Vinsamlegast notið þetta auðkenni þegar þið vitnið til verksins eða tengið í það: http://hdl.handle.net/1946/42344
With this thesis, my aim is to unfold the most predominant and recurrent concepts that drive my fascination of what it is, or might be, that facilitates our capacity to comprehend and create meaning out of our own experiences. Beginning this journey around the year 2013, I started referring to any interpretation made of an artwork as an individual’s Personal Truth. Then, during my time of study in the MA program at IUA, I proclaimed my dubious mission to identify this Personal Truth in the name of research and experiment: Truth Experiments. Interested to see if I could better identify the guiding principle that influenced my work, I questioned my understanding of the different aspects within a creative experience as I have throughout my practice sought out to research my confabulatory understanding of the difference between the word truth and that which can never be untrue.
It is here then, that I present the history and current translation of my understanding of this rational irrational. Through a reflection on my vocabulary and The Undefined Theory of Truth, I connect my work to those of others, who have been on a similar adventure to that of my own. Intrigued by theories of perception and experience, the philosophy of art, aesthetics and knowledge, and inspired by the poets of experience in such play within conceptual art and other philosophies. I juxtaposed my approach to an experimental philosophical inquiry and my artistic uncertainties, in an attempt to illustrate my ongoing research on the power of the imagination. Perhaps I have always and most importantly been inspired by the very words we ascribe to the contradictory nature of our imagined unknowns.
Without ever having been able to experience anything from the perspective of another, I committed myself to an attempt to define a Personal Truth, true only by my own virtues of logical form. In a research that aimed foolheartedly at the language of experience, I realized that my guiding principle was to be found right there, in the obvious contradictions within the freedom of artists to mediate the subjective by means of the objective.
|The Defined Unknown - A Truthful Contradiction - F.R.16.06.22.pdf||146.33 MB||Opinn||Heildartexti||Skoða/Opna|