MUSADDIQ MOHAMAD KHALIL

  In engaging towards the provenance of national identity, establishing the shape and structure of society is a fundamental operation in the context of cultural studies. In the same vein, essence and presence of culture constitutes as the building blocks for society. Sociologist distinguishes societies into the five (5) following types; Hunting-and-Gathering, Horticultural and Pastoral, Agricultural, Industrial, and Postindustrial (Nolan & Lenski, 2009) Furthermore, within its etymology, the word 'Culture' derives from the latin word ' Cultus'  and also ' Colere',  which means to care or cultivate. More than that, it remarks the essential process of culture; create, develop, and cultivate. Apart from that, the only Monism  which unites humans other than what Thales of Miletus perceived (Water), is culture by its own nature. Nevertheless, anthropologist divides culture into two (2) categories which represents the elements or components of an existing culture;

The demarcation of Public, and Street Art is set upon the thin line between its legal or illegal operational-process within definitions by the appointed Authority. On the other hand, this situation indicates a signal, of how dominant the Local Authority is within the process of Art-Making, in particularly 'Public Art'. In similar fashion, optimistically the concept 'dominant' (Power) in a romantic notion is viewed as 'With Great Power comes Great Responsibility', where its origin passage appeared from the collection of decrees by the French National Convention in 1793. "The people's representatives will reach their destination, invested with the highest confidence and unlimited power. They will show great character. They must consider that great responsibility follows inseparably from the great power. To their energy, to their courage, and above all to their prudence, they shall owe their success and their glory" - French National Convention, 8 May

  The zenith of both Art genre is within the nexus of the Postmodern Zeitgeist . In analysing the provenance formal-nature of 'Street Art' and 'Public Art', the approach in the study of Visual Culture is deemed as fundamental as its high point in the present of Society and Culture. The dynamic interplay between Artist/Artwork/Authority/Audience seems fascinating by entangled concepts of 'Power' and 'Conflict' of Philosophical Interest by Postmodernism.  Hegel in 'Elements of the Philosophy of Right (1820)' , remarks in the Preface  that, "Philosophy" (Concept) is "its own time" comprehended in thought. Moreover, suggesting that a concept (Phenomena/Process) attaining existence in any society is conditioned by its historical or cultural presences in reality. At the same time, emergence of Street and Public Art, is in the locus of attention at the conflict of 'Power' between Artist/Artwork/Authority/Audience in the refut

  In walking the path towards the provenance of Public Art, One has to meet the paradoxical discourses which intersects between the terms of 'Art', 'Public', and 'Public Art'. Technically, 'Art' is a form of expression or application of human consciousness from the imagination towards reality. A subject strip out of its natural context into an artistic object, under the name of a/the 'form'. Furthermore, the provenance of Form can be traced back since the Classical Greek, upon the Theory of Form by Plato, and his concepts of 'Mimesis ' (imitation/representation).  In addition to 'Art', the term 'Public' has an extensive  dialectic discourse regarding the interplay between the knowledge of Human Civilisation, Society, and Culture. To stand on the Archimedean Point, In acquiring the provenance of 'Public Art' from the term 'Public', I will use the approach, from the study field area of Visual Culture. It is a

  The discourse on valuation or value in Art opens one of the branches of philosophy regarding The Theory of Value/Beauty, which is 'Aesthetics'. Etymologically, originating from the Greeks  'a isthesthai ' (Perceive), 'a istheta ' (Perceptible Things), and ' aisthetikos'  (Perception by the Sense). Revived by the German Philosopher Kant as ' Asthetisch' (The Science which treats of the Condition of Sensuous Perception) in 18th Century, and popularised by Baumgarten in English as 'Aesthetics' (Criticism of Taste) in the early 19th Century. The discourse on valuation in Public Art opens a whole place in the philosophy of modern society. This can be trace back to Lefebvre's work on 'Social Space', Soja's and Harvey's work on 'Spatial/Social Justice'. As Lefebvre remarked, the organisation of Space is a crucial dimension of human Societies which influences Social Relation. In 'The Critique of Everyday Life'