Art for Meta-Art Paradigm (Artworks in Three Distinct Periods of Reproduction)
Kurosh Akbari, Muhammad Shokri, Mahin Arab
In the course of history, audience has been the essential factor in the formation of the schools and the subsequent production of the various works of art. Although the term has not been specifically considered by the philosophers and artists, the artwork theory of Benjamin’s era of mechanical reproduction provides a ground for scrutinizing the subject according to the art functions and it can be considered as the turning and focal point in contrast to the periods before and after it. It is through transversal analysis of the original and copied artworks during the three traditional, mechanical and virtual eras that we can find new accomplishments of meta-art concepts in the third millennium. Considering the fact that the social and political functions of art has come about by the means of modern technologies and innovations, the question has been raised as to how does technology create novel relations between art, artist, artwork and audience based on such a mechanism as the social relations in every period thereby to form the art for meta-art paradigm? Reproduction, technology, economy and politics, media and, finally, addressing special groups of audience are amongst the keys for entering this discussion and correct exploring and analysis thereof. The audience is the last target of the art subject introduced in each theory like “art as …”.