Page 64 - Studio International - December 1973

ART THEORY& PRACTICE
precedent, as more obviously, are Duchamp's same teleological directives' requires, for its practical modes of presentation are afforded such
`ready-mades'), and by stressing the non- formulation, a radically different concept of the a conceptual principality as to be conceptually
deliberate aspects of art productivity or identification of art. Art-theory, like most subordinate only to the concept of art
arteficing. Non-deliberation is stressed theoretical endeavours, is usually regarded as schematically or hierarchically in P-D art.
historically and categorically in two ways, firstly being indentifiable by virtue of what it does, i.e. In fact in latter-day art-activity, criticism and
by elevating in determining antecedence, the teleologically in terms of 'ends'. Art-practice, theory even the conceptual subordination of
unconscious acts in the artist's performance however, is rarely (if ever) thought to be concepts of 'film', 'poetry', 'sculpture',
(Surrealism, Dada and Abstract Expressionism) identified teleologically, but is almost always `painting', etc., to an all-determining concept of
and, secondly, by stressing the chance or individuated deterministically as a 'process' and art, is implicitly denied. The autonomy
accidental (non-deliberate) aspects of the in terms of the 'means', by which it does a achieved by each of the 'arts' has consolidated
arteficing (Pollock's 'automism', Duchamp's variety of different things. In others words, an entrenched separation of the activities, and
`ready-mades', Cage and a great deal of current theory is identified by virtue of a singularity or theory has started, in a widespread way, to deal
work). (This, in itself, might be taken to be homogeneity of aims (with perhaps a with only a single 'category' of art, referring to
empirical evidence for the inescapable heterogeneity of means), whereas practice is the 'concept of art' as a generalization or
prescriptivity of art-theory in the practice of identified, conventionally, by a purported abstraction, rather than presupposing its
art.) homogeneity of 'means' and a heterogeneity of determining antecedence in a conceptual
The determinism implicit in the `ends'. The relation between theory and framework for art.8 In other words, the 'highest
understressing of intelligent participation (i.e. practice, here recommended, requires for its order' of operative concepts, in the new
deliberation) in the activity of art and the formulation, the notion of an 'ends' conceptual schemes, are the category-concepts
presupposition of the real factual character of identification of art.7 Only in this way can both of the 'arts'. In this way mediational
art-works (as artifacts) contrive to confirm the theory and practice be regarded as being commitments have become institutionally and
separation of theory and practice (and its subject to the same teleological directives, theoretically entrenched, by their conceptual
division of labour) by affirming the status of the within a given (functionalist) framework of antecedence which is upheld by the manner of
realm of art as a piece of the natural world and as belief. critical and theoretical discourse, and by the
subject to 'natural law'. (There are some highly structure of institutions surrounding the 'arts',
bizarre consequences in recent art from a more II in addition to being manifest in the `mediational'
extreme affirmation of the supposed naturalistic The elevation, rather than the subordination involvements of art-works. (It is noteworthy
determinacy of art in so-called 'process art', of conscious deliberation in art is a consequence that the mediational differentia, which provide
where art-works are 'intelligible' only as of the application of a functionalist or 'ends'- the basis for the categorization of the 'arts', in
`products of nature', quite literally being orientated framework of belief. When referring being afforded the conceptual antecedence they
subjected to natural physical processes in all to the identification of art in terms either of have traditionally enjoyed, are in fact physical
aspects of their `construction'.) `means' or 'ends', the purpose is not primarily of or real differentia of the presentation situations.
It may be an historical fact that the theory and descriptive accuracy, but rather of prescriptive Thus the categorial framework in which art-
practice of art have contributed to the same adequacy. In other words, functionalism activity is conventionally accommodated [and to
frameworks of belief (or conceptual schemes), forwards an alternative identification for art, as a which it contributes], implicitly affirms the
but it is certainly true that they should be more adequate basis upon which art can be ontological directive of physicality, or the
conducted in such a way. Grounds for the conducted. Naturally an 'ends' identification is commitment of a real factual realm of art. The
forwarding of an art-work are thence made in bound to be incomplete as a description, when entrenchment of the physicality doctrine within
`theory', and grounds for the forwarding of a the concept of an 'end' is taken fully to an the surrounding institutional structure of art-
constructive (theoretical) conjecture are exclusion of all distinct concepts of 'means', just practice and theory is thus highly pervasive.)
provided in terms of its applicability in the as is the case in Post-Duchampian art and its That P-D artists, in exercising reductionism
resultant constructs (art-works) or the realm, to attendant theory and criticism, where concepts upon the norms, conventions and aesthetic
which both endeavours contribute. The of 'ends' become entirely excluded or else desirata, which are associated with the
feasibility of the system as a whole, and of the subordinated as mere functions of a 'means' production of art-works, should stress as
primary directives, which characterize the priority. The question of relative feasibility is an parameters for art the mediational aspect of the
singular framework of belief are availed in issue of prescriptive priority. The issue is art-work and finally the artefact itself, is,
criticism, which thus avoids what might whether, in prescribing to art, the most adequate therefore, not surprising. Moreover, the
otherwise become a circuitous situation. The conceptual priority is that of means over ends or reductionism exercised itself, consolidates and
forwarding of constructs and their subsequent ends over means. implicitly forwards, the conventionally inherited
entrenchment in the system of art, to which In P-D art the priority-ordering, which is categorial framework for art-activity, as well as
they contribute, provides the basis for accepted, is a `means'-orientated stance, largely, the ontological directive of physicality. The
theoretical constructs (conjectures), which, in I would estimate, as a result of the marked reductionism of P-D art is rooted in a 'means'
turn, provides the basis for the forwarding of `means'-orientation of the corresponding formulated concept of art, and is itself
new constructs. The situation would be entirely aesthetic theory. Functionality, or the presence consequently 'means' orientated.
circuitous and practically 'honorific', were it not of a telos, is at least entirely subsistent and That manners of doing, 'means', norms and
for the operation of a critical interface in the usually deemed inadmissible altogether. This conventions are, within the P-D framework of
situation, which provides a means of can be witnessed in, what might be termed, the belief, considered apart from the individual
consultation with the underlying logic of the `mediational' involvements of P-D art-works, purpose for which they are designed, is a
entire system. (The details concerning the though the precedence of this tendency widespread regularity. Reductionism, when
operation of the critical mode of art-activity stretches much further back historically than applied to a situation, in which many practically
requires lengthy treatment and can only Duchamp's 'ready-mades'. Of course the and theoretically incompatible norms co-exist,
presently be mentioned. However, 'The traditional categorial framework for art- is not aimed at discovering a norm validated
Trimodality of Art-Activity' provides a full activity is `mediational' or 'means-orientated', functionally by a single purpose, which it serves
account of this and other aspects of such however only in P-D art to the exclusion of 'a to establish. Rather reductionism is conducted
functionalist frameworks of belief and systems priori' categories of art. The categorization of outside such an implied teleology. The
of art.) art in terms of the 'arts', is made upon physical `fundamentals', it forwards, are non-intentional
The 'conjunction of theory and practice in the differentia in the presentation situation. The and afunctional, which the process takes as being

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