Abstract
In chapter three I present an augmentation to existing models of visual perception that have been developed to account for the perception and understanding of the experience of three-dimensional fine art. The chapter begins with a reflection upon how the model I propose draws upon the scholarship of Crowther (2007) in conjunction a modification of the mapping sentence approach used as a qualitative or philosophical research approach (Hackett 2014, 2016a, b). I delve into mapping sentences and I use these organizational templates to elucidate the writing of Rosalind Krauss by modelling how she has considered two-dimensional (Krauss 1986) and three-dimensional (Krauss 1979) modern abstract art. In facet theory research mapping sentences are frequently used either alone or in initial stages of research into a content domain using smallest space analysis (SSA) and to guide interpretation of later partial order scalogram analysis (POSA). In earlier publications I have put forward the mapping sentence as a structural template for understanding two-dimensional art (Hackett 2016b) and in this chapter I offer a modified version of this mapping sentence to account for the experience of three-dimensional abstract art.
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Notes
- 1.
In this earlier book I put forward a mapping sentence for two-dimensional art and noted how this had grown out of my research into other areas of research for which I had offered metaphysical descriptive ontologies. Examples of these included my using the mapping sentence to allow an interpretation of part of E.H. Lowe’s philosophical writings (Lowe 2007), Both Lowe’s original work and my mapping sentence interpretation of this took the forms of categorical ontologies. In Hackett (2016a) I claimed that the mapping sentence is a way of communicating and availing understanding of categorial ontologies that clearly presents the content of ontologies and suggests an appropriate mereological arrangement to the units of the ontology.
- 2.
I will use the word art “object” or “event” in an interchangeable manner. To avoid tedious and redundant writing I will also often use either of these terms to imply the inclusive understanding that is embodied in the phrase “art object or event”, unless I specifically state that in a particular situation such inclusivity should not be assumed.
- 3.
Later in this chapter I offer a phenomenological account of three-dimensional works of art in: a mapping sentence for defining perception of three-dimensional abstract art in the form of a comprehensive specification of the major components of this experience (facets) and their sub components (elements).
- 4.
I later attempt to demonstrate the relationships between facets in the mapping sentence through the use of partial order scalogram analyses (POSA) of responses broken-down by the profiles of the facets from the mapping sentence. In order to familiarise the reader with POSA and its application within the context of this book, later in this essay I first present POSAs of the work on abstract three-dimensional art by Krauss and Crowther.
References
Crowther P (2007) Defining art, creating the canon: artistic value in an era of doubt. Oxford University Press, Oxford
Hackett PMW (2014) Facet theory and the mapping sentence: evolving philosophy, use and application. Palgrave, Basingstoke
Hackett PMW (2016a) Facet theory and the mapping sentence as hermeneutically consistent structured meta-ontology and structured meta-mereology. Front Psychol: Philos Theor Psychol 7:471. doi:10.3389/fpsyg.2016.00471
Hackett PMW (2016b) Psychology and philosophy of abstract art: neuro-aesthetics, perception and comprehension. Palgrave, Basingstoke
Krauss R (1979) Sculpture in the expanded field. October 8:30–44
Krauss R (1986) The originality of the avant-garde and other modernist myths. MIT Press, Cambridge, MA
Lowe EG (2007) The four-category ontology: a metaphysical foundation for natural science. Oxford University Press, Oxford
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Hackett, P.M.W. (2017). A Mapping Sentence Account of Non-traditional Three-Dimensional Art. In: The Perceptual Structure of Three-Dimensional Art. SpringerBriefs in Philosophy. Springer, Cham. https://doi.org/10.1007/978-3-319-48452-5_3
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