Protokulturelle und transkulturelle Dimensionen der Kunst
Protocultural and Transcultural Dimensions of Art
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Are all cultural products to be understood in cultural terms alone? The answer is no. There exists, however, a widespread trend in cultural studies and the humanities toregard everything (even nature) as culturally constructed through and through. Thisessay opposes that closure of the cultural perspective, the absolutism of culturalism. Ittries to open up our awareness towards protocultural as well as transcultural factorsinvolved in the production and understanding of art (and of other cultural phenomenatoo). To be sure, many aspects of art are culturally determined, but the full picturerequires to take also protocultural and transcultural factors into account. There exist age-old aesthetic preferences stemming from the protocultural period ofhumankind (which extended roughly from 2.5 million years ago to 40,000 years ago,when the take-off of cultural evolution occurred). They refer to certain bodily featuresand to various forms of self-similarity. Many contemporary artworks are characterized by blending different culturalpatterns thus creating transcultural features that can no longer be reduced to any singleculture. But as people today have similarily become more and more transcultural (theycombine different cultural patterns in their individual identity) such works can receiveappreciation and comprehension without further ado. In addition, humans have anextraordinary capacity to question and transcend seemingly fix cultural givens andconstraints – humans are capable of transversal acts of understanding. Altogether, and in contrast to current culturalistic restrictions, only a combination ofprotocultural, cultural and transcultural viewpoints is able to give a full account ofartistic and other cultural phenomena.
Abstract
Are all cultural products to be understood in cultural terms alone? The answer is no. There exists, however, a widespread trend in cultural studies and the humanities toregard everything (even nature) as culturally constructed through and through. Thisessay opposes that closure of the cultural perspective, the absolutism of culturalism. Ittries to open up our awareness towards protocultural as well as transcultural factorsinvolved in the production and understanding of art (and of other cultural phenomenatoo). To be sure, many aspects of art are culturally determined, but the full picturerequires to take also protocultural and transcultural factors into account. There exist age-old aesthetic preferences stemming from the protocultural period ofhumankind (which extended roughly from 2.5 million years ago to 40,000 years ago,when the take-off of cultural evolution occurred). They refer to certain bodily featuresand to various forms of self-similarity. Many contemporary artworks are characterized by blending different culturalpatterns thus creating transcultural features that can no longer be reduced to any singleculture. But as people today have similarily become more and more transcultural (theycombine different cultural patterns in their individual identity) such works can receiveappreciation and comprehension without further ado. In addition, humans have anextraordinary capacity to question and transcend seemingly fix cultural givens andconstraints – humans are capable of transversal acts of understanding. Altogether, and in contrast to current culturalistic restrictions, only a combination ofprotocultural, cultural and transcultural viewpoints is able to give a full account ofartistic and other cultural phenomena.
참고문헌 (17)
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