Portada y contenidos

 

Abdel Hernandez San Juan
El Sujeto en la Creatividad

Stablished living in Texas as permanent resident since 1998 Abdel Hernandez San Juan is a guest scholard in the area of semiotic theory, anthropology and art theory of the faculty of classical and Hispanic studies at rice university during 1996, he has teached several art theory lectures and courses in the united states such as at the Fondren library lectures auditoriums, the rice media center lectures auditorium and is the co-curator and presenter in Houston of seven exhibits on campus with the rice media center, the faculties of art and architecture at rice university and the transart foundation of Houston with Surpik Angelini, writer and author of compendiums of his own criticism such as An Expedition to the Threshold, Texas, 1997, between others, his art theory and art criticism essays are published at Sicardi Gallery, Houston, Texas, he lectured at the glassel school of art of the museum of fine art of Houston and as a guest of los Angeles art festival at the Japanize house of culture of los Angeles, curator of contemporary Venezuelan art at the alejandro otero museum of visual art since 1994, during 2000 he was the guest editor of artlies magazine of Texas.
In Specific to my work as contemporary art critic and curator approaching art I has developed a peculiar theoretical attention to painting after the Intertextuals, remedos, pastiches, urdimbres, texeres, etc., but also the visual arts in general discussing from exegesis and axiology, the current mixtures of languages, atmospheres, effects, images and procedures with accent to perception which is evolved with the increasing relation between art and environment, art and the city, art and the Inmaterials, art and the remnants, art and heuristics, interiority and exteriority of the arts, the posinegdotical impulse, the stills of readymade and a variety of issues surrounding the paradoxes of ephemerality at the time of faster technologies velocities of communication and multimedialization, with both, the virtualization of the institutional as a matter of passages, the site-non site specifics, and its effects on materiality and the images of the body as well as the different forms of poetries coming from such dynamics, from fund objects to artifacts, obicuities and panopticism, something that has inclined my form of art critic as writing to the exploration of domains exchanges between, on the side of forms, aesthetic theory and semiotic, philosophizing forms and on the side of culture, semantic analysis and anthropology from the anthropology of art to cultural anthropology, exploring my own ways of experimenting the decursive aspects of writings on art despites from mobility, travels and multisite as writer in a time of massive consumption, medias and global trends of communication discussing art from San Francisco, Chicago, New York, Texas, Mexico,  Los Angeles, Caracas

Book information

Title: The Subject in Creativity
Author: ©Abdel Hernandez San Juan
Type of Work: Literary work of theoretical essays/book
Western Through
Destination: Readers of writing and literary books, Books Storages and Books Libraries
Sides of Covered and Print Publications Sides: 22.5 cm x 15 cm
Number of Pages: 200, Reproduction: from 1 to 5000 exemplars, Covered Conservation and Protection Sides: 21.59 cm x 27.54 cm, Covered Lectures Sides: 21.59 cm x 27.54 cm

We thought that we had located the essence of empiricism in the specific problem of subjectivity, but first of all we should ask how subjectivity is defined. The subject is definited by the movements through which it is developed. Subject is that which developed itself. The only content that we can give to the idea of subjectivity is that of mediation and transcendence. But we note that the movement of self-development and of becoming other is continuous, the subject transcendent itself but it is also reflected upon. Hume recognize this two dimensions, presenting them as the fundamental characteristics of human nature: inference and invention, belief and artifice, in short believing and inventing is what makes the subject a subject. We are also subjects in another respect, the subject invents, it is the maker of artifice.  
  Such is the dual form of subjectivity, to believe and to invent …the problem is a follow, how can a subject transcending the given be constituted in the given?. Undoubtedly, that which transcend the given is also given, in another way and in another sense. The subject who invents and believes is constituted inside the given in such a way that it makes the given itself a synthesis and a system, weask, how is the subject constituted in the give?, the construction of the given makes room for the constitution of the subject. But what is the given?, it is say Hume the flux of the sensible, a collection of impressions and images, or a set of perceptions.

Gilles Deleuze
Empiricism and Subjectivity

Table of Contents

Chapter I-The Subject in Creativity. By Abdel Hernandez San Juan
Chapter II-Inspiration and Creation. By Abdel Hernandez San Juan
Chapter III-Hermeneutic and Axiology. By Abdel Hernandez San Juan
Chapter IV-The Anobjectual Object. By Abdel Hernandez San Juan
Chapter V-Restitution of Voice. By Abdel Hernandez San Juan
Chapter VI-After Ethnometodology. By Abdel Hernandez San Juan

Conclusions

Bibliography
Index

Comentarios

Publicar un comentario

Entradas más populares de este blog

Herme

  Hermeneutic and Axiology ©By Abdel Hernandez San Juan    Si bien existe una cierta suspicacia hacia la crítica de arte, discutiré aquí en tanto letras y en referencia a mi propia literatura crítica publicada, la posibilidad de una crítica que no sea ajena al espacio creador, no desconectada, no desvinculada de la práctica artística, sino antes bien como ese espacio en el cual los discursos artísticos encuentran un lugar para la reflexión. Podríamos en este sentido situar tres esferas para referirme a la crítica de arte como la entiendo y práctico, por un lado, el nivel del análisis de las obras en toda su objetividad como ya presentadas en sus espacios de exposición, por otro lado, el análisis de las obras en sus relaciones con el proceso de creación,  es decir, la lectura de la fisicalidad de las obras artísticas-pinturas, dibujos, u otras formas, como gestos que expresan aquel proceso creador. Finalmente, el nivel de una crítica de las obras que se sitúa del la...
Leer más

El sujeto en la creatividad

  El Sujeto en la Creatividad ©By Abdel Hernandez San Juan    Para ser creativo el sujeto, en el movimiento que le lleva desde el sercioramiento de su propio ser respecto a sí mismo y al mundo, debe “faltar a su lugar”. El lugar al cual falta, o debe faltar, sin embargo, no es aquel que sería propiamente un lugar en el sentido descriptivo de un “sitio”, “lugar” o “espacio físico”, como quien falta literalmente a un lugar en tanto “deja de ir”,  ni en aquel otro que correspondería a una “ausencia”, es decir, como un dejar de estar donde habría estado o le habría correspondido estar.  Si falta a su lugar no es porque “deja de estar” o “deja de ir”, no es porque se ausenta, o abandone “la presencia” según entendemos esta relación entre “presencia” y “ausencia” de acuerdo a una fenomenología, digo faltar a su lugar porque, de acuerdo con la secuencia que correspondería, en la metafísica del ser,  a la relación entre “el ser” y “la nada”, es decir, entre el se...
Leer más

Anobjetualudad del objeto

  The Anobjectual Object ©By Abdel Hernandez San Juan     La idea usual a través de la cual uno piensa en la pintura impresionista como impresiones perceptivas y subjetivas sobre la realidad parece cierta—“días de lluvia”, “desayunos”, “paisajes de costa”, etc., pero limitar nuestra comprensión sobre impresionismo a la forma en que esta pintura se refiere al modelo, se corresponde con una visión poco rica de las relaciones entre “representación” y “realidad”. Siendo la primera que cambio los discursos de historia del arte sobre el representacionalismo de lo real, representó para nuestros conceptos de “representación” y “realidad” en la modernidad bastante más. En las pinturas de Monet, Manet, Renoir, Degas, Pizarro y Seurat, las pinceladas sugieren lo que hace presencia en la tela. La pincelada recubre en un mismo gestual los gestos de “comunicación”, “sensualidad”, “humedad”, “frescura de la situación”, “roció”, “luz medioambiental” y la pintura en sí misma devien...
Leer más