Socio-Philosophical Critique of the Global Public Art’s Visual Order: The Context of National Self-identity

Abstract

Today a necessity has arisen in a critical socio-philosophical analysis and the development of such a theoretical framework for contemporary globalization that will consider this latter as a visual and ideological impact of cognitive biocapitalism on the collective consciousness of nations, which manifests itself as repressive pressure in the form of Aesthetics of Globalization. This distorts the art system, distorting the fundamental freedom of creative expression of artists, critics and academics, as abstract mass hybridization of professional thought in the context of global public art’s visual order is implanted by the cultural-industrial logic of the transnational art market ruled and managed by globalized capital, which has transformed the art, the artist, and the analyst into merely trivial commodities. Since the millennium, commodified art production in the world is perceived exclusively as a business integrated into politics and economics, but the capitalization of the arts ignores the national interests of unbiased processes of culture-creation, unifying artistic expression, depriving it of spiritual need for self-identification. This latter needs to be further researched, in particular in the context of the development of Ukrainian image-formation practices, which devalues its potential in the new socio-political conditions. Therefore, the article emphasizes the need to return to the Ukrainian socio-cultural dimension of the evaluation criteria of transcendental aesthetics, especially since cordocentrism and Christian kalokagatia have historically formed the basis of Ukrainian culture and mindset.

Cite this work

No public copy is stored for this record, so only the metadata is cited.

Stored only when both papers are in the corpus — 5 citations exist upstream.

Papers that cite the same references — the relational fallback while embeddings are still backfilling.