" Art is something that everyone knows what is " axiomatically Benedetto Croce said, accepting the possibility of a previous intuitive knowledge that allows us to recognize art when you do this, conclusion similar to what Wittgenstein and his followers arrive to give to define this awareness - " regard to a response that can not speak, Nor can express the question " .... It is likely that such claims be resolved axiomatic radically the problem of consciousness in art and the need to invent arguments to be held, but also prevent the expression language, cornering to art, beauty, aesthetic experience, to the ends so dark you can not talk ... Fortunately the history of aesthetic ideas and thoughts show that human beings have interested these issues, perhaps excessively, and that through his questions and answers has written some of the pages brightest of their language. Much has been written about art, beauty, aesthetic experience, as created objects considered art, beauty compulsively searched far and there is not sensible and intellectually experienced the presence of the real world, while subjective that adjective with hope and aesthetic ... The language should be at the height of the circumstances, that is so beautiful, haunting and evocative as the things and feelings to which it relates, or at least try. For centuries, from classical thought, art is identified with the imitation: "mimesis." Socrates and argued that painting was merely imitating beings of nature. Plato was the first great philosopher who approaches the subject from an aesthetic standpoint. Art - "techne " - was an intellectual or manual skill requiring some knowledge and skill to produce (create) something. But when a copy of the material world that mimics nature and at the same time participates in the intelligible world of ideas, all art would be an imitation of an imitation, ie low-level products that only provide knowledge ontological one, the simulated operated by the art would thus have a decreased value (being copy of a copy is like the shadow of a shadow. ") The art act as a mirror reproducing the ephemeral and elusive images of reality. Plato was only valid for the imitation of ideas: the beauty is, according to Plato, an idea that is reflected in things. The notion of beauty leads us beyond the immediate appearance of reality in things. It is only in this experience of beauty, in the "show" like beautiful things, where it shows the idea as an idea beyond its immediate appearance ... Love - " eros" - is the impulse towards beauty, towards the world of ideas, intelligible partial beauties beautiful things are like steps by which we ascend to true knowledge and wisdom ... but
Aristotle believed that imitation was an inborn inclination of human beings. This imitation would not be a slavish copy of the original model, but would be conditioned by their instinct to search for credible and universal, seeking some idealization of reality imitated " should embellish a painter and his model than " ... Plotinus, the continuation of the ideas of Plato, was wise to include the beauty with truth and goodness in philosophy, expanding territories until almost the very aesthetics of morality and metaphysics. In Plotinus the concept of imitation is not bad thing in itself, because the things of nature are themselves images of something higher-the world of ideas, "so that art would be a perfect imitation, or" Idea "perfect, which emanates sensible. Plotinus's reflections, which permeated much of the Western aesthetic since his time, the III-to the modern world could be summarized in the following statements: we must distinguish between "good" and "beauty", and that beauty come from the well, also have to distinguish between beauty and beauty intelligible sense, the formal beauty of things is the "participation in an Ideally, not just in the proportion and symmetry (as claimed by the Pythagoreans, Plato and Aristotle), the means of achieving beauty is art and its methods would be the "dialectic" and the practice of virtues. The artist-musician, philosopher, poet, or "lovesick" - through the practice of their art reaches a certain level of intelligibility that makes it able to reach the beauty and hence the "One" good "(God). Like Plato - " worth the life of man when he contemplates itself Beauty" - Plotinus agrees that our goal is to know and watch the "Greater Good" and to do so requires having obtained the revelation of beauty (through art, for example).
Derivatives of this conception of imitation, "slavish not" that transcends the model, we can relate the theories that conceive of art as an expression of the invisible visible, and the artist as a "medium" that summons the specter of the divine that senses the very depths of things and its mission is to reveal and make visible what is hidden or obscured in their own abyss ... Not so far from this theory "transcendental" would be more symbolic approaches Hegel - " art is a means by which man it is externalized" - and even the formality of Zamoyiski - " art is all that emerged from a need for something shape."
But back to the concept of techne ", certainly more effective to approach those first questions about the knowledge or skill (art) to create something (artistic). We begin by defining Tatarkiewicz to reorder our ideas: "Art is conscious human activity, capable a) creating beauty through forms (realistic or abstract) that fend for themselves, b) to express the inner world, and c) generating delight emotion or shock. " Tatarkiewicz poses for art as a conscious human activity, conception and origin of the artwork that runs counter to the dominant theories of traditional aesthetics that held the unconscious nature of artistic creation or source in the creative genius artist.
Kant believed that "genius is favored by nature and must be considered a rare phenomenon ." Scheleirmacher, in the same vein, believed that "genius wake germs in man asleep in a better humanity. They are priests of a higher order announcing the intimate sense of spiritual secrets all. " Both authors lay the notion of "genius" in a kind of unconscious law similar to that which operates in nature and which would be a new manifestation of organic evolution-idea is not far removed from that of the collective unconscious of Jung, proposes the existence of a wisdom accumulated by mankind for millennia that is expressed through archetypes, images and symbols more or less similar in different cultures could find no apparent connection and are manifested and recognize especially in countless works of art. These ideas about the origin of artistic creation in the field of the unconscious also recognize Plato and Leibniz-theory of "monads" - and Hegel, Schopenhauer and Schelling, among others, who share the understanding that the "creative energy" springs from the depths of man, of his unconscious, and acknowledges the inspiration ... imagination and inspiration would be two fundamental powers are necessary, for most of the thinkers who endorse the unconscious source of artistic creation, and fantasy as engine of creativity. In this respect also When he says that Freud repressed instincts seek satisfaction in fantasy and return to the real world by establishing a new reality, the artistic products form part of the " intermediate realm between reality, unable to update the desires and the world of fantasy who performs. " Psychoanalyst theory which joined the Surrealists and their supporters, such as Breton, with its proposal Surrealist act as "pure psychic automatism" - Dali "which viewed artistic creation as" paranoiac critical activity "- and in general all those who have conceived artistic creation as a spontaneous method of irrational knowledge based on interpretation of the phenomena associations delusional ...
The latest consideration of art as a "conscious activity", as defined Tatarkiewicz, reconciles some concepts on artistic creation that had remained under discussion throughout the history of aesthetic ideas. Until the medieval world survived the idea of \u200b\u200bthe artist as imitator, his creativity is nothing more than an emanation, a reflection of true creativity, the divine ... The Renaissance artist recognized in other faculties, other gifts, such as raised Baltasar Gracian: " Art is, as it were, a second operator of nature, has added another former world, has given a perfection that the other does not possess in himself, and to get together with nature, every day work new miracles "... The artist, beyond being a mere imitator, is being considered primarily an inventor, someone who discovers, modifying, creating new realities through imagination. Although long this "new" quality of the artist as a real operator is subject mainly to the early ideals of the pursuit of truth and beauty, and the artist will mediated by their relative lack of freedom until recently, it certainly opened a limitless horizon of goals and projects "on itself" in art hitherto unimaginable, whose ultimate consequences are assuming the (enjoying, suffering) definitely now ...
(to be continued ... of course)
picture "of the Caryatids Tribune" on the Erechtheion, Acropolis of Athens in September 2006
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