Timothy Glenn Binkley (Timothy Glenn Binkley; September 14, 1943 , Baltimore ) - American philosopher, artist and teacher. He gained fame thanks to works on conceptual art [1] , as well as an essay on the problems of digital art [2] . He is the author of several conceptual art installations .
| Timothy Glenn Binkley | |
|---|---|
| Timothy Glenn Binkley | |
 Timothy Binkley at Greenwich Village, New York, 1995 | |
| Date of Birth | September 14, 1943 (75 years old) |
| Place of Birth | Baltimore, Maryland, USA |
| A country | |
| Core interests | theory of aesthetics, digital art, philosophy of language |
Biography
Timothy Binkley studied mathematics at the University of Colorado in Boulder , where he received a bachelor's degree (1965), and after a master's degree (1966). In 1970 he defended his doctoral work in philosophy at the University of Texas at Austin , the theme of his research was the use of language in the philosophy of Ludwig Wittgenstein .
Binckley lectured and taught at several colleges and universities in the United States, one of the most famous being the Manhattan School of Fine Arts . It was there that Binkley opened the country's first master's program in the study of digital art. In 1992, he became one of the founders of the international exhibition of digital art - New York Digital Salon [3] .
Binkley's interactive installations have been exhibited in the USA, Europe, South America and Asia.
Philosophy
One of the areas of work of Timothy Binkley is the theory of aesthetics . He sets out his views on it in the article “Against Aesthetics”. According to Binckley, aesthetics is not a science of art, since the subject of its study is aesthetic experience . The main idea of Binckley is to show that not all aesthetic is artistic and not all art is aesthetic [4] .
The term “aesthetics” was originally introduced by Alexander Baumgarten [5] , who defined it as a “science of perception”. Baumgarten contrasts “sensual things” and comprehensible, believing that the first, that is, in his opinion, works of art should be the subject of aesthetics. Aesthetics has become a “philosophy of art”, thus differing from ethics, that is, a “philosophy of morality” [6] .
In the twentieth century, self-criticism became one of the most common gestures in art, and for this reason, according to Binckley, ideas appeared that were free of classical attitudes, including aesthetic categories and qualities. A work of art is a product, and it is not necessarily an aesthetic object or object in general. According to Binckley, the artist is free to call a work of art everything that can be pointed out or that you can think about [7] .
Binckley refutes the direct connection of aesthetic objects and aesthetic experience with sensuality, saying that there are aesthetic objects, the experience of interaction with which is not connected with sensuality, for example, fiction. A literary work consists of linguistic elements, which are a special element of aesthetic experience [8] . Based on this, Binckley concludes: art does not have to be aesthetic.
Based on this, Binckley raises the closely related concepts of aesthetics and art, disputes that aesthetics is a science of art, and also questions the leading role of art for aesthetics in general.
Bibliography
Books
- Symmetry Studio: Computer-Aided Surface Design . New York: Van Nostrand Reinhold, 1992. With John F. Simon Jr .. Includes surface design software on CD.
- Wittgenstein's Language . The Hague: Martinus Nijhoff, 1973.
Featured Articles
- A Philosophy of Computer Art by Lopes, Dominic McIver, Journal of Aesthetics and Art Criticism 68 (4), (2010): 409-411.
- Autonomous Creations: Birthing Intelligent Agents, Leonardo , 31 (5), Sixth Annual New York Digital Salon, (1998): 333–336.
- The Vitality of Digital Creation, The Journal of Aesthetics and Art Criticism , 55 (2), Perspectives on the Arts and Technology. (Spring, 1997): 107-116.
- Computer Art and Digital Media, Encyclopedia of Aesthetics , New York: Oxford University Press, 1998. 1: 412-414, 2: 47-50.
- Transparent Technology: The Swan Song of Electronics, Leonardo , 28 (5), Special Issue, The Third Annual New York Digital Salon (1995): 427-432.
- “Creating Symmetric Patterns with Objects and Lists,” Symmetry: Culture and Science , 6 (1), (1995).
- Refiguring Culture, Future Visions: New Technologies of the Screen , London: British Film Institute Publications, (1993): 90-122.
- Postmodern Torrents, Millennium Film Journal 23/24 (Winter 1990-91): 130-141.
- “The Computer is Not a Medium,” Philosophic Exchange (Fall / Winter, 1988/89). Reprinted in EDB & kunstfag , Rapport Nr. 48, NAVFs EDB-Senter for Humanistisk Forskning. Translated as “L'ordinateur n'est pas un médium”, Esthétique des arts médiatiques , Sainte-Foy, Québec: Presses de l'Université du Québec, 1995.
- Computed Space, National Computer Graphics Association Conference Proceedings , (1987): 643–652.
- “Piece: Contra Aesthetics”, Philosophy Looks at the Arts: Contemporary Readings in Aesthetics , 3rd Ed., Edited by Joseph Margolis, (Philadelphia: Temple University Press, 1987). Originally published in The Journal of Aesthetics and Art Criticism , 35 (3), (Spring 1977): 265-277. A French translation appeared in Poétique 79 (Septembre, 1989) and has been collected in Esthétique et Poétique , edited by Gérard Genette, (Paris: Éditions du Seuil, 1992). Also anthologized in The Philosophy of the Visual Arts , edited by Philip Alperson (New York: Oxford University Press, 1990), and A Question of Art , edited by Benjamin F. Ward, (Florence, KY: Brenael Publishing, 1994).
- Conceptual Art: Appearance and Reality, Art In Culture , 1, edited by A. Balis, L. Aagaard-Mogensen, R. Pinxten, F. Vandamme (Ghent, Belgium: Communication & Cognition Publishers, 1985). Proceedings of the Ghent colloquium "Art in Culture."
Links
- ↑ Elisabeth Schellekens. Conceptual Art // The Stanford Encyclopedia of Philosophy / Edward N. Zalta. - Metaphysics Research Lab, Stanford University, 2019.
- ↑ Katherine Thomson-Jones. The Philosophy of Digital Art // The Stanford Encyclopedia of Philosophy / Edward N. Zalta. - Metaphysics Research Lab, Stanford University, 2015.
- ↑ New York Digital Salon 10th Anniversary . www.nydigitalsalon.org. Date of treatment January 11, 2019.
- ↑ Main problems of US aesthetics at the end of XX century . cyberleninka.ru. Date of treatment January 11, 2019.
- ↑ At the origins of aesthetics . cyberleninka.ru. Date of treatment January 11, 2019.
- ↑ Main problems of US aesthetics at the end of XX century . cyberleninka.ru. Date of treatment January 11, 2019.
- ↑ Institutional Theory | Aesthetics | Concept . Scribd. Date of treatment January 11, 2019.
- ↑ Main problems of US aesthetics at the end of XX century . cyberleninka.ru. Date of treatment January 11, 2019.