freddy Krupa· Art

Related ideas in Art

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