Page 65 - Studio International - December 1973

ART THEORY& PRACTICE
deterministically `given', though their realm of art, moreover, completely excluding similarly been exercised. Unfortunately, instead
`givenness' is merely attributable to the fact that them in the reductionistic procedure of P-D art. of involving a re-definition of 'objectives' in
they are presupposed in the very modus operandi Consequently, the acknowledgement of an terms of constructive conjectures, within this
of P-D reductionism. (I am referring to the operative teleology, or an 'end'-orientated formative kind of 'theory', the norm of
ontological directive of physicality or at least of theory and practice, is regarded as a pre- reductionism has been sustained quite apart
`reality' such that art-works are supposed to be requisite to achieving an art-activity adequate in from any presupposed telos. Scepticism
real factual entities.) Reductionism, the senses described above. A teleological concerning the operability of a reductionistic
consequently, is not conventionally aimed at framework is recommended to establish the method, in revealing or specifying 'fundamental'
forwarding intentionality (in P-D art), but intentionality, which Post-Duchampian or essential parameters for art-conduct, has not
rather it forwards the antithesis — the physicality determinism subordinates, or else excludes. prevented the retention of a reductionistically-
of minimal art. Finally, in establishing (or recommending an inclined method in art-practice. Indeed, the
What is advanced, implicitly, in P-D art, is acceptance) of these conceptual priorities, the parameter of conduct adhered to, is very often
just the conceptual priority entrenched in the overall categorial framework, defined by the the norm of reductionism itself, without
conventional categorial or conceptual scheme conventional antecedence of the category-types introducing the notion of an `end' to the
for art. Each priority is asserted to the exclusion of the 'arts', should be replaced by a categorial process. Ad Reinhardt provides a motto for this
of all others, in the process of reductionism. framework rooted, rather than in the ontological sort of `evolutionary reductionism' (or
Intentionality becomes in this way inadmissible directive of the real factual, in the directive of radicalism):
in the realm of art presupposed by P-D artists. intentionality. The framework should have as `Every revolution in art turns over Art
In other words, where the conventional its penultimately antecedent concepts, from art-as-also-something-else into Art-as-
categorial framework for art may permit the categories derived not from a 'means' only-itself'. (` The Next Revolution in Art').
subsistence of meaning as an associated orientated activity (i.e. based upon a mediational The notion of perpetual revolution, or of an
(perhaps even requisite) value for art-works, the identification of art), but from an 'ends' evolutionary process characterized by
reductionistic process engaged in by P-D orientated activity (i.e. based upon a functional radicalism, is subscribed to by a great many
artists, has tended to transpose the identification for art). Such a change is P-D artists, such that reductionism itself, comes
subordination of all associable values and ultimately an ontological change, involving the to be regarded as an identifying feature for art
desirata (which is a consequence of the recommendation of an alternative individuation (or at least for P-D art). It is in this way that
application of the categorial framework) to a of the realm of art and of its items, in terms of `novelty' has seemingly become the singly
singular assertion of the physicality-rooted intentions or meanings. This is simply to acknowledged value in operation in recent art-
priorities at the expense of any categorically establish definitive 'frameworks' for art. activity, and such that the function of art-works
subsistent entities. Reductionism in this way The realm of art, presupposed in such is often supposed to be inextricably bound to
stresses, in isolation, the real factual character of functionalism (or theoretical art), is a realm of their 'newness'.
art-works by the deliberate exclusion of meanings, in which norms, conventions, The explicit purpose of theoretical art and for
normally associated desirata. Art-works are theoretical assertions, art-works and directives the development of a functionalist framework of
thence offered for consideration, in themselves, are regarded in their intentional status. There is belief for art-activity, has been to supplant the
as physical entities. The isolation of art-works bound, of course, in the operation of a paradoxical conceptual couplet of 'evolutionary
(as artefacts) is precisely an isolation from any functionalist framework of belief, to be a factual reductionism' (they self-evidently are mutually
possible functionality. It represents the realm in which factual beliefs become operative. exclusive concepts) and their attendant
presentation of an art-work as a 'thing in itself' The operation of a framework of belief in a `supportive' concepts with a more logically
for contemplation, quite apart from what might systematic fashion will yield a system of art normative conceptual framework, which can
hope to be achieved from such contemplation, which is factually real. The point however, is sustain a paradox-free modus operandi. The
i.e. apart from any 'end'. Of course, the that this is conceptually subordinated to the proposal is of a 'revolution to end revolutions' to
advantage of P-D reductionism is that it has framework of belief itself. Intentionality, in this use Reinhardt's terminology.
successively contravened the essentialist way, enjoys the same antecedence in Greenberg (and his disciples) insist upon
aesthetic theses (of emotionalism, functionalism as meaninglessness does within the `novelty' as a value, which at least precedes the
representationalism, expressionism, etc.) which P-D framework of belief. comprehension of other values in the 'objects of
ate similarly formulated in a deterministic art', if not entirely excluding the subsumed and
fashion to the exclusion of any ordinary concept III subordinate values altogether. Innovation,
of functionality or 'end' orientation in the sense Reductionism in the practice of P-D art has taken as a pre-requisite to consideration, has
that where a telos is admissible it is unchangeable already been mentioned, as a means by which become entrenched in P-D art to the extent that
theoretically or 'given'. The outcome artists have sought to successively contravene its conceptual antecedence has been transformed
however has been yet another deterministic pre-established aesthetic norms, conventions into an exclusivity of operation. The recognition
scheme for art which, more than ever, has and desirata. The purpose, where it is and intelligibility of innovation or 'novelty'
sought to prevent the operation of a functional admissible to refer to a given telos, it appears, is values is locatable in the reductionistic ascent
teleology. in the forwarding of certain 'fundamentals' to higher planes of `formal generality' and thus
The change of categorial framework uncontaminated with non-essential or non- the requisite 'novelty' of P-D art is 'formal
necessitated to establish an antecedence for aesthetic attributes as far as is possible. If one innovation'. Consequently, the pre-empting of
deliberation in art has meant, for the sake of were to regard the history of P-D art as the all values, apart from this desiratum, is
adequacy (and other desirata which are given progress of reductionism exercised within the demanded by an exclusive apprehension of
only a cursory examination in the present essay — conventional categorial framework for art (the formal aspects entirely at the expense of the
like self-referential consistency 9) a notion of `arts') the 'conclusion' yielded, or the objective `content' of the works considered. Indeed
theory and practice contributing to the same of this manner of parameter 'divining', has `content' is firstly regarded as a subsistent entity
framework of belief, and being subject to the been seen to be the physicality of the 'object of thoroughly determined by its `form', and
same directives established therein. art'. However, the situation is by no means as secondly 'content' is expressed as a mere
Furthermore, the `means'-orientation of prior straightforward as this. Just as essentialism function of 'form'. As Rosenberg has phrased
theory and practice contributing (particularly within aesthetic theory has been subjected to it :
that of P-D art), is seen to subordinate the heavy criticism in the practice of P-D art, `Since the only thing that counts in Modern
intentional aspects of deliberation and of the scepticism concerning fundamentalism has Art is that a work shall be NEW, and since the

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