[ For any sort of clarification on the draft general reference to the primitive outline of the scheme as well as the Jacob wrote more than three months ago and his most recent and complete presentation.
As repeated, are about to read a trace theory, no claim to completeness. If you find it too complex, skip. ]
previous interventions have analyzed the three stages necessary for causation artistic, or the processes of creating a work of art: the principle of distinction or I * posted, in which the subject, or artistic engine, breaks off from old club to establish or regain a voice strictly personal, Dialogue and Tradition or periods of dialogue-I, in which the subject made independent of its removal, establishes a proactive dialogue with him earlier artistic traditions and contemporary, and I tied the knot, in which the individual, aged through the gap and dialogue with tradition, returns to the company he previously abandoned, understood here as the subject of the artwork viewer (in this regard, it should review the definition of "two-faced art").
[* The double title is to stress the importance of individuality in every creative phase (causation) and the two artistic purposes, do not forget, therefore, the central role played Biographical looking into a work of art.]
The rational analysis of the creative process must, at this point, consider the difference which exists between causation and artistic purposes ; both go to make this unique process (art) that takes place on a practical level, characterized by a specific "here and now from time to time regarding the posting, dialogue, etc.. and at the same time *, on an ideological, and is aimed at any particular its determination, a fundamental objective (the creation of a myth) and to satisfy a biological need (the desire for true memory **).
[* The fact that we've got just now to examine the artistic purposes is misleading and should not lead us to think that the purposive aspect is carried out only in causation an end, in fact, the desire of the creation of myth and memory that I will faithfully accompanies the art in every word and phrase in every brush stroke, every note and chisel. The analysis conducted so just want to illustrate a separate document and purpose, but take into account the continued coexistence of these aspects.]
[** In order not to complicate things, here only deepen the mythical aspect of art making, postponing to a later explanation on the adjective "faithful" associated with "memory".]
If causation explains the conditions necessary for the construction of the "body" of art, the dual purpose is the 'soul' of that body, indicating the interest behind in practice, its very essence: the search for a way to bring unity that knows (here is a term which the critical importance of every age have spent thousands and thousands of words) are mixed feelings about the life of the ego, who knows how to contain the dispersion the real body in a circular and perfectly consistent *.
[* The circularity and hence are perfectly consistent, however, a utopia.]
this sense, or desire for unity, an attempt on the biological memory of desire and the more strictly artistic creation, or better construction, a myth, which could be pictured geometrically as a circle, all points of the circle should consistently refer to the center (I'm the artistic, or divine, in this case ), which is the source of each beam and also the end of each point, that it must of necessity return *.
[* The use of the term "necessity" has a precise justification in the religious sphere as well as everything is created out of necessity required by an entity (God), so it is in the field of art, is talked about art as a deep need that shapes the material in a way that is needed, which "can not be otherwise." The artist is the God of his work. One could speak of a sort of Art Theology. The appearance of quasi-divine artist has already been addressed, for example, by Tasso in his "poetic discourse on art; therefore you do not add anything new compared to what has been said in the past.]
This specific form of artistic myth reflects the desire to build a body that reflects the circularity of cosmic events ( think of the succession of the seasons and the cycle life - death, day and night, etc..) and it proves at the same time, incorruptible, because it concluded in a shell * able to overcome the barriers of time and space and to tend to the traditions from which each artist must draw in order to define this.
[* E 'Interestingly, the constant voltage to a closed form is the essential reason of human emotion in front of a work of art. The artwork represents the attempted implementation of this place made an attempt typically human because it is the only man able to be formally defined in its finitude, in the words following the Hindu metaphysics , man, because relativity, is "qualified" (in Sanskrit, Saguna) and "distinctively designed" ( savishesha ) while Brahma, the supreme principle that goes back pure metaphysics, is "not qualified" ( nirguna ) and "beyond all distinctions" ( nirvishesha ). The non-form, non-definition is a divine attribute and the human being, therefore, is excited to recognize the clear boundaries of a work that is able to collect its essence, which, remember, is defined in part (and therefore recognizable) in the body and partly abstract, tending to God, and therefore unknowable. The art form is then the sum, as symbolic of the human body and soul, geometric representation of a mystery in constant hiding. To recap: a man gets excited in front of the form because it is the first form the object of human knowledge.]
art can therefore be understood as an attempt to close a circle, a curved line that is able to reconcile the opposites and "redeem" in a hortus conclusus sheltered from external injuries, and together with a comparison to the open public dialogue.
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