The Garden of the Arts
The interartistic phenomenon
The interartistic phenomenon arises from the very meeting of the arts in the same place and at the same time in the text:
- one art form can influence another to bring it into being
- a term may have an interartistic origin, such as pastiche
- a text can concentrate a variable arts presence
The interartistic phenomenon is always applicable, in any work of art that brings together several arts. It is this structure which is common to all the arts and which unifies all the arts into a single entity, this absent structure, which is sought at the frontier between signs, and which appears in every work of art. It is this element that makes the work of art exceptional…
Peirce’s triadic sign appears in a multi-dimensional way to the mind when analyzing a work of art. This is because the triadic sign lends itself to a wide range of meanings, broadening our interpretative vision depending on the context.
Representamen(content of the text / of the painting/of the music)
Objet(text/painting/music)Interpretant(the interpretation of the text/of the painting/of the music)
The Representamen can be perceived in different ways: sonically or visually, in other words, the pure icon remains at the heart of the object. It analyses it and characterises it, becoming sonorous or visual, depending on the perception. This is why whoever interprets the painting, for example, or the text, or the song in question, enables an interartistic transformation in a continuum…
- « Le phénomène interartistique », in Semiotica, Journal of the International Association for Semiotic Studies / Revue de l’Association Internationale de Sémiotique, Mouton de Gruyter, Toronto, 2010, pp. 19-45, ISSN: 1613-3692
Le phénomène interartistique (degruyter.com)
See also:
- The Interartistic Phenomenon as an Intermedial Structure in the Arts, in Applied Semiotics, Sémiotique appliquée, An international journal of literary research on the Internet, Number 20, Volume 7, Semiotics and Intermediality, February 2008, Toronto, Canada
http://www.chass.utoronto.ca/french/as-sa/ASSA-No20/Article2en.html
- 15th World Congress of Semiotics (IASS/AIS), Aristotle University of Thessaloniki, 30 August – 3 September 2022, Vassilena Kolarova, “From the Intertextuality to the Interartistic Phenomenon”, in Semiotics of image text/ typography sound-motion in the audiovisual world
https://www.semioticsworld.com/wp-content/uploads/2022/06/Final-Program-Panels-Authors.pdf
The Paradise
“The Catalonian Garden, 2000, is a unique work because it reveals the interartistic idea conceived in the depths of Butor’s and Badin’s inner selves, stemming from their artistic aspiration to dialogue and even exchange their creative fields for certain moments. This is an unparalleled set of ten books, each containing six handwritten poems, a collage by Michel Butor and six original paintings by Georges Badin, all of which take pleasure in echoing each other… It’s like an often-haphazard physical and spiritual meeting of literature and painting, which emit sounds and make their music heard, transforming themselves into the purest and most ephemeral art, as light as the breath of the wind… The work is the culmination of Butor’s spiritual journey, a search for the sensation of art in its entirety, the supreme place, beauty, again and again… That’s why we’d like to devote these few lines on the masterpiece to Butor, one of the greatest French writers of our time, who has achieved worldwide fame and, at the age of 80, just on the eve of his birthday, 14 September 2006. He was born on 14 September 1926. In addition, it is for this reason that it is a unique work, not least for theoretical reasons, because it reveals the way in which two different arts can come together and thus become exemplary of the mixed genre. It is representative of the artistic particle that the work can become, if we were to take a bird’s-eye view of it, any work, more or less, being part of the whole of art. Contemporary intersemiotic studies of intermediality and interart question the origin, structure and relationships of these new realities of the interartistic phenomenon. We go back to the biblical meaning, to the Spirit who is dispersed into several gifts that retain their common origin. The interartistic phenomenon is the same as the basis of any art that interferes with another art, which is inevitable because the arts are in constant relationship with each other. It is about seeing the interartistic structure, where there is an explicit or implicit interaction between the arts. In the same way, Badin rediscovers the communion of souls, calm and rest in the precious memories he savours from the perpetual exchange between letters and colours. Two artists who never cease to cast their gaze towards the infinite, to draw on endless inspiration in order to touch the divine, touching the paradise of art… »
- “Бленуваният рай…Каталонската градина…”, Списание на БАН, издание на Института за История на изкуствата, Проблеми на изкуството, София, N 3, 2006, ISSN 0032-9371, [The Paradise of Dream … The Catalonian Garden…, in Problems of Art, Review of the Bulgarian Academy of Sciences, edition of the Art Studies Department Number 3, 2006, Sofia ISSN 0032-9371]
- Copies in Germany at the University of Bonn :
http://artstudies.bg/wp-content/uploads/2015/12/ContentSummaries-48.pdf
https://bonnus.ulb.uni-bonn.de/SummonRecord/FETCH-ceeol_journals_336060#details
Copyright © University of Bonn, ingest date 2021
https://www.ceeol.com/search/article-detail?id=33606
https://artstudies.bg/wp-content/uploads/2015/12/ContentSummaries-48.pdf
- Text presented to the 12th Early Fall School of Semiotics, “The Dreamed paradise of Michel Butor”, Contribution presented at the 12th edition of the International autumn semiotics symposium at Sozopole, September 13th 2006
The archipelago of possibilities
Georges Badin, a highly experienced artist in the art of combining genres, is also a poet, and was the leader of the trend in painting known as “Textruction” during the 1960s in France. He has always combined painting and text. He surrendered himself to the intoxication of the multitude of colours and letters, to the ineffable rediscovery of the senses and sensations flowing from these unparalleled paintings on which Michel Butor lays with naturalness. Michel Butor’s impulse comes from deep within himself, just as from the foot of the mountain flows the stream of inexhaustible inspiration.
- « Le Paradis de rêve…Le Jardin Catalan… », dans Passage d’encres, N 27, Paris, février 2007, ISBN : 978-2-913640-66-5
- https://www.marche-poesie.com/27-archipel-des-possibles/, [The paradise of dreams…The Catalan Garden…, in Passage of inks, N 27, Paris, February 2007,
Passage of inks – ISBN: 978-2-913640-66-5]
https://www.marche-poesie.com/27-archipel-des-possibles/
See also:
- An International, Interdisciplinary Conference on Text and Image, March 29-30, 2007, at Central Connecticut State University in New Britain, CT, USA, “The Interartistic phenomenon in the Catalonian garden of Georges Badin and Michel Butor”
Caprarola and Villa Lante
Les jardins que Montaigne se plaît à redécouvrir au point d’éterniser dans ses notes de voyage et de là dans les écrits couronnent son entrée en littérature. Il rend l’espace interarchitectural et intersculptural en implantant dans son texte des sculptures vues à travers les jardins, des bas-reliefs à l’antique, des trompe l’œil, en se servant de la même technique que les arts concernés. Il peint ou sculpte ses personnages à la manière des artistes dont il s’est inspiré.
- Text presented at the 9th Congress of the International Association of Visual Semiotics, AISV, Venise, 13—16 avril 2010, “The arts garden”
https://aisviavs.files.wordpress.com/2013/04/aisv2010program.pdf
- « Le jardin des arts à travers Les Essais de Montaigne », in Retorica del visibile, Aracne editrice, Rome, 2011, 978-8854838505 [The garden of the arts through Montaigne’s Essays, in Visible retrofitting, Aracne editrice, Rome, 2011, ISBN – 978-8854838505]