The Future of Art World - Assignment Example

? Future of Art World Introduction Art stems from visualisation of unique ideas which is in turn derived from various inspirational sources. The aesthetic sense varies from one person to another, such that each artist shall have different intellectual levels while each spectator shall have a different imaginary eye for a certain piece of art. However, the art world has substantially evolved over the years and majority of researchers have claimed that the artistic values and creative intelligence of societies have deteriorated significantly. This paper forecasts the changing trends of art world in future years and elaborates on the following quoted statements extracted from few literature resources: “Behind the whole convulsive movement of modern art lies a kind of inertia, something that can no longer transcend itself and has therefore turned in upon itself, merely repeating itself at a faster and faster rate”. – (Baudrillard, 1993) Baudrillard was of the view that the art world, in recent years, has moved into dark insight for future, with creativity significantly stifled by lack of curiosity and aesthetic sense. The artistic intellect of people has been largely paralysed, leading the art world into anarchy and blindness. It is same as a biological system being affected by disorder in its internal genetics and inherent rules that govern it. Similarly, art world has faced turmoil due to collapse of the underlying components that establish its foundation. The above quoted statement suggests that currently, the field of telematics has suffered largely from its own backfired initiative taken for promoting transparency and candidness. To make it worse, eventually technology came into role-play which focused primarily on creating mobility and connectivity. In due course of achieving these goals, technology led the society into a scenario where face-to-face communication is no longer valued or considered (Baudrillard, 1993). Although, the whole propaganda of art has been observed to flourish across the globe in recent decades, this enhancement is not in real terms. The true spirit and obsession that was embedded in art forms in previous times has diminished largely. The innovation, that once led artists and spectators into an imaginary world and generated serenity and ecstasy for them, no longer exists in the modern world. Consequently, art has lost its cultural significance, emotional attachments and extrinsic value in our societies. Now, the masses have gone astray in absence of aesthetic sense for artistic objects and primarily focus on their materialistic values and religious implications (Gane, 1995). “Artists and ordinary Web surfers alike will have to determine whether cyberspace truly is a new form of absence and ‘transparent evil’, or whether, instead, it is a place for creative, intelligent, and beneficial sensory exploration and communal connection.” - C. Freeland Previously known merely as a network of computer terminals, cyberspace is no longer restricted to this simple and technical definition. Freeland claimed that the internet has embedded into our communities and lives to an extent where survival without it is not possible anymore. He stated that it has promoted transparency to unacceptable levels, thereby allowing social evils to be easily acknowledged by masses as part of the evolution process. It is only fair to state here that the global village is on the verge of entering an information and technology age where spatial creations shall be more valued than natural beauty. In context of art, internet has caused a major transition of people from appreciating reality and originality to accepting the virtual forms of art. Simulation discards the craving for an aesthetic eye to be pleased with some real piece of art; instead, it develops recognition for ‘hyperreal’ content which is limited only to screens that displays cyberspace interface. Transparency here refers to the increasing proximity of people with the invulnerable communication media. Telematics has enabled people to end long distances such that the images and text are present on screen but at the same time have also reached at the other end of communication link. Cyberspace, unlike other mechanisms, does not bridge space; instead, it demolishes the space and replaces it with an almost-equal virtual simulation of the real world (Rheingold, 1993). Baudrillard suggested that in near future, people shall prefer virtual artefacts and interactive activities through cyberspace experience over natural and physical environment. This will consequently take people away from the natural order of the world and closer towards transparent evils that once were highly unacceptable (Baudrillard & Lotringer, 1988). Future of the art world The upcoming years represent a virtual age of technology and visual simulation with little or no room for natural beauty and originality. As of today, it is not hard to observe how museums and art galleries have been largely abandoned by our societies and replaced by newer forms of aesthetic entertainment. Soon, these facilities will all be demolished with intention to make more constructive usage of the premises. At the current pace and in the existing scenario, it is clearly evident that the dying art will fade away completely. There is lack of formal standard for art in the modern world. This in turn will create problems in comparability and appraisal of different forms of art. In absence of benchmarks, there shall be substantial partiality and illiteracy for spectators to develop their aesthetic skills needed to respond to impulsive notions that were attempted by artists to be exhibited by their art (Boas, 1955). Modern art shall barely be perceived by the new generations and only criticized rather than admired by those who lack the technical knowledge and intellectual level for acknowledging the inspiration lying underneath a certain piece of art. People might no longer be capable of catching the art of portraying an abstract and intricate concept with simplicity and natural spontaneity. This is also mainly because of the intrusion of art by arrival of technology, which has led the millennial generations into developing a liking for modern visual arts rather than contemporary designs (Goldwater, 1986). However, it is essential for today’s artists, practitioners and art-related entities to acknowledge the need for change. This necessity comes with changing times and evolving tastes of masses. Therefore, in order to revive the importance of art, our society must make way for beneficial developments in fields of art and technology and cyberspace must be used to one’s own advantage in order to enhance the aesthetic qualities of modern art (Danto & Greenberg, 1997). Conclusion The extent of dependence of people on cyberspace has led them to replace most valuable things of lives by the virtual world. The level of realistic simulation presented by the cyberspace is although commendable but also extremely harmful for the society (Numes, 1995). It is pivotal for the millennial generations to stay connected to their ancient forms of art which link them to their cultural, ancestral and religious roots and values. The future holds a dark path for modern art and therefore, activists and regulatory bodies must take strong initiatives and measures to preserve art in its original form and create its awareness across the globe. References Baudrillard, J., & Lotringer, S. (1988). The ecstasy of communication. Semiotext (e). Baudrillard, J. (1993). The transparency of evil: essays on extreme phenomena. Verso. Boas, F. (1955). Primitive art (Vol. 8). Courier Dover Publications. Danto, A. C., & Greenberg, C. (1997). After the end of art: Contemporary art and the pale of history (p. 195). Princeton: Princeton University Press. Gane, M. (1995). Radical theory: Baudrillard and vulnerability. Theory, Culture & Society, 12(4), 109-123. Goldwater, R. (1986). Primitivism in modern art. Harvard University Press. Numes, M. (1995). Baudrillard in Cyberspace: Internet, virtuality, and postmodernity. Rheingold, H. (1993). The virtual community: Finding connection in a computerized world. Addison-Wesley Longman Publishing Co., Inc. Read More