[For any sort of clarification on the draft general reference to the primitive outline of the scheme as I wrote more than three months ago and his most recent and complete presentation.
We analyzed the process by which the subject is separated momentarily from his former club for the creation (which is perhaps the first real artistic creation of the single ) of an individual voice, or how, through that stage that we called the principle of distinction, the subject is separated from its collective ego to found a biographical necessary - but insufficient - the creative phase *.
[* From now on, when you used the term company, will be broadly construed, not as individuals outside of universality of the subject as authoring or just "human society enlarged, but rather as Gemeinde as small communities of origin, linked to individual and unique biography of every individual, if you prefer, and if it was not terribly inflated, you could use the term and call Social JA Barnes network, or a determined by such social network and other reports.]
The Ego, now detached and fully formed in itself, is indeed able to speak with a voice of its own, but is not yet ready to return to society of origin, nor ripe for the creation of an artwork.
is then (re) establish a link with another company, the past and never passed the Customs *.
[* Of course, one can not speak of a unique tradition, the same in every time and everywhere, but a specific tradition, tied, a bit 'like the old club, the times and places, as well as to individual taste authoring. For example, the medieval tradition, in terms of authors and works (but not subjects) differs greatly from the eighteenth century, as is the tradition of Dante, differs from that of Cecco Angiolieri .]
[* This is made possible by the fact that the artistic themes are essentially permanent . The 'artistic' - using a neologism that encompasses all aspects of human emotions, from the sensitive to the aesthetic one - is probably still the oldest and deepest parts of the human brain, that is, those parts of the brain used to control of emotions and emotional memory. It is possible that many of these materials have remained unchanged since the beginning of human cultural history, as it were the same human emotions. This is evidenced by the fact that, since its first steps and in cultures very different and far apart, the art of human faces themes - death, love, god, suffering, beauty etc. - And stories that have many traits in common.]
Dialogue with Tradition, with its authors and the topics permanent offers the raw material on which the individual can begin to work, first driven by other voices in the interpretation of the world, then trying to interpret their world through their eyes and trying to refashion it according to his voice.
In other words, it's when the person authoring, through his work, unable to talk Tradition of himself and of his time, that can be said without fear of being wrong in front of a work of art.
is the ego that becomes dialoguing, penetrates the Tradition and is expressed in it - in this consists the necessary maturation of the artist, before returning to former club *.
[* How often do we hear today that a dialogue with a work of Tradition x y, and as easy to set combinations of personality with the personality of this story. You the filter of the past to assign a height.]
But to talk about the tradition with his own voice - or, even better, let us talk about the tradition - you can not be crushed.
The specific weight of historical works and authors may be impressive, and there is a chance that even the thought of a clash or a dialogue with tradition, muting the person authoring.
The individual may feel pain in front of his stature to the giants of the past (the famous the words of Bernard of Chartres the way) and the fear of a losing battle, the ridicule of his contemporaries or frustration at the height of unattainable ancestors, may cancel the creative force and force her to ' aphasia .
The danger is really to end up crushed by the weight of tradition. This requires knowledge about time, or even better, a 'traditional epoché .
To be able to create your own, or so the dialogue with the orchestra of Tradition will be resolved positively in the "victory" of the single item, the individual puts in brackets at the moment the past and decides to give prominence to his voice - or to forget a moment those who preceded him, leaving about and create your own *. I
[* There are writers obsessed with tradition, to the point that, often, for them it is no longer even to create new works, but to overcome the ancestors, or simply to criticize and refute as to reduce their size.]
To summarize, then, once you enter into dialogue with tradition, it comes to using their strengths to create a proactive conflict, which is to learn to dialogue with the past without falling nell'afasia.
If the Dialogue with Tradition manages to be channeled in the right way, staying in balance without the voice of the individual vanishes in it that it does not end up being completely forgotten , you have the birth of an artistic creation and theoretically mature favored from an earlier artistic periods and enriched by a considerable specific weight given to her by the tradition itself.
Through this dialogue, the work of art as a mature and acquired a portion of the total weight of historical tradition, which makes it grow and progress.
From this result two consequences that we are particularly concerned.
The first, rather obvious, is that it is isolated no genius. Do not exist and never existed authors are able to ignore the tradition and create something completely new in any field of art, now or ever.
The art is necessarily based on various dialogues, of which one is the one with the Tradition. Outside of it there is no art or artistic creation, the most provocative or aesthetics, but there remains some doubt over the last two *.
[* In science, there is evidence (see T. Kuhn, The Structure of Scientific Revolutions and IB Cohen , The revolution in science ) discovered that the so-called revolutionary, not born isolated from the genius of a single scientist in his laboratory closed, but result from the study of previous work and dialogue with contemporary assumptions about attempts failed and ongoing .]
The second, derives from the discourse on the permanence of themes, is a proposal that concerns the ' final abandonment of any kind of c lassification works of art. While the themes of art remain the same, through centuries of history without change of any sort - the art is not cumulative, for short - then it is equally true that governing classification of genres and styles.
makes no sense to classify or label (except perhaps for convenience and academic education, but even here, as above, there remains some doubt) in order to classify what is necessary to distinguish differences in categorical essential differences in art simply does not exist *.
[* There are different forms, it is true, and these forms are legally registered and approved, but you can not talk about different issues because the issues have remained unchanged over the past few millennia of human history, and you can not create a special category for such a long period. There are stories and different subjects, one might say, but on the other hand these are not due to a current or a genre. They are simply individual irreducibly tied to a single subject only and authoring, too specific to fit in categorical cobwebs. But of this later.]
started a dialogue with tradition, a process that will never cease for the entire life of the artist (you can now dare to call it that) and that will filter, so say, his own voice, it is now set up another, no less important and no less necessary than the first, the last phase of causation Art: Dialogue with the club, or dialogue with the Other.
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