To give a definition of “conceptual art”, we must first call the material with which it works, namely the idea ( “concepts”, “vision”); similarly uses music sound. Ideas are closely related to the language, so the material is also a conceptual art language. But unlike a piece of music, the essence of which is still the same sound (no note and not its component parts), the essence of conceptual art is a language. Because we know the philosophy of language, the idea of something and can explain the content of his name; It is the relationship between language and the world of ideas. The concept of the idea, which goes back to Plato (in common, that is, all the tables – is “stolnost”, “the idea of the table”), the name change a thing objectively, metaphysically related to the content (for example, all the tables integrates their attitudes towards certain objective “table”). Today, the assertion of the existence of objective relations between the name and its contents is meaningless, and the word “idea” loses its usual meaning (see. My book Philosophy Proper ( «The essence of philosophy”)). Arguing, however, the existence of a subjective relationship between the name and its contents and give the name of solving quite specific content, we confirm the existence of the language of ideas, as well as a solid philosophical foundation of conceptual art.
What is art, the aesthetic aspect of conceptual practice? It is best to this question can be answered by telling where it’s conceptual art. To this end, I will consider the order of practice, have a certain aesthetic. The first such practice is “structural art” – the music or the visual arts, which are based on the concept of structure. My definition of the structure of art can be found in the work of General Aesthetics ( «basic aesthetics”); here I will try to briefly present their views. Structural art dates back to the time when, for example, music was considered a system of knowledge, science, which had an impact on astronomy, etc. Contemporary artists who work with the structures, on the other hand, claim that their art has no cognitive value less than modern mathematics. Examples of structural art – a fugue and total serialism in music, in fact, two different ways of perception of the structural works. How does the fugue can be understood during her audition. Tracing the relationship between sounds, classifying them, the listener gets a holistic view of the rhythmic structure of the work. Understand the structure of total serialism music is impossible without reading its analysis, which defines the sound relationship.
It turns out that the structural art of something frankly wrong. First, his claim to cognition is extremely unreasonable. Second, embodied in music or something else (that knowledge has nothing to do) and your own knowledge, structural art of loses, it is boring and does not use that aesthetic potential, which has a structure, freed from trying to be music or something else. The first step towards the clarification of the meaning of the structure of art – will continue as an example of using music – to stop calling the structural music “music” and to recognize that the sound of it is secondary and used only to keep the structural frame, and then you see how he limited and poor.