Notes on this Issue:

Essay: Abridgment of “On the Ontology of Art”
(Michael Felice)

Art and Artist are related, yet entirely distinct and should be considered as such. 

There are three phase-states of Art: Disembodiment, Embodiment, and Reception—all Art is disembodied, then embodied, it is lastly received and/ or potentially embodied/ disembodied again. The Artist is a chaperone between these phase-states for all Art, the Artist does this by producing and engaging in Artwork. 

There are two types of Art:

      1.	Intemporal Art—any form of Art that necessitates the Artist to put forward or produce one period of Artwork, focused on a single piece of art, for Art to be embodied, and

      2.	Temporal Art—any form of Art that necessitates the Artist to put forward or produce more than one period of Artwork, focused on a single piece of art, for Art to be embodied

The primary arts, music, literature and visual all have subdivisions that can fit into either type of Art (i.e. a Poem can be both Intemporal Art and Temporal Art dependent on how it is embodied). 

The Artist has no choice regarding the existence of Disembodied Art, and, in many cases, arguably has no choice regarding the existence of Embodied Art—aside from chaperoning its change of phase state.

Art is related to the Artist, and vice versa, in that the latter is the singular agent of authority for changes between any phase-state. Any other individual that does not express this authority is effectively a member of the Audience. 

All Art has a natural tendency to return to, or remain as a Disembodiment

Further, definite classification on the phase-states of Art are as follows: 

      1.	Disembodiment—Art as it is
      2.	Embodiment—Art as it is physically
      3.	Reception—Art as it is perceived in the mind’s eye  

With this in mind, it may be more appropriate to say that Art continuously exists as a Disembodiment, but the classification of Art as disembodied, while it is simultaneously embodied and/ or received, appears less relevant than Art in the latter two phase-states. 

We know that Art can be a Reception because it is perceived. We know that Art can be an Embodiment because it can be a Reception. We know that Art can be a Disembodiment because it can be an Embodiment. It is through this sequence that the Audience is able to interact with and know of Art.