|Thesis | Thinking on Space Art | Principle|1 Space Art and Time Art 1
Thinking on Space Art

Written and Translated by Taketoshi Murayama
Original translation is rewritten by C T

This original text is written in Japanese.
 This text should not be translated into any other languages without author's permission.
Part 1   Principle


Chapter 1  Space Art and Time Art  1

 @Immanuel Kant defined time and space as a priori forms that appear in our sensibility. Since Kant was interested only in the mechanistic natural science, as a point of deperture of his thought, he mainly regarded time and space merely as basis for the empirical positivity of human reason. Therefore, in his view, sensibility is limitedly equivalent to sensation which provides materials of experimental science for the idea.
  However, time and space are important logic categories permeating the entire human mind, and they may even be rooted at the basis of metaphysics as the necessary condition for logic. Therefore, these two categories provide the most important criterion in the analysis of art type and function as a first step for its understanding of Homology. (Kant had a keen eye in transforming time and space from the objective criteria for classification into a subjective attribute, in criticism against Aristotle's category.)
  If time and space relate to the whole human mind and serve to classify the art type, then it can be said that they go beyond being merely a sensibility that provides proof for positive science; they are a priori forms of intuition that even hold revelation within their confine.
  Intuition transcends the human subject as a mere holder of idea, and for the Existence whose conscience is turned to the existence (the real); it provides the path for the recognition of this very existence (the real). This path shows the place where the Existence receives the indication from the Superior Being, who is irreplaceable for the Existence. We define it "field," universal to every Existence.

Immanuel Kant
 Immanuel Kant  

  This "field" is a peculiar encountering point where the Existence meets the existence (the real), and there, time and space are limited together from the beginning. This limitation happens at the same time and it rejects any separation by analytical reason. More accurately, the detachment of time and space by analysis brings the deformation of the "field."
  Inversely speaking, time and space for intuition in general are always integrated as spatio-temporality. This interestingly accords with contemporary physics after the theory of relativity, which changed the concept of classic dynamics from its foundation, proving that time and space in natural science are integrated in a continuum of space-time.
  Kant regarded art as acting on a sentiment completely different from science, and tried to solve the mystery of why this would hold any universality. However, if these two both relates to life, having time and space as their basis, then there is a possibility of discussing all the values in the same ground. It is naturally conceivable that the world-view of the 18th century when inorganic dynamics was equally placed with natural science differs from the world-view of the present time in which science approaches until the root of the mystery of life.
  If "field's" most important meaning rests on it being the encounter with revelation, then it represents the most important place for a religious as well. However, pursuing universality at the same time, a religious cannot help hesitating in sticking to the "field," which has a strong color of individual.
  On the other hand, for an artist who brings personal experiences to the fore and has little doubt in explicitly expanding it into the experience of the whole humanity, the adherence to the "field" is a privilege and also a pride. Hence, the artwork as the product of artist's practice is also strongly influenced by the structure of the "field," and here we find the significance of analyzing/clarifying his/her artwork from the "field."
  If "field" is the spot of integration of time and space, the reader will easily understand the importance of re-capturing art from the spatio-temporality. This paper will, from this point of view, analyze and clarify the unified principle that permeates all art, and will examine how it developed in the history of humanity; this will surely lead to a deeper understanding of this mental work called art.

   We already described that division of attribute united in certain substratum produces different one and that it destroys original incorporation of the substratum. However, if not forgetting first original incorporation constantly and continuing to recognize clearly that divided attribute is only a moment leading it, division of attribute is useful for deeper understanding of the incorporation of the substratum. In addition, if we can grasp even the nature peculiar to the divided attribute, the synthetic incorporation will gain more abundant contents.
  Therefore, at first it is important for a process of clearing the essential ideal of art which is prescribed by the structure of the "field" to analyze the "field" from time and space which are the attribute of it and to investigate the way that each contributes for art activity. Then, it is needless to say that this must be integrated in the form of art of time and space as final completion of the third step.
  Anyone can understand easily that two types such as time art and space art are brought as the way of prescription of art derived from the analysis of this time and space. These two types are perceived as art field which is clear divided in the level of our daily experience. And also anyone can consent easily that space art means the whole fine art and that a representative of time art is music.
  Hence the purpose of this small thesis is to elucidate the meaning of fine art for human race, of course, it investigates what is space art. Then, as above-mentioned, since space is united with time originally and the complete understanding about it accompanies the recognition of time, we will state additionally about the outline of time art as long as necessary.

   Either space art or time art, all art uses material. As for space art, this material has physical stable existence and as for time art, it becomes energy. Then, the material creates contents of each art. However, since time and space are mere a priori form of the intuition, saying in other words, it does not include contents in itself at all. It is a matter of course that because this very content is an element to distinguish identify of an individual work for an appreciator in addition to a creator of art, this attracts attention most. Then, we cannot deny that eagerness to find the essence of the things in the place to which the most attention is paid is the proclivity of perception of human being.
  Therefore, in the past, it is no wonder that a lot of statements about art paid little attention to simple forms, such as time and space. However, the essence has two kinds such as the individual essence and the universal essence. The individual essence only teaches an individual existence, we must reach the universal essence to grasp overall phenomenon totally. Then, no matter how it is covered with a formal outward appearance, if the essence lying behind there, we must continue to irradiate light of reason there.
  Of course, all creators process the material which forms contents of work. Therefore, his/her consciousness and ardor are paid to this material. In this case, on his/her consciousness, time and space have hidden in the rear of this creation act. However, the creation activity has two kinds. One is the activity which stamps certain world with a material, the other is the activity which repeats specified style. The first made one of the specified style is a stamp of the world, but, becoming a legend and norm in the specific vocational group, it changes into the fixed style, in other words, the dead world, that is to say, a wreckage of the world. A notice must be given in "the world" described here because the special meaning different from normal usage is contained. At first we are necessary to give definition in this "world".
  "The world" which an individual creator stamps directly to the material is expression of his mind and it is a reflection of the living "world", i.e. uplifting life. In this case, existence of "the world" closes on the creator and he/she is conscious of it frequently. "The world" is none other than a shape in which above-mentioned the spatio-temporal is embodied. Speaking in another way, the ensemble of the contents with a special meaning which the Existence of a creator received in his/her "field" in the frame of the spatio-temporal is "the world".

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