Library and Information Science Abstract(LISA)is published by: ?->(Show Answer!)

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MCQ-> Have you ever come across a painting, by Picasso, Mondrian, Miro, or any other modern abstract painter of this century, and found yourself engulfed in a brightly coloured canvas which your senses cannot interpret? Many people would tend to denounce abstractionism as senseless trash. These people are disoriented by Miro's bright, fanciful creatures and two- dimensional canvases. They click their tongues and shake their heads at Mondrian's grid works, declaring the poor guy played too many scrabble games. They silently shake their heads in sympathy for Picasso, whose gruesome, distorted figures must be a reflection of his mental health. Then, standing in front of a work by Charlie Russell, the famous Western artist, they'll declare it a work of God. People feel more comfortable with something they can relate to and understand immediately without too much thought. This is the case with the work of Charlie Russell. Being able to recognize the elements in his paintings - trees, horses and cowboys - gives people a safety line to their world of "reality". There are some who would disagree when I say abstract art requires more creativity and artistic talent to produce a good piece than does representational art, but there are many weaknesses in their arguments.People who look down on abstract art have several major arguments to support their beliefs. They feel that artists turn abstract because they are not capable of the technical drafting skills that appear in a Russell; therefore, such artists create an art form that anyone is capable of and that is less time consuming, and then parade it as artistic progress. Secondly, they feel that the purpose of art is to create something of beauty in an orderly, logical composition. Russell's compositions are balanced and rational, everything sits calmly on the canvas, leaving the viewer satisfied that he has seen all there is to see. The modern abstractionists, on the other hand, seem to compose their pieces irrationally. For example, upon seeing Picasso's Guernica, a friend of mine asked me, "What's the point?" Finally, many people feel that art should portray the ideal and real. The exactness of detail in Charlie Russell's work is an example of this. He has been called a great historian because his pieces depict the life style, dress, and events of the times. His subject matter is derived from his own experiences on the trail, and reproduced to the smallest detail.I agree in part with many of these arguments, and at one time even endorsed them. But now, I believe differently. Firstly, I object to the argument that abstract artists are not capable of drafting. Many abstract artists, such as Picasso, are excellent draftsmen. As his work matured, Picasso became more abstract in order to increase the expressive quality of his work. Guernica was meant as a protest against the bombing of that city by the Germans. To express the terror and suffering of the victims more vividly, he distorted the figures and presented them in a black and white journalistic manner. If he had used representational images and colour, much of the emotional content would have been lost and the piece would not have caused the demand for justice that it did. Secondly, I do not think that a piece must be logical and aesthetically pleasing to be art. The message it conveys to its viewers is more important. It should reflect the ideals and issues of its time and be true to itself, not just a flowery, glossy surface. For example, through his work, Mondrian was trying to present a system of simplicity, logic, and rational order. As a result, his pieces did end up looking like a scrabble board.Miro created powerful, surrealistic images from his dreams and subconscious. These artists were trying to evoke a response from society through an expressionistic manner. Finally, abstract artists and representational artists maintain different ideas about 'reality'. To the representational artist, reality is what he sees with his eyes. This is the reality he reproduces on canvas. To the abstract artist, reality is what he feels about what his eyes see. This is the reality he interprets on canvas. This can be illustrated by Mondrian's Trees series. You can actually see the progression from the early recognizable, though abstracted, Trees, to his final Explanation, the grid system.A cycle of abstract and representational art began with the first scratchings of prehistoric man. From the abstractions of ancient Egypt to representational, classical Rome, returning to abstractionism in early Christian art and so on up to the present day, the cycle has been going on. But this day and age may witness its death through the camera. With film, there is no need to produce finely detailed, historical records manually; the camera does this for us more efficiently. Maybe, representational art would cease to exist. With abstractionism as the victor of the first battle, may be a different kind of cycle will be touched off. Possibly, some time in the distant future, thousands of years from now, art itself will be physically non-existent. Some artists today believe that once they have planned and constructed a piece in their mind, there is no sense in finishing it with their hands; it has already been done and can never be duplicated.The author argues that many people look down upon abstract art because they feel that:
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MCQ-> A difficult readjustment in the scientist's conception of duty is imperatively necessary. As Lord Adrain said in his address to the British Association, unless we are ready to give up some of our old loyalties, we may be forced into a fight which might end the human race. This matter of loyalty is the crux. Hitherto, in the East and in the West alike, most scientists, like most other people, have felt that loyalty to their own state is paramount. They have no longer a right to feel this. Loyalty to the human race must take its place. Everyone in the West will at once admit this as regards Soviet scientists. We are shocked that Kapitza who was Rutherford's favourite pupil, was willing when the Soviet government refused him permission to return to Cambridge, to place his scientific skill at the disposal of those who wished to spread communism by means of H-bombs. We do not so readily apprehend a similar failure of duty on our own side. I do not wish to be thought to suggest treachery, since that is only a transference of loyalty to another national state. I am suggesting a very different thing; that scientists the world over should join in enlightening mankind as to the perils of a great war and in devising methods for its prevention. I urge with all the emphasis at my disposal that this is the duty of scientists in East and West alike. It is a difficult duty, and one likely to entail penalties for those who perform it. But, after all, it is the labours of scientists which have caused the danger and on this account, if on no other, scientists must do everything in their power to save mankind from the madness which they have made possible. Science from the dawn of History, and probably longer, has been intimately associated with war. I imagine that when our ancestors descended from the trees they were victorious over the arboreal conservatives because flints were sharper than coconuts. To come to more recent times, Archimedes was respected for his scientific defense of Syracuse against the Romans; Leonardo obtained employment under the Duke of Milan because of his skill in fortification, though he did mention in a postscript that he could also paint a bit. Galileo similarly derived an income from the Grant Duke of Tuscany because of his skill in calculating the trajectories of projectiles. In the French Revolution, those scientists who were not guillotined devoted themselves to making new explosives. There is therefore no departure from tradition in the present day scientists manufacture of A-bombs and H-bomb. All that is new is the extent of their destructive skill.I do not think that men of science can cease to regard the disinterested pursuit of knowledge as their primary duty. It is true that new knowledge and new skills are sometimes harmful in their effects, but scientists cannot profitably take account of this fact since the effects are impossible to foresee. We cannot blame Columbus because the discovery of the Western Hemisphere spread throughout the Eastern Hemisphere an appallingly devastating plague. Nor can we blame James Watt for the Dust Bowl although if there had been no steam engines and no railways the West would not have been so carelessly or so quickly cultivated To see that knowledge is wisely used in primarily the duty of statesmen, not of science; but it is part of the duty of men of science to see that important knowledge is widely disseminated and is not falsified in the interests of this or that propaganda.Scientific knowledge has its dangers; but so has every great thing. And over and beyond the dangers with which it threatens the present, it opens up, as nothing else can, the vision of a possible happy world, a world without poverty, without war, with little illness. And what is perhaps more than all, when science has mastered the forces which mould human character, it will be able to produce populations in which few suffer from destructive fierceness and in which the great majority regard other people, not as competitors, to be feared, but as helpers in a common task. Science has only recently begun to apply itself to human beings except in their purely physical aspect. Such science as exists in psychology and anthropology has hardly begun to affect political behaviour or private ethics. The minds of men remain attuned to a world that is fast disappearing. The changes in our physical environment require, if they are to bring well being, correlative changes in our beliefs and habits. If we cannot effect these changes, we shall suffer the fate of the dinosaurs, who could not live on dry land.I think it is the duty of science. I do not say of every individual man of science, to study the means by which we can adapt ourselves to the new world. There are certain things that the world quite obviously needs; tentativeness, as opposed to dogmatism in our beliefs: an expectation of co-operation, rather than competition, in social relations, a lessening of envy and collective hatred These are things which education could produce without much difficulty. They are not things adequately sought in the education of the present day.It is progress in the human sciences that we must look to undo the evils which have resulted from a knowledge of the physical world hastily and superficially acquired by populations unconscious of the changes in themselves that the new knowledge has made imperative. The road to a happier world than any known in the past lies open before us if atavistic destructive passion can be kept in leash while the necessary adaptations are made. Fears are inevitable in our time, but hopes are equally rational and far more likely to bear good fruit. We must learn to think rather less of the dangers to be avoided than of the good that will be within our grasp if we believe in it and let it dominate our thoughts. Science, whatever unpleasant consequences it may have by the way, is in its very nature a liberator, a liberator of bondage to physical nature and, in time to come a liberator from the weight of destructive passion. We are on the threshold of utter disaster or unprecedented glorious achievement. No previous age has been fraught with problems so momentous and it is to science that we must look for happy issue.The duty of science, according to the author is :-
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MCQ-> The painter is now free to paint anything he chooses. There are scarcely any forbidden subjects, and today everybody is prepared o admit that a painting of some fruit can be as important as painting of a hero dying. The Impressionists did as much as anybody to win this previously unheard of freedom for the artist. Yet, by the next generation, painters began to abandon tie subject altogether, and began to paint abstract pictures. Today the majority of pictures painted are abstract.Is there a connection between these two developments? Has art gone abstract because the artist is embarrassed by his freedom? Is it that, because he is free to paint anything, he doesn’t know what to paint? Apologists for abstract art often talk of it as Inc art of maximum freedom. But could this be the freedom of the desert island? It would take too long to answer these questions properly. I believe there is a connection. Many things have encouraged the development of abstract art. Among them has been the artists’ wish to avoid the difficulties of finding subjects when all subjects are equally possible.I raise the matter now because I want to draw attention to the fact that the painter’s choice of a subject is a far more complicated question than it would at first seem. A subject does not start with what is put in front of the easel or with something which the painter happens to remember. A subject starts with the painter deciding he would like to paint such-and-such because for some reason or other he finds it meaningful. A subject begins when the artist selects something for special mention. (What makes it special or meaningful may seem to the artist to be purely visual — its colours or its form.) When the subject has been selected, the function of the painting itself is to communicate and justify the significance of that selection.It is often said today that subject matter is unimportant. But this is only a reaction against the excessively literary and moralistic interpretation of subject matter in the nineteenth century. In truth the subject is literally the beginning and end of a painting. The painting begins with a selection (I will paint this and not everything else in the world); it is finished when that selection is justified (now you can see all that I saw and felt in this and how it is more than merely itself).Thus, for a painting to succeed it is essential that the painter and his public agree about what is significant. The subject may have a personal meaning for the painter or individual spectator; but there must also be the possibility of their agreement on its general meaning. It is at this point that the culture of the society and period in question precedes the artist and his art. Renaissance art would have meant nothing to the Aztecs — and vice versa. If, to some extent, a few intellectuals can appreciate them both today it is because their culture is an historical one: its inspiration is history and therefore it can include within itself, in principle if not in every particular, all known developments to date.When culture is secure and certain of its values, it presents its artists with subjects. The general agreement about what is significant is so well established that the significance of a particular subject accrues and becomes traditional. This is true, for instance, of reeds and water in China, of the nude body in Renaissance, of the animal in Africa. Furthermore in such cultures the artist is unlikely to be a free agent: he will be employed for the sake of particular subjects, and the problem, as we have just described it, will not occur to him.When a culture is in a state of disintegration or transitions the freedom of the artist increases — but the question of subject matter becomes problematic for him: he, himself, has to choose for society. This was at the basis of all the increasing crises in European art during the nineteenth century. It is too often forgotten how any of the art scandals of that time were provoked by the choice of subject (Gericault, Courbet, Daumier, Degas, Lautrec, Van Gogh, etc.).By the end of the nineteenth century there were, roughly speaking, two ways in which the painter could meet this challenge of deciding what to paint and so choosing for society. Either he identified himself with the people and so allowed their lives to dictate his subjects to him or he had to find his subjects within himself as painter. By people I mean everybody except the, bourgeoisie. Many painters did of course work for the bourgeoisie according to their copy-book of approved subjects, but all of them, filling the Salon and the Royal Academy year after year, are now forgotten, buried under the hypocrisy of those they served so sincerely.When a culture is insecure, the painter chooses his subject on the basis of:
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MCQ->Library and Information Science Abstract(LISA)is published by:....

MCQ->Library and Information Science Abstract (LISA) is published by :....