HERTLE

Isn't there a category in psychology for normative concepts, the ones in normative science that are concerned with logic, concepts of method, math, ethics, morality, romance, art, and science? Isn't the category of cognitive concepts, more or less insufficient when measured with normative concepts?

I have developed a technique for starting and creating visual works of art, for example, and it is not limited to, paintings or drawings. It is a method for creating the central idea for the work, the characterizations, thematic ideas, and the related concretes. There may be parallels with the well known "writer's block"; however, my technique is not a method to omit impediments for working. Rather, it is a constructive method. The technique is a workable epistemological method for the artist, and it is also a practical practical method for constructing the work and setting it forth in material and perceptible media. There may be an extension of the method insofar as written works; and that would need to be demonstrated. I won't cover writing if I post an article; however, I would need to post examples that I have made, that are color pastel paintings or drawings. The demonstrations related to the text are important to the understanding. The technique is called, "Scribble Technology", just to give it a constructive handle. If this is the place to discuss the new idea, and if the matter of image file size is not a problem please let me know. Ralph Hertle

I wanted to upload an image of the Ayn Rand stamps on the card; however, OL limits the upload to 30.72 kb in size. Please send me an email at lon521@gmail.com and I'll reply to you with an attached digital color image of the item. Ralph Hertle

AYN RAND stamps by the USPS There are 20 stamps per card and the original stamp value was $.33 ea. USPS cards are shrink wrapped. The lot includes 16 cards; and the selling price, including S&H, is $200. Ralph Hertle lon521@gmail.com

HOW TO POST ART AT THE OL ART STORE I have many works that are in the categories of Giclee, acrylics, pastels, writings: and that may be posted at the OL ART STORE. What are the proper steps to get a small gallery presentation working? Ralph Hertle 225 Parsonage Rd., Edison, NJ 08837 lon521@gmail.com

FORMAL ARTS, CONCEPTUAL ART

Michael, You are not going to believe this. I produced another re-edited version of the article. My writing work is really rough, and during my learning process I've improved the major non-contradictions and grammar. The [NOT] attached replacement file has a replacement article, file name, FORMAL ARTS_CONCEPTUAL ARTS_RECREATION_3-14-2018, however, the network will only transmit 122.88 kb; and they blocked the transmission. I'll divide the file into two parts and re-send it. Mean while I'll be sending one more digital picture. Thank you. Ralph Hertle

FORMAL ARTS AND CONCEPTUAL ARTS WITH ADDITIONAL NOTES REGARDING RECREATION by Ralph Hertle Proprietary - Not for publication or distribution. Revised: 3 / 12 / 2018 This article is an edited continuation of the previous work on the same topic called, the Formal Arts and Conceptual Arts, and may replace same. There may be created edited versions and added writings on the same series of topics to follow. Beauty is a concept that is broad through science and art, and is not dealt with in this writing. Possibly, a number of basic philosophical, epistemological, moral, and scientific concepts, examples, and demonstrations need to be evaluated prior. Other interesting topics are: Sense of Life, Stylization, and Characterization, and these are not covered here. . . . . . . . . . . . . . . . . The Fine Arts The Fine Arts, according to the conventional historic definitions of the arts, are basically, for example, painting, drawing, sculpture, textiles, music, dance, architecture, novels, poetry, and drama, and they also include some of the combined arts of opera, fashion, crafts or product design. That's a broad area of knowledge regarding human action, and there are many subdivisions. A discussion of one of the arts always requires mention of the definition of what the art is. Examples are essential, and all discussions must refer in some way to the work itself by pointing to examples and features. Today, we need a higher degree of specificity in order to understand what a work is, why it is, and what meaning it may have. One shouldn't neglect Ayn Rand's discussions of art regarding the role of contemplation that is a primary purpose of a work, and of the classification to which the work belongs. Aristotle's system of classification, definitions to identify existents, logical induction and deduction is essential to stating and understanding the essential characteristics of works that are either similar or non-similar to each other, and their classifications. Without developing the idea of contemplation, here, we may arrange all works according to their media, identities, functions, structures, purposes, results, and so on. The works may be grouped according to their essential characteristics and similarities; and combined works may be dealt with after the main types of works have been sorted. The problem we find in Objectivism is that this methodology results in some of the arts being disallowed from the world of the arts. For example, music does not have a material physical being or permanent existence, and yet it is heralded as a most important method of creating, recording, and demonstrating audible principles, forms, and inventions. Music does not have a permanent being, and it is all made up of structures of melodic forms. All Music is made up of not the Platonic forms and ideals; and, rather, it is made entirely up of the Aristotelian forms of esthetic entities, [Ayn Rand's term] actions or method types of forms [Aristotle]. Here the definition of form provided by Aristotle is most useful; not the definition of form provided by Plato. Music is none-the-less accepted as one of the main types of art. See the opposing explanations of these two concepts of "form" in the Ancient Greek context that are given by Dr. Harry Binswanger in his writings elsewhere. Formal Arts Architecture, on the other hand, for example, does have, as its basic existent, a material physical being for permanent existence, and yet it is rejected from the arts in Objectivism, even though it is greatly important as a method of creating, recording, and demonstrating geometric, spatial, and tactile principles, forms, proportions, beauty, and inventions. Why is music an art; and why is architecture not accepted as an art by the Objectivists? Both of these 'art forms' are quite different in one manner of identification, that is, they are different in regards materials, and also in the methods used to accordingly shape the materials, concepts, to manipulate the constituent concepts, and they have different means of creating the works. The matter of the differences is not so great, for we find that the methods of creating the works, for example, proportional harmony and beauty, is more similar for Architecture and Music than not. The methods of creating the gists of the works, and not the material presentations, have a great number of similar causes. If the forms [Aris.] of the two types of works are similar, and if the materials, whatever they are made of, or the means by which they are shaped according to the intellectual methods of invention and organization, and according to their realized perception of intellectual methods, we may find that the system of forms used, and the purposes of the works, are basically common to the two types. Music and architecture have their systems of forms in common. Regarding methods of action, we may find that there are the methods of perception, creation, concretization, organization, and acquisition of the forms of the works that follow the same principles. One of the common principles is that there is a viewer to perceive and behold the work, and that includes the artist. The work in the Formal Arts exists physically, and it may only be directly physically appreciated. We may find that one common principle exists for each type of work, music and architecture; that is, that the viewer must be there at the time and place of the presentation of the work; that is, that the presentation of the work must exist for the viewer to perceive and directly experience. For these two types of art all the perceived characteristics can only be made evident to the viewer by means of the experience gained directly from the work. By listening, by walking around the work, dancing through it, by being there, by harmonizing, by touching the work, and so on, you are there. The work and its meaning exists in its actuality, and it also exists for the viewer, or listener. The artist creates all the concretes or features of these works of art that the viewer may be there to directly appreciate. Architecture and Music have similar things to say, and we may evaluate such works and to include them within the Formal Arts that classify works mostly according to what the works say. The historic definition of architecture includes the statement that, "the Parthenon is frozen music." Example: The Parthenon, by architect, Kallikrates, Athens, Greece. What may be said by the artist may only be said in terms of the formal inventions that are concretized in the works, and not primarily by implication. To appreciate works of the formal arts the viewer must actually and physically be there; and it is that that is important insofar as gaining a perceptual understanding of the, say, geometrical arrangements, constructs yielding beauty, inventions, and the devices apropos of the materials and arrangements that give rise to the sense of life meanings of these works. I call these works examples of the Formal Arts. The other types of the arts are of the classification that may be called the Conceptual Arts. Not only do I suggest the two basic classifications of the arts; I find that there exist two basic types of re-creation that result in, that the artist invokes and expresses, and that are causes for the two basic types of art. Re-creation may be discussed ok in a separate chapter. Conceptual Arts The Conceptual Arts convey or express ideas primarily by means of induction. You don't have to be there to appreciate a symphony or a skyscraper described only in print by Ayn Rand, you gain knowledge of what the song or the fictional building portrayed in a novel is like, emotionally or dramatically, by means of induction from the concretes provided. You are not there. You gain, remember, appreciate, and take with you all the ideas that are implied by the conceptual works, and you may take the implied meaning of the work away with you, for example, the melody, appreciated sense of life, or moral principles demonstrated within the imagination. There is more to be said regarding both types of art, the Formal Arts and the Conceptual Arts. Discussion may include the different methods of re-creation, the methods of experiencing the works, and the methods of creating the works. Possibly, there is also a future science regarding the methods of understanding and appreciating the two types of works. The arts that show moral concepts, moral actions, moral states of being, and moral causes are the Conceptual Arts. Included are the Novel, Drama, Opera, Sculpture, and Motion Picture Drama, for example. The Conceptual Arts are the province of moral human action. Romanticism and Romantic Art exist in the realm of the Conceptual Arts. Romantic love may be shown in a play in the form of moral action by the actors in the dramatic plot action of a play, and the take-away may be a glorious presentation of the idea of the love of life. This writing is concerned with sketching the broad essentials of the concepts, and in stating topics for the discussions that will include some types of art that have been previously excluded, and by re-classifying other types of art. We may now include dance, the design of manufactured products and buildings, within the Formal Arts, and poetry within the Conceptual Arts. Sculpture is no longer in the classification with architecture, and it is in the classification that shows implied ideal moral human action. We won't be discussing concepts of esthetics that identify stylization, for example, Formal Stylization and Practical Stylization, and these new classifications may require a book or chapters to cover the text and illustrations. Stylization would be a huge topic for writing, both in the realm of the Formal Arts with "Design", and in the realm of the Conceptual Arts with ideal, heroic and dramatic human action. Further writings will explain the causes for the classifications of the works, that is, the types of re-creation, possible expansion of technologies, and the ideals that will engender new types of works. ADDITIONAL NOTES REGARDING RECREATION At his time in history we have the somewhat well known concept of recreation; and that basic concept descends from Aristotle. Since the Renaissance, however, we have seen, by induction, numerous examples of recreation that are the cause for examples of works of art. Recreation Recreation is one of the fundamental causes for the creation of works of art. Ayn Rand says that art is, “a selective recreation of reality according to an artist’s metaphysical value-judgments". The term "recreation" is an Aristotelian concept that refers to a re-integration of ideas that are drawn from the existents of reality according to the artist's preferences and selections; and that are then fashioned into the works and the ideas portrayed in a work of art. The concept of recreation in the Platonic sense is the idea of art wherein the work portrays an imitation, or literal representation, of a something or an idea in reality. The Platonists claim that their work is accidental and that there is no perfect human agency that transmits the essence of the Platonic "world of ideals" into works of art; lest there be a Platonic 'priest' that only may transmit the so-called ‘perfect’ artistic essences. They don’t allow that a ‘perfect’ result may be the consequence of the process of culling imperfect ideas from the “Ideal Platonic World”. The modern Platonists claim that modern photography and similar naturalistic paintings and sculpture, for example, have no selection of subject matter, only accident. The Platonists don't believe in the sense of realistic cause and effect based upon objective reality, either. They even include the "accident" of irrational and / or creative mental action to be causes for the creation of works of art. And, still the subject matter gleaned from reality finds its way into works. Platonistic art is called Naturalism, and that has nothing not accidental to say. Platonistic art has no intentionally ideal or moral content to project, it simply copies reality with all its precision, imprecision and/or irrationality. The works created, and man’s means of understanding reality and art are not perfect in the Platonic realm. Ayn Rand commented that selection is the province of Romantic Art, and the concept of selection, is the contradiction of the naturalists, If a natural scene - scape painting portrays subjects and scenes in a beautiful way, has something to say about the fine goals, flourishing, and good actions of the characters portrayed in a beautiful natural mountain valley setting, the work should be evaluated in the sense of idealistic Romantic Art, and not Naturalistic Art. All the while classifying and evaluating the work within the realm of the Conceptual Arts. In a sense, Naturalism disappears from the philosophical discourse, and due to its reliance upon the accidental inclusion of subject matter, Naturalism is irrelevant for the purposes of discussions of the ideals of art. Realism stays, representative works stay, Romanticism stays, and Romantic Idealism stays within the Conceptual Arts. If Naturalism isn't accidental, and is selective, it is a contradiction in terms. Romanticism, the opposite of Naturalism, answers all the questions regarding the values selected and portrayed by the artist The concept of recreation in the Aristotelian sense is held in opposition to the Platonic, and Aristotle held that the artist selects from actual reality the things or ideas that express his highest values. The formation of the artist's highest ideals is no accident, rather it is a matter of intentional selection and portrayal. Art, according to Plato, is a non-selective or accidental copy or naturalistic representation of something in reality. Art, according to Aristotle, is a selection and representation by the artist of the artist's highest ideals. Ayn Rand has said, and I paraphrase, that art, according to Plato, portrays what exists; and that art, according to Aristotle, portrays what ought to exist. That is an essential differentiation of most basic types of art, Naturalism and Romanticism; and it separates the accidental ‘non-art’ from the ‘selective’ type of art. The classification of all the individual types of art into the Formal Arts and the Conceptual From Aristotle the intellectual tradition leads to Ayn Rand and to her coining of the term, "selective recreation of reality"; that is, selected by the individual artist's appreciation of selected particular subject matter in the context of his highest goals and values regarding life and existence. What is recreation? What is being portrayed when something is being recreated? Is the thing that is recreated an idea, an emotion, a normative concept, a cognitive concept, a scientific or geometrical concept, a moral ought, or an emotion? Yes, and more, and in combinations deemed appropriate by the artist. Examples of every type of work of art and detail that one may refer to are essential in all evaluations of works in these discussions. Is recreation a cause for the characteristic of representation of subject matter in a work of art, for example, as in representation in sculpture or novels? Or, is recreation a cause, in the best rational and cognitive sense, for the non-representational characteristics of some works, for example, as in architecture and music? Returning to the Fine Arts and to a breakdown of the arts into the many arts; and by logical identifications of the properties of the arts a system of classifications may be developed. That requires numerous examples, and an exhaustive list of particular works, types, characteristics, goals, and the objectives of the artists. Say that we now have two basic classifications for the arts, the Formal Arts and the Conceptual Arts. Let's identify the principle of recreation and find the method of functioning of the process of recreation in both of the two classified types of art. Some of the attributes of some works of specific types may not be necessary for discussion in a study of recreation, that is, we may ignore them; however, subsets of those ideas may bring us to interesting thoughts for later discussion. Simplicity may be a good starting place for control of the evaluation of the concept of recreation; and the main focus should be with the essentials. A demonstration of recreation insofar as the identification of its place in the realm of ideas, and of its purposes and functions in creating and appreciating works will be helpful. After all, all art portrays ideas in some forms, and as Ayn Rand says, art "shows" the ideals and highest values of the artist. She also says that artist's works always "show" the ideals and highest values of the artist. A simple selection of several works and types of art may be arranged in a chart that helps to isolate the selected works into classifications of the essential or defining attributes. From there, the logical parameters will constrain the identifications of attributes into characteristics, for example, by isolating and placing the types of works into frames on the printed page, each of which has rules for inclusion. Let us spell out a simple system for categorizing types of work; that is, by demonstrating this method for classification. The intention is to investigate the causes and to find out how recreation functions; and, two, to find a justification for unique types of recreation for the two basic classifications of works of art, the Formal Arts and the Conceptual Arts. Formal Recreation and Conceptual Recreation. We may see from this demonstration that there is justification for an isolation and identification of two basic types of "recreation", and that there are two types of recreation. These may be termed, Formal Recreation and Conceptual Recreation. The broad and all-inclusive term, 'recreation', still exists for all the arts, and Ayn Rand's definition is still the best; however, to more finely differentiate the arts we may test the two new classifications. The chart may have two columns: on the Left are the Formal Arts and on the Right are the Conceptual Arts. A minimal selection list of types placed on the left and right are sufficient to point to the two types of concepts of "recreation" to be described. On the Left Side, the Formal Arts / Architecture In architecture the operative, or buildable, designs are made and recorded in the form of diagrammatic arrangement plans and descriptive specifications for the construction of the work, or building. The artistic characteristics are directed by the plans, and they are not presented or shown by the plans. The work, that is, including the artistic qualities, is made of actual materials, and the artistic content is presented, that is, shown, by the viewer's perception of the physical forms. Examples of architecture within the Formal Arts would include works by Frank Lloyd Wright, Kallikrates, and Mies van der Rohe. The matter of practicality isn't a matter for the exclusion of a given type of art from the Arts or from one of the two classifications of art. If it were then we would ask why isn't contemplation a matter of practicality for the arts, for moral evaluations, for psychology, or for happiness? Practicality regarding useful actions or the utility of a thing is fine for utilitarian objects, however, except for contemplation, that type of practicality is of little use in classifying the arts. Practicality in the sense of utilitarian value is of use in describing the sub-divisions of the major art of Architecture that may include product design, crafts, jewelry, interior design, landscape design, styling, auto design, and fashion apparel design, to name some of the major sub-classes. However, practicality of this type is not useful as a defining characteristic for the other major arts. Practicality for the arts is not useful, except in that in selected contexts one may say that a given work of architecture may be practical for the display of paintings and sculpture. On the other hand one may say that paintings, sculpture, and music are practical for the purpose of enhancing the usefulness and selling price value of buildings. This writer suggests that the concept, contemplation, is the more useful for all the arts insofar as the fundamental purpose for all the arts. Formal Arts / Music In music the operative, or playable, music is made and recorded in the form of notes and symbols set down on music charts that contain the descriptive and causal specifications for construction of the melodies, timing and effects. The artistic characteristics are ultimately controlled and directed by the charts, however, they are not acoustically presented and shown by the music charts. The works, especially the artistic qualities, however, are made of, or expressed, in terms of actual physical substances, for example, wood or metal instruments and air, and the artistic content is presented, that is, shown by, and displayed in terms of the physical materials, the instruments and air. The music comes from the notes kept in mind or on paper; however, the actual acoustics of the music when played are given immediate physical representation. The Formal Arts are specified on "paper" so to speak, and they are made manifest in terms of physical materials. Philosophers have described, or claimed, that a physical representation is a necessary characteristic of art, especially of the Formal Arts that the work, to be art, must be made of "durable" materials. By that measure, architecture would qualify as an art form, and music would not. However, the instant method permits both types of art to be included. We have previously seen that the direct physical existence and evidence of the work in the Formal Arts are essential for the actual existential presentation and immediate physical perception of the artistic import, or object, of the work. The Formal Arts are object oriented. That is the differentia of the concept, Formal, in Formal Art, or Formal Work. In music the presentation is of the physical performance, and the presentation is not made by means of a durable material. The genus of the concept Formal Arts is the physical form of the work in its presentation. Examples may include the big band music work of Benny Goodman called "Sing Sing Sing", performed in Carnegie Hall in 1938. On the Right Side, the Conceptual Arts / Novel In the novel the operative, realizable intellectual and emotional quality, or conveyable quality of the work, is made and recorded in the form of the printed page; however, particular plans and specifications for construction of what is being portrayed by the works in the book are not primarily stated. The artistic characteristics are only implied by, and, they are not literally and materially created or actualized by the plans or text. The works, that is the artistic qualities given by the novel, are not made of actual materials; they are only described, and the artistic content is presented, that is, shown, by an implied imaginary or ideational form. The artistic qualities are not actualized in a physical form. In the example of the novel the writer draws essences and descriptions from real world characters, their style, and their morality of action. The writer in formulating the story and plot decides what actions should be shown to be taken by the characters; and the idea of the whole book may be one of the moral achievements of the hero in the plot action. Recreation leads from facts, by means of a rational and idealistic method, to shoulds - and to showing the successful flourishing of life. Reader has to think about what the book says, to use inductive reasoning, and to infer the meanings the book offers. The artistic import provided by the novel is not conveyed immediately and physically as in the Formal Arts, and it is, especially, and essentially, implied only by the concretes stated within the work or by other prior implications. Conceptual Arts / Poetry The artistic import of the poem is basically the same type as with the novel. Poems deal with more narrowly selected subject matter; and the writings are stylized to fit within a form of paragraph called a verse. Additionally, the lines must rhyme according to specific typographic rules and intervals. The artistic import provided by the poem is not conveyed immediately and physically as in the Formal Arts, and it is, like the novel, only implied by the concretes stated within the work. The concretes suggest imaginary entities, and other concretes other entities, and other concretes still other entities, and all these may imply, by induction, a concluding overall imaginary world construct or existence. The differentia of the novel or poem is its implied meaning, and that is gained by reading or listening, and by induction and evaluation. We have previously seen that the imaginarily implied existence is the gist of the work of the Conceptual Arts; and that is essential for the artistic import, object, or goal of the work. That is the differentia of the concept, Conceptual Arts. The genus of the concept, Conceptual Arts, is the typographic language base of the work in its presentation. Conceptual Arts / Painting and Sculpture In the 'painting' the operative, realizable, or conveyable quality of the work is made and recorded in the form of the image that is placed with paint on the paper, wall, or canvas with paint, or with digital printing means; however, the actual physical construction evidence of what is being portrayed by the works is not primarily stated. The artistic characteristics are only implied by the concretes set forth in paint, and, they are not literally created or actualized by the designs or effects portrayed. The works, that is the artistic qualities given by the painting, are not made of actual materials of that being portrayed, and the artistic content is presented, that is, shown, to be an implied imaginary existence. The idea of the work is not actualized by the creation of a physical or ideational object. The artistic import, content or meaning, provided by the painting is not conveyed immediately and physically, and it is, especially, implied by the concretes stated within the work. The image, all the while intriguing and beautiful, conveys the ideational and emotional gist of the work by implication. The genus of works in the classification of Conceptual Art is that the concretes given provide the visual and ideational particulars from which the implied and possibly imaginary gist of meaning is shown. The differentia of works in the classification of the Conceptual Arts is that the concretes given provide the visual and ideational particulars from which the implied and possibly imaginary import may be grasped by induction by the viewer. The implied content of meaning is shown by means of a crafting or arrangement of a substrate of materials, for example, by the implications and imaginary evidence set forth in print, in stone as in sculpture and statues, on stage in action in theater and opera, or with paint on walls or on canvas. One example is the artist - painter, Vermeer, whose works are within the classification of the Conceptual Arts. Appreciation of the Formal and Conceptual We may say that the Formal arts are the arts of immediate and direct apprehension and that the Conceptual Arts are the arts of implication and induction. One appreciates a work of Formal Art by the direct physical apprehension of the gist of the work from the physical existence and perception of the work and, importantly, from actually being there. One appreciates a work of Formal Art by the direct physical apprehension of the work, and the gist from the particulars of the physical existence of the work. The work of Formal Art requires that one is actually being there. Apprehension for the Formal Arts is perceptually immediate. One appreciates a work of Conceptual Art by the use of induction. The apprehension is non-physical, imaginary, and anticipatory. The qualities of the work of Conceptual Art, for example, the actions of the characters and their causes of moral action and purposes, or simply the existents of entire scenarios or the drift of beautiful or romantic events given as moral 'oughts' may be implied. In the Formal Arts, say in the example of an idealistic skyscraper design image, or a symphonic musical work, an actual work that demonstrates an actual moral existence, and beauty, is created. In the Conceptual Arts, say the actual Ancient Greek statue of a boy may show an implied character of confidence and vision. An actual or implied moral existence may be portrayed. Additional notes. Modern Art Where, then, is Modern Art, for example, modern art painting, placed in the dual classification system? Modern Art / painting is generally thought to be created and evaluated as if such works were of the same type as all other conventional paintings in the Fine Arts. Modern Art / sculpture, Modern Art / architecture, Modern Art / Music, and Modern Art / psychology may be left to the reader's imagination; and it is best to judge instances on a case by case basis. While many works are best ignored, due to mis-identification and mis-classification there may be many examples of the Modern types of art that show beauty and other moral qualities, and these should be placed in proper classifications in the dual system. For example, a beautiful modern building should not be dismissed from consideration in the Arts or Formal Arts simply because it is 'Modern', or for reason that all 'Modern' art is anti-rational. Nor should a beautiful sculpture or painting of a flower, or picture of a breathtaking desert landscape in bloom be dismissed from the Conceptual Arts or from Romantic Art simply because it is realistic or naturalistic. These two latter terms, realistic and naturalistic, of course, require future chapters and explanations. So do the terms, Naturalism and Romanticism; and see Ayn Rand's philosophical works for a proper discourse of those ideas. That conclusion based upon conventional ideas leads us to find that Modern Art / painting is not an art. That, in the conventional sense would be true. However, Modern Art is not conceptual, and it is not primarily inductive; and its qualities, on the other hand, are immediately presented. Modern Art, reclassified, belongs in the Formal Arts along with architecture and music, for example. Or, if at all. Claims that Modern Art is conceptual are false, however, there may be allusions to or references to selected conceptual or cognitive content in works of Modern Art. Modern Art is not a major classification in the instant dual classification system. Everything that would need to be said about Modern Art that may be of value, for example, about the causes for an instance of a beautiful work, may be better said in terms of the concepts of the Formal Arts and Conceptual Arts. The purpose of Modern Art is to show the results, for example, of certain statements or combinations of ideas, discoveries, inventions, or principles of design, geometry, proportions, color, emotions, perception, and beauty. The proponents of Modern Art may claim that Modern Art / painting if it is non-representational, or has anything at all to say should be classified in the Formal Arts along with Music and Architecture; however, if the work shows content of meaning and portrays representative subject matter it should be placed, even if provisionally for evaluation, in the Conceptual Art classification. Examples of the insane or the unknowable supposed ideals and claimed forms of non-rational psychology, or even rational psychology, need not be considered for classification within the arts; and, again, case-by-case evaluations are necessary. The claim made by some proponents of modern art is that the content of meaning includes the implied content, whatever it may be, which is impossible. The terms 'whatever' and 'anything goes' disqualifies the commentator or artist. The Surrealist's reliance upon the stream of consciousness ideas proposed by Freud, and that they wanted to destroy human perception and reason with their art, means that the Surrealists should be discredited and not included in the arts at all. Some of the Surrealists are excellent painters or artists, and they often even offer a guess-the-meaning mind-game type of content that is a big draw to some of the public. If their works, being quasi-representational or distorted in representations of subject matter may be evaluated in the Conceptual Arts. Some artists, for example, Salvador Dali, may get high marks for painting skill, however, their marks for moral idealism and rationality of content may be low bordering on epistemological evil. Modern Art / painting and Modern Art / sculpture in the formal arts would be placed as examples of the demonstration of the principles of 'design' and 'architecture'. We are dealing with the morally good, the pleasure oriented, the rational, and the beautiful; and the primary focus of the Formal and Conceptual Arts should be exclusively upon these values. If not, not. Modern Art examples may include selected works of Franz Kline, Laslo Moholy Nagy, Mondrian, Benny Goodman, Glenn Miller and Artie Shaw. These examples are a small number, and the reader may find numerous examples of value. Modern Art, including non-presentational architecture, Modern Art / painting and Modern Art / sculpture may once again be evaluated to be art; and, selectively, may be placed within the broad classification of the Formal Arts. The representational applied to architecture, where the representational is the primary, may cause such works to be placed in the classification of Sculpture in the Conceptual Arts; and to draw a straight line of separation, Architecture that properly is without representation should be decisively placed within the Formal Arts. Representational works due to their cognitive implication characteristics of content belong classified in the Conceptual Arts. Whether instances of representational works may be classified in the Formal Arts may be discussed; and they may be a sub-classification, subset, or a combination. Works of that type may include sculptural building ornament or pictorial apparel fabric patterns. Works of the Conceptual Arts, for example, a painting or sculpture, may be juxtaposed with architecture from the Formal Arts where the painting or sculpture representation is not the primary motive of the architectural work. Building design and product design, being branches of engineering, are not art. However, other types of building design and product design, including crafts and fashion apparel design because of their evident attention to beauty and human happiness should be classified as art within the Formal Arts. All types of art are either classified within the Formal Arts or the Conceptual Arts. It's an epistemological matter, a matter of Either-Or. And, Either-Or is a primary concept of Aristotle and Ayn Rand. A thing is either one thing or it is not; and see the proper philosophical statement elsewhere. The argument relies, in part, and with reasons given, upon Aristotle's Law of Contradiction. The Division of the Arts The dual system of the division of the arts is primarily dependent upon what a work may say, and upon the means of saying it. It is a matter either of direct presentation or implied meanings. Either-Or. Aristotle's identification of the Four Causes is important for the definition of the genus and differentia of the dual system, and the sub-classifications of the arts; and that merits a separate chapter. The examples of a song or opera with both having music and lyrics may be placed within either the Formal or Conceptual Arts based upon the evaluation of which are the primaries in the work, or which component of the work is being reviewed. All the arts may, on occasion, incorporate elements from the Formal Arts; for example, paintings may have strong elements of design, for example, works of the Formal Arts may include elements of perspective, interval, harmony, mood, or geometric proportions. The context for the work, and the primary idealistic goal of the artist, determines whether the work may be classified within the Formal Arts or the Conceptual Arts. Conceptual Arts / Photography Science is one of the possible means, or contributory causes, for the creation of works of art. For example, causes may include the science of materials, a recipe for the making of gesso paint, optics, the chemistry of photography, or the electronic writing and display of illuminated digital images. Science provides the possible means, or contributory causes, for the creation of works of art of every type. Science does not provide the differentia for the inclusion or exclusion of selected works within the realm of all the arts. Science, however, does provide the Material Cause, materials and tools, and the Efficient Cause, operational possibilities and methods of working [Aris]. I say that, except for scientific, recording, or commercial photography, for example; and if the work being selected for evaluation is especially intended to be a work of art that shows the artist's highest metaphysical ideals that instance of photography may be classified as art. According to the will of the artist - photographer and the characteristics of the work selected for evaluation, the work may be contextually classified to be within the Formal Arts or the Conceptual Arts, or not. Photography art examples may include the works of Aaron Siskind or Harry Callahan. Whether or not you like the works, the worlds of portraiture and the portrayal of natural objects or scene scapes include numerous examples of photographic works of art. Or of science, or of beauty. The intention of the artist may be, if that may indeed be induced or determined, a factor in the classification of a work of art. That is, provided that the work may be classified as an art and the two basic classifications. Or, if not, not. The same is true for Motion Pictures; and in the sense of art, and the Conceptual Arts, Motion Pictures may include theatrical dramas, which would place them in a sub-category of either Theater or Opera. If the sense is that of science Motion Pictures would be in the classification of the science of Photography, and not art. If a Motion Picture were some sort of non-representational abstract color-design production, the work may be deemed to be in the classification of the Formal Arts, and possibly also in the sub-classification, Graphic Design. If a work is immaterial and imperceptible; and If a work says nothing and has nothing to say, it isn't art. If a work sends a thrill to your soul, save and cherish the work. * * * * * * * * * * * * * * * *

ART - DESIGN list forObjectivist Living.rtf

A new book has just been published on the work of Helmut Jahn. Didn't Ayn Rand work at his office? Perhaps the book may provide context for some of the ideas that she generated. Ralph Hertle

OL I posted an image of a digital work that I made on the photo website, Flickr.com . That image is only one possibility or example of a work that may fall within the new classification of art called, Conceptual Constructivism. The image file name is: 2505_CONCEPTUAL_CONSTRUCTIVISM_GOLD_MED . When you are at the Flickr.com site, key in the partial art work name, 2505 , and from the menu, select "photos". The image will appear in the top row of a page of numerous images. Place your pointer on the image and click to expand it for viewing. Click on the menu icon, <2-ARROWS> to turn off the lower menu banner. Later, I may learn how to link to the image on Flickr from within ObjectivistLiving. com . The original image was made using the Bentley System Inc. CAD program, MicroStation V8i and Luxology Renderer; and the image size is approximately 3K bits. I welcome your comments. To that goal I offer the questions, "Is digital art a form of photography? or is it a form of 2D painting or 3D modeling?" Or either, depending upon a specified context? Ralph Hertle, Artist and Designer [ ]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]

Objectivists and friends, I have devised, or identified, a new classification for certain types of works of art. I've named the classification, Conceptual Constructivism. An image file of a proprietary digital work is attached for your review and evaluation. The work is an example of Conceptual Constructivism, and that is intended to be a sub-classification of Romantic Realism. I'll post more explanations and definitions at a later time, and I'll post images of some of my works that may fall within that classification. This new classification may find that some, and not all, works of design and architecture may be included. My hope is that the reasons for not including architecture, and its sub-classifications, architectural design and product design, in the arts, may be questioned, and those included within the realm of art. Readers may reply with their serious thoughts. Ralph Hertle [ The digital file is too large to be uploaded. How may I do that without sending the file to the Cloud or other websites? ] . . . . . . . . .

OBJECTIVISTS ALL Years have happened, and I got lost from Objectivism, practical living, and friendship. Once again I may have more to say in paint and print. If I wish to discuss art, new works, design, geometry, architecture, and designs for houses, which forum(s) are the most appropriate? Ralph Hertle [ ]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]