Contemporary Atomistic Model of Art. Part Three

The Contemporary Atomistic Model of Art sought represents an ontogenetic process of creation, communication and perception of the artwork in the environment that surrounds us and that is within us. Instead of immutable wholes (holism), we have infinite sets of processes of connection and disconnection, merging and splitting of “nuclei” (atomism) where interactions are clearly visible. Through art, thought of as the porous structure of society with permeable sites of relation, each image and each material form of an artwork is only a connective element with values and other forms that are transferable in society. This is a principle of dynamic connection in which form is a kind of representation and a potential condition of exchange. The in-between zone has been distinguished, bearing its own traditions and recognizing both the connectedness as well as the separate items that are connected. Fluid culture atomism (fluid atomism) is where we observe the dynamics in interactions in an ever-changing structure that is itself made up of separated atomic units briefly grouped into more complex molecular formations, with all the connections between them being impermanent and temporary. Both the internal structures and the state of the whole change. The interactions of individual units are a key factor in the analysis of processes in art. These processes are embedded in perishable, dynamically transforming networks of ‘private’ art worlds, the sum of which is not the Universal World but a momentary state in an ever-changing system. The relationship between the individual artist and the overall system of organized artistic life passes through interactions of a socialpsychological type in organized temporary groups of artists. This article discusses the possible relations between the field of social psychology and art. Emphasis is placed on the aspects of innovative artistic inquiry, discussed as the singular and the unique in art as opposed to the established order. Innovation in art is juxtaposed with innovation in social bonding as a social psychological problem of creativity. Individual creativity is compared to the creativity of groups and the particularities of the creative processes inherent to individual artists. Such an interpretation develops further the idea of an art world seen as impermanent and dynamically changing networks of ‘private’ art worlds. Among the autonomous zones defined by the individual and the group are found shared zones through which polar differences are harmonized. Individual artistic innovation is juxtaposed with innovative practices that are formed through the action of the groups.