Are the visual arts really so central in our time that, as Doug
Adams once said, "people under 60, raised on television remember by
what they see [F]ilm and television are really the language of
today"? (TE 2013) This central view on the visual arts can be
contrasted with an opposing view by Camille Paglia, who wrote that
"the visual is sorely undervalued in modern scholarship. Art
history has attained only a fraction of the conceptual
sophistication of literary criticism. Drunk with self-love,
criticism has hugely overestimated the centrality of language to
western culture. It has failed to see the electrifying sign
language of images." (TE 2013a) Contrary to these opposing views
(and other ones as will be discussed in the book), the visual arts
(in relation to techniques and spirits) are neither possible (nor
impossible) nor desirable (or undesirable) to the extent that the
respective ideologues (on different sides) would like us to
believe. Needless to say, this questioning of the opposing views on
the visual arts does not mean that the study of techniques and
spirits is useless, or that those fields (related to the visual
arts)like drawing, cosmetics, manicure, painting, landscape,
calligraphy, photography, digital art, computer technology,
advertisement, graphic design, filmmaking, fashion, sculpture,
architecture, and so onare unimportant. (WK 2013) Of course,
neither of these extreme views is reasonable. Instead, this book
offers an alternative (better) way to understand the future of the
visual arts in regard to the dialectic relationship between
techniques and spiritswhile learning from different approaches in
the literature but without favoring any one of them (nor
integrating them, since they are not necessarily compatible with
each other). More specifically, this book offers a new theory (that
is, the ephemeral theory of the visual arts) to go beyond the
existing approaches in a novel way and is organized in four
chapters. This seminal project will fundamentally change the way
that we think about the visual arts in relation to techniques and
spirits from the combined perspectives of the mind, nature,
society, and culture, with enormous implications for the human
future and what I originally called its "post-human" fate.
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