Volume 2, 2019 ISSN: 2617-9938 DOI: 10.31058/j.ad.2019.24015

Contemporaneity, Mythologeme and New Object

Lepota L. Cosmo1* 1 Independent Scholar, New York, USA

Email Address [email protected] (Lepota L. Cosmo) *Correspondence: [email protected]

Received: 29 July 2019; Accepted: 20 October 2019; Published: 7 November 2019

Abstract: The design applies equally to the usable and interpretative value. The purpose of the object is not as important as the value or interaction. The object produces an effect. The consumption of an object is the consumption of one context in relation to objects. In the case of a modern object artists talk about the design of the concept. replaces the concept of design with the design of the concept. The object is designed from the utility of benefit or benefits. Design is the concept of the object. The object is everything, even a non-object, mental image; the concept has more with the nature of this effect and not with an object that by definition can be a non-object, non- existent, non-exhibit or underart.

Keywords: Theory of Contemporaneity, , Art Theory, Object, Concept Design, Avant-Garde

1. Introduction The issue of absurdity has often been posed. Firstly through the assumption if the absurdity exists at all. Is it possible to understand absurdity not as a feature of events? If so, what are the objectives, dynamics, and repercussions of the absurd stance; And in what ways the absurd stance continues to shape postmodern thought and contemporary culture? [2] What is the absurdity, what is modernity; is absurd real, does absurdity define the notion of modernity and is a necessary ingredient of modernity without which this or any other modernity would not even be possible. After all why absurdity limits contemporaneity by defining it? Why is absurdity a passive attitude of contemporaneity? Why should we not seek for an active absurdity, the absurdity which is the starting assumption, that is, real absurdity in which only one active contemporaneity is possible, a generic contemporaneity that can act in the absurd reality, to act as absurdity, even to create absurdity? Contemporaneity is not possible, although contemporaneity exists. There is no active or significant contemporaneity, there is no art in the case of post theories, there is only a residue or a reflex. Post theory in advance excludes the project of theories. The theory is non-contemporary; art contains reason and justification in itself. Whether art should control reality, whether it should create absurdness, whether it

Submitted to Art and Design, page 158-165 www.itspoa.com/journal/ad/ Volume 2, 2019 ISSN: 2617-9938 DOI: 10.31058/j.ad.2019.24015 should overcome the absurd assumptions of the theory. The literary problem of absurdity is basically a metaphysical. However, the absurdness is complex and each complex is a reality. In the complex we find ourselves as in reality. The complex is intertwined. Non-logical is difficult to understand although it is illogical, because it is illogical in the system of one illogical actuality, because it is illogical in the system of a real non-logic. However, logical is the marginal value of a illogical (as the illogical is marginal value of the logical), logical can be determined from a non-logical one. Also, it is not entirely true that there is no criterion; where there is a question of criteria, there is already some difference. The first major issue in the complex is not a matter of criteria, but a question of actuality. The system is active and the system imposes the criteria and the choice according to the criteria.

2. Myth and Logos We imagine mythology as an archetype, the structure in which communication occurs, mythology is the ambient of the lingual experiment, and mythology is the scheme in which a person feels unconstrained or articulated. Finally we understand mythology as a collective composition, or catalysis of different relationships. [17] Hoffmann demonstrates the relevance that the composition/gathering reading of logos can have for the in rethinking the “rivalry “between mythos and logos. [17] Aesthetics is in the use of general signs, as in the structure of subconscious correspondences. Fashion is an aesthetic act, an act of art. What is the word, if not act or quality, energy or structure? Further energy has the structure and structure of energy is aesthetic. The mythology develops temporarily, from the Egyptian Horus, the Phrygian cult, the Serapis, the Greek Dionysus, to subtle dualism, Celtic endeavors, minervism, and aesthetic syncretic. The color is bipolar; the color is ambivalent and synthetic. The color is polychrome, in a variety of meanings, as energy or quality. Beneath both language and myth lies an unconscious" grammar" of experience, whose categories and canons are not those of logical thought. This prelogical" logic" is not merely an undeveloped state of rationality, but something basically different, and this archaic mode of thought has enormous power over even our most rigorous thought, in language, poetry and myth. [4] In such a mythology we imagine a word, an act. Word is activism. However, every act is also collective. [38] Lyricism as an individual act, and a collective gesture. The act remains in the logos and is realized in the logos, originally and in a collective structure. [17] Word is an act, action, and object, archetype, process, potency. [25] The difference between poetry and non- poetry does not reside in language as such, but in the use of language. [24] Word is all in a lyrical exchange and communication. 'Mythos' corresponds in important ways to modern 'myth' and Greek logos. [10] The society corresponds with the original attitude. The word is a feature, an act that is being revealed as a lyrical will, that is, as active correspondence and lyrical quality. Poetry and the original act, the affirmation of the lingual will as an act. Therefore, the act is in reality as in a lyrical ambience. Words are conveniences. Words are lyric provocations, multifunctional tags. Word is a gesture, a satisfaction. However, to be a satisfaction, word is in correspondence with the collectivism. [20] Color is the presence of Logos. Art is arche colourism. Strip, wall, frame. The color is sublimation.

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The color is the sublimation of collectivism. Color is the ambience for the act. The color is non-saturation, collective palimpsest. The poet is surrounded by implicit things. The poet is facing the transcendence of signs that speaks to him. Signs are incentives. Art is an act of color. The act exists in space. Mythology is an active entrepreneurship. The mythology of the present creates a permanent legend, modernity for future interpretation. [37] Mythology is not an imitation in the prejudices of time. The actor wants word, form, act, burlesque. The act of words is in their actions. [28]

3. Mythologeme and Philosophical Act Mythology does not change the future but frutulize the present. The goal of the words is the act; the goal of art is a myth. Poetry is a myth about “now”. Poetry creates a myth as an act, a change. Art is a lyric attitude, attitude towards. Mythology requires a high attitude, sound, poetry, accentuated reality. Things are frictions, accentuation, sensations, and apexes. Mythology is divergence, meta-; mythology is the poetry of elementary aesthetic settings. [10][26] Archetypology, color that forms a philosophical and logical intervention. Mythology is genesis, does not create time, but timeless value. A general act that has a mark, and aesthetic repercussions. Poetry with influence as well as poetry without influence. [15] Can poetry be exchanged socially, whether poetry can be a collective act, whether the social group can create poetry? [1][30] Poetry is communication, there is no doubt. [31] Mythology is the activity of the actor. It is a subtext. The act will be accomplished in the aesthetics of spoken words. [19] Word is an act. Word is the poetry of the present. Mythology is an experiment, the group is playing. After all modernity is experienced as originality. Mythology is the genesis of the present. Act is original genesis. The poet looks for a collective lyric. The act of value that has aesthetics, aesthetics that is not only individual, aesthetics that communicates, experiences and exchanges. The society corresponds to the structure, and experiences all the beauty of the archetype. [15]

4. From Modernity to Contemporaneity Never before have we discussed and published so much on “the contemporary.” Even with the attempt to discredit contemporaneity as a mode of “untimeliness”. [9] Contemporaneity always exists regardless of prejudices and assumptions, or theoretical norms. [35] The theory withdrawn and rejected modernity according to its own actuality. Art is contemporary because its act is real, not projected or abstract in- relation-to, as a theoretical conception. Act is the concept. Anamodernism understands modernity as a choice not as a pre-concept. Concept must not limit any activity. Anamodernism is a central problem, the problem of the theoretical emergence of modernity, in setting theory before the act. Modernity has lost its theories by acquiring one. [21]

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Figure 1. Irrational Geometrics 2008 by Pascal Dombis. However, each act is inventive. [27] Instead of the system of concepts, the concept of systems is set. Art does not devalue any , but it is the interpretation of one of many possible art systems. This implies the question of continuity. There are those who think the avant-garde is a historic category that has now been superseded, and those thinking that the avant- garde is still very much an unfinished project. [34] From the perspective of modernity, all movements are complementary. Some elements have its reinterpretation, revaluation. Art functions to the system of movement, and as the concept of the systems. From to , from to conceptual art. Some basic issues of modernity are successfully resolved in , , neo- , , generative art, concept art. [24][36] (Figure 1) This modernity is further in expansion as the act of new systems. The issue of modernity is solved theoretically as a matter of act. Every concept, every act is contemporary.

5. Concept-Design and Design Concept In the second half of the 20th century, objects expressing dadaistic positions, Duchamp’s ready-mades, already appeared. Also Man Ray’s, and the Arensberg’s [21] Avant-garde art abounds with experimental figuration, mobiles, use items, exhibits. [12] Exceptional are the avant-garde principles of object and spatial design, the art of ambience; aesthetic forms, avant-garde projects. (Figure 2, Figure 3)

Figure 2. “The Act of Creation” is a collaborative neon sign artwork created by Joe Banks and Zata Banks

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The design applies equally to the usable and interpretative value. [7] The purpose of the object is not as important as the value or interaction. Design is the concept of the object, the concept of activity. Design is the art of the object. The object is understood here in the strict sense, as a sculptural element, even as a sculptural act, product, object, found object, consumable good, used product, conceptual object, non-object, para-object, non-exhibit, underart, imaginative form, non-art , declarative art. [11][22]

Figure 3. Zimoun, 2010, 361 prepared dc-motors, filler wire 1.0mm. Installation view: Swiss Art Awards Basel, Schweiz. The design of the object neglects ergonomic and develops the conceptual side. [34] The question arises what is the usable value of a non-object, what are the attributes of the design in ergonomic and practical understanding. Design is the concept of activity or non-action, applied art to the design of non-object. Usefulness refers to the effect, the benefit of the object in this case; the object has conceptual applications, so it is possible to dispute about the pre-conceptual and applied design of any of such objects. [18] In the case of a modern object artist talk about the design of the concept. Modern art replaces the concept of design with the design of the concept. The object is designed from the utility of benefit or benefits. [5] For an individual, the real aesthetic effect is beneficial. The object produces an effect. The consumption of an object is the consumption of one context in relation to objects. The concept is an ambience or relation-convenience. The object is an activity related to the object. In this sense, design is a project of contextual activities. The object exists only in interaction. Design is the concept of usable interactions. Concept- design therefore refers to non-objects, sculpture is non-dimensional. Design is an activity of an effect or benefit. Concept designs the context of the object. The object has an aesthetic effect even in the contingent of its absence. The object is an aesthetic position or reconstruction. This position is the position of a value system or effect. Design is the concept of the object. The object is everything, even a non-object, mental image; the concept has more with the nature of this effect and not with an object that by definition can be a non-object, non-existent or underart. Instead of a meta-object, we deal with a real act, a conceptual object, a target effect, a single conceptual act, or a non-activity. Finally, active design, or activities toward non-activities. Especially interesting is the transition from meta-narrative, deconstruction, concept of art, dadaism to anamodernism and conceptual performance, conceptual literature, post-experiment and super-narrative. Art is an extensive meta- narrative. Literature is a continuous act. It comes to the mixing of art, first of all

Submitted to Art and Design, page 162-165 www.itspoa.com/journal/ad/ Volume 2, 2019 ISSN: 2617-9938 DOI: 10.31058/j.ad.2019.24015 performative and fictional genres. The context is most perceptible in the absence of text. Structurism is inter-genre context. Significant attention is given to the forms of anamodernism expressed with the series of Luba’s works: Pistol (2018), One (2018), Blank Canvas (2019), as well as through conceptual literature. Pistol is an anti-object. Nothing (2018) is a characteristic non-exhibit, a non-object (Figure 4). As a specific opposite case, Pistol (2018) is an exceptional example of super-contextual art. Conceptual art has made quite progression from Malevich’s White on White (1916) canvas to Luba’s Blank Canvas (2019), and non-tangible objectivity. Superlatives with new possible readings: the most expensive non-object, the most expensive object, as well as a number of parametric experiments that extensify specific quantitive property of objects. Non-tangible object and non-tangible art is the basis of a new sculptural expression. The acquits of experiment, deconstruction, conceptual art and neo-dada, its response found in anamodernity, neo-experiment, and new concept. The sup eristic tendencies of supramatism, zenith, neo-expressionism, neo-Dadaism its perpetuations certainly found in tensurrealism and a whole series of ism-s. Useful outlets of superflat, , intervention, interactive art and . [5,24]

Figure 4. Nothing, 2018. The first non-object exhibit from author’s series. Source: Fineartamerica.com Finally, the design allows pure art reading; in the conceptual activity the object is not subordinate. Design is not a rigid form, but an aesthetic effect. A pure or new object is an object deprived of any prejudice about that and only that specific object, the object is anything that can stand in the perception or imagination of the viewer. The object is in the position of consciousness, in the dimension of the context. A pure object is an activity oriented towards the effect or interpretation. Interpretation depends on the pre-context (system of values), the art system, and the context, that is, the position of the object, as the non-exhibit, and tendency of the object.

6. Conclusions experiences further development, modernity interprets new values from the object trouve to the concept-object. Hence the understanding of the concept of values extends from the value of use to the value of the effect or relation. Instead of an artistic process, a conceptual act or conceptual design is discussed. The non-act activities and mixing of genres are recognizable.

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Conflicts of Interest The author declares that there is no conflict of interest regarding the publication of this article.

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