Critical texts, Italy, Alessandria, 11 June 2013
The genesis of modern art in the philosophy spirit produces from his post-modern art as a sphere model, while the aesthetic thought on the one hand past the art, inside the experience of art gets a specific meaning about understanding of contemporary reality - which is at the center of attempts General of such thinking, the art can therefore serve as a sphere model for the plurality, however, this is the perspective that in conclusion I would like to develop.
Today, oriented thinking from reality must seize it as characterized by plurality in a more radical way than we have ever done and more legitimate than previously known, an aesthetic idea inspired by the experience of art is therefore particularly suitable here, since the 'Art is a sphere exemplary plurality. It has indeed the structure of the plurality so in particular because the whole and from it you can see more clearly the number of the elements of a constitution and fundamental plural, listing it more clearly than anywhere else. In art it is possible to make everyone understand that a specific sensorium is required for each respective approach and its logic of intention, that nothing could be more wrong that is, quirky and philistine judge of all approaches with one size and a single set of criteria. It is against this elementary mistake in a situation of plurality, this simple beginning of terror whose result (end) can assume immeasurable proportions, that the experience of the art is able to be effective in a critical way and illuminating.
If today is becoming increasingly clear that every language-game, every form of life and every concept of knowledge is specific and unique, then the experience of art - I'm editing a sentence of Adorno speaks of this condition and offers ground Operating the current situation and the obligations it imposes. Art has - contrary to the claim of Hegel on his membership in the past - got new meaning, has provided us with the experience of our fundamental constitution of the plurality - more powerful than any other medium. This was possible because orientation and relevance of action are linked in this world to an aesthetic idea aesthetically format. As anyone who has a full familiarity with the constitution and the requirements of the plurality is able to behave appropriately in a situation of real plurality; this person, in fact, no fear plurality but is able to act on the inside. Therefore, the aesthetic, the conscious thought of plurality, inaugurates orientation axes of contemporaneity. And his rise, once again, is not the result of intellectual fashion but the expression of the constitution of legislation become a reality plural.
These observations make it clear that they wanted the aesthetic inspiration of postmodern thought remains in effect as the foundation aistetico of this thinking, and that this is to his advantage. For the benefit, that is, of his special power to discover the reality of today, the birth of the postmodern philosophy of the spirit of modern art, therefore, does not seem to be a burden for this thought but is, rather, its wealth of resources - and even a pleasure for many of those who care for them.
In this regard, Alfred Hrdlicka, in his polemic against abstract painting says something right. In art, he says, bonba atom or neutron was blown to pieces long ago. But Hrdlicka is in error in making his judgment and the awarding of guilt. In fact, the painting reflects this fragmentation of reality (which incidentally was a long time in any way it propagates crushing so cynical. From this point of view, it is a mistake even when conversing, Hrdlicka invokes the reality and still wants a time to declare the realism foundation of great art.
"'Postmodern' simply designates an emotional state, or rather a state of mind" (Jean-François Lyotard, Philosophie und Malerei in Zeitalter ihres Experimentierens.
I presented this in more detail in postmodern Unsere Moderne (Weinheim, 1987). More precise explanations of the relationship between unity and plurality can be found here. However, it is not a vain justification of pure plurality, but the traditional reference to the inevitability of the unit is insufficient, while the ambitious notion of unity is increasingly in demand; drive that does not "contain" the plurality but that is one with it. I have taken the liberty of proposing the Sophist of Plato as a learning program, but critics do not seem to have gathered the proposal.
This could not happen to Adorno. In fact, he understood that in modernity "the sublime ..." has become "... the constituent historical art itself"
Speaking of artists Apollinaire said that they were above all "human who wanted to become inhuman." Adorno pointed out: "The art becomes inhumane when it abandons its function. His humanity is incompatible with any ideology at the service of man. It remains faithful to humans only through exercising the inhumanity against them." As mentioned Dubuffet spoke in the affirmative of "dehumanization." And one of the later publications of Lyotard is devoted to the issue of the inhuman (The inhumain. Causeries sur le temps, Paris, 1988) with modern art refers not only to painting but also to literature. Similar claims may be made for other types of art (music, movies, etc..). For the sake of brevity, my ossevazioni focus on painting. Even here, however, I have to do without discussing important structural differences (for example, between implicit and explicit collage, coding and multiple hybrid formation).
When you consider that the thought of Derrida was formed in the fifties, that is exactly the apex of the informal, then the genealogy here considered virtually becomes likely. Derrida also confirmed this hypothesis in conversation.
A further point for the time being must remain unexplained: the step from 'attention to the plurality that for interconnections. In art, postmodern emphasis is placed - in contradiction with modern art - on this second pole. This does not mean that postmodern philosophy will have to do much work in understanding the interconnections. In fact, the post-modern thought - although centered on the reason of the plurality - has turned its attention from the beginning to the interconnections. This is true for paritcolarmente Deleuze and Derrida.
I explained this in more detail in the Postmodern Unsere Moderne, loc. cit., mostly. Jean-François Lyotard, The postmodern condition. Rapport sur le savoir (Paris, 1979), German translation, Das Wissen Postmoderne. Ein Bericht (Graz-Wien, 1986). Herbert Schnädelbach, "Dialektik als vernunftkritik. Zur Konstruktion des Rationalen beautiful Adorno," in Adorno-Konferenz 1983 edited by Ludwig von Friedeburg and Jürgen Habermas (Frankfurt aM, 1983).
Friedrich Nietzsche, Die Geburt der aus dem Tragödie Geiste der Musik, Sämtliche Werke. Kritische Studienausgabe in 15 Bänden, edited by Giorgio Colli and Mazzino Montinari (Munich 1980). Sull'incommensurabile, in that debut, Nietzsche had brilliantly predicted the experience of a radical change that would lead to a scientific culture to a culture enlarged. If through science is defined as the "belief in the ability to penetrate deeply into the nature and the universal healing power of knowledge", then this "claim to universal validity," according Niezsche, will collapse when the "spirit of science" is "led to its limits" and "puts his inside look at what can not be enlightened."
Lyotard's conception of scientific "fundamental crisis" is similar to this one.
Adorno also has perceptively described this negative figure of fulfillment - the dialectic of visions of salvations that becomes manifest. With reference to the triumph of social integration, he has diagnosed: "The subject and the object are in opposition mocking the hope of philosophy, reconciled"
Peter Sloterdijk, Kopernikanische Mobilmachung und ptolemäische Abrüstung. Ästhetischer Versuch.
Later Sloterdijk points out that he, in his apology aesthetics, does not mean a word of "noisy acclamation in favor of works of art" - "the demand for art is more a sign of barbarism structural" - but that he is involved in a "culture of perception."
Wolfgang Welsch, "Zur Aktualität ästhetischen Denkens", Kunstforum International, vol. 100, "Kunst und Philosophie" (1989), the last mentioned article for an extensive treatment of this topic. Once again, it was Adorno who noted that switching at the beginning and rebuked the humanities to ignore it: "We must criticize what the humanities are today due to their inherent inadequacy of their lack of intelligence is at the same time, almost always a lack of aesthetics ", Theodor W. Adorno, Ästhetische Theorie. This penetration is a legacy of Nietzsche. Nietzsche, in fact, marks the beginning of this avant-garde another, a thought aistetico, that is flourishing
today in the postmodern thinkers.
.
Wolfgang Welsch, Ästhetisches Denken (Stuttgart, 1990) and Ästhetische Zwei Wege der Zeiten Ästhetisierung (Saarbrücken, 1992) taken in History of European Ideas, translating and editing for "Juliet" by Maurizio Bortolotti), has made an important contribution to the philosophical debate on postmodern in an exemplary manner by clarifying not only the relationships between this kind of thinking and modern art, but also the importance that art has taken the philosophy in recent decades. Thanks also to the staff and penetrating ability to synthesise Welsch, many of the instances merged into the philosophical debate of the seventies and eighties are made clearer in the light of a kind of thinking that is modeled on the art and aims to exit the constraints an excessive rationalism, setting a model for reflection that arises as a turning point in many instances, even then ultimately social and cultural, that have gone through the last few decades. It reminds us that art and philosophy, even if they seem to have place only in universities and cultural debates, play their function in the contemporary world, which is too often opaque and almost hidden by established habits, which seem to overshadow what instead appears as a link cornerstone of contemporary culture, its relationship with the vital sphere; important and profitable relationship for art in recent decades.
Today, oriented thinking from reality must seize it as characterized by plurality in a more radical way than we have ever done and more legitimate than previously known, an aesthetic idea inspired by the experience of art is therefore particularly suitable here, since the 'Art is a sphere exemplary plurality. It has indeed the structure of the plurality so in particular because the whole and from it you can see more clearly the number of the elements of a constitution and fundamental plural, listing it more clearly than anywhere else. In art it is possible to make everyone understand that a specific sensorium is required for each respective approach and its logic of intention, that nothing could be more wrong that is, quirky and philistine judge of all approaches with one size and a single set of criteria. It is against this elementary mistake in a situation of plurality, this simple beginning of terror whose result (end) can assume immeasurable proportions, that the experience of the art is able to be effective in a critical way and illuminating.
If today is becoming increasingly clear that every language-game, every form of life and every concept of knowledge is specific and unique, then the experience of art - I'm editing a sentence of Adorno speaks of this condition and offers ground Operating the current situation and the obligations it imposes. Art has - contrary to the claim of Hegel on his membership in the past - got new meaning, has provided us with the experience of our fundamental constitution of the plurality - more powerful than any other medium. This was possible because orientation and relevance of action are linked in this world to an aesthetic idea aesthetically format. As anyone who has a full familiarity with the constitution and the requirements of the plurality is able to behave appropriately in a situation of real plurality; this person, in fact, no fear plurality but is able to act on the inside. Therefore, the aesthetic, the conscious thought of plurality, inaugurates orientation axes of contemporaneity. And his rise, once again, is not the result of intellectual fashion but the expression of the constitution of legislation become a reality plural.
These observations make it clear that they wanted the aesthetic inspiration of postmodern thought remains in effect as the foundation aistetico of this thinking, and that this is to his advantage. For the benefit, that is, of his special power to discover the reality of today, the birth of the postmodern philosophy of the spirit of modern art, therefore, does not seem to be a burden for this thought but is, rather, its wealth of resources - and even a pleasure for many of those who care for them.
In this regard, Alfred Hrdlicka, in his polemic against abstract painting says something right. In art, he says, bonba atom or neutron was blown to pieces long ago. But Hrdlicka is in error in making his judgment and the awarding of guilt. In fact, the painting reflects this fragmentation of reality (which incidentally was a long time in any way it propagates crushing so cynical. From this point of view, it is a mistake even when conversing, Hrdlicka invokes the reality and still wants a time to declare the realism foundation of great art.
"'Postmodern' simply designates an emotional state, or rather a state of mind" (Jean-François Lyotard, Philosophie und Malerei in Zeitalter ihres Experimentierens.
I presented this in more detail in postmodern Unsere Moderne (Weinheim, 1987). More precise explanations of the relationship between unity and plurality can be found here. However, it is not a vain justification of pure plurality, but the traditional reference to the inevitability of the unit is insufficient, while the ambitious notion of unity is increasingly in demand; drive that does not "contain" the plurality but that is one with it. I have taken the liberty of proposing the Sophist of Plato as a learning program, but critics do not seem to have gathered the proposal.
This could not happen to Adorno. In fact, he understood that in modernity "the sublime ..." has become "... the constituent historical art itself"
Speaking of artists Apollinaire said that they were above all "human who wanted to become inhuman." Adorno pointed out: "The art becomes inhumane when it abandons its function. His humanity is incompatible with any ideology at the service of man. It remains faithful to humans only through exercising the inhumanity against them." As mentioned Dubuffet spoke in the affirmative of "dehumanization." And one of the later publications of Lyotard is devoted to the issue of the inhuman (The inhumain. Causeries sur le temps, Paris, 1988) with modern art refers not only to painting but also to literature. Similar claims may be made for other types of art (music, movies, etc..). For the sake of brevity, my ossevazioni focus on painting. Even here, however, I have to do without discussing important structural differences (for example, between implicit and explicit collage, coding and multiple hybrid formation).
When you consider that the thought of Derrida was formed in the fifties, that is exactly the apex of the informal, then the genealogy here considered virtually becomes likely. Derrida also confirmed this hypothesis in conversation.
A further point for the time being must remain unexplained: the step from 'attention to the plurality that for interconnections. In art, postmodern emphasis is placed - in contradiction with modern art - on this second pole. This does not mean that postmodern philosophy will have to do much work in understanding the interconnections. In fact, the post-modern thought - although centered on the reason of the plurality - has turned its attention from the beginning to the interconnections. This is true for paritcolarmente Deleuze and Derrida.
I explained this in more detail in the Postmodern Unsere Moderne, loc. cit., mostly. Jean-François Lyotard, The postmodern condition. Rapport sur le savoir (Paris, 1979), German translation, Das Wissen Postmoderne. Ein Bericht (Graz-Wien, 1986). Herbert Schnädelbach, "Dialektik als vernunftkritik. Zur Konstruktion des Rationalen beautiful Adorno," in Adorno-Konferenz 1983 edited by Ludwig von Friedeburg and Jürgen Habermas (Frankfurt aM, 1983).
Friedrich Nietzsche, Die Geburt der aus dem Tragödie Geiste der Musik, Sämtliche Werke. Kritische Studienausgabe in 15 Bänden, edited by Giorgio Colli and Mazzino Montinari (Munich 1980). Sull'incommensurabile, in that debut, Nietzsche had brilliantly predicted the experience of a radical change that would lead to a scientific culture to a culture enlarged. If through science is defined as the "belief in the ability to penetrate deeply into the nature and the universal healing power of knowledge", then this "claim to universal validity," according Niezsche, will collapse when the "spirit of science" is "led to its limits" and "puts his inside look at what can not be enlightened."
Lyotard's conception of scientific "fundamental crisis" is similar to this one.
Adorno also has perceptively described this negative figure of fulfillment - the dialectic of visions of salvations that becomes manifest. With reference to the triumph of social integration, he has diagnosed: "The subject and the object are in opposition mocking the hope of philosophy, reconciled"
Peter Sloterdijk, Kopernikanische Mobilmachung und ptolemäische Abrüstung. Ästhetischer Versuch.
Later Sloterdijk points out that he, in his apology aesthetics, does not mean a word of "noisy acclamation in favor of works of art" - "the demand for art is more a sign of barbarism structural" - but that he is involved in a "culture of perception."
Wolfgang Welsch, "Zur Aktualität ästhetischen Denkens", Kunstforum International, vol. 100, "Kunst und Philosophie" (1989), the last mentioned article for an extensive treatment of this topic. Once again, it was Adorno who noted that switching at the beginning and rebuked the humanities to ignore it: "We must criticize what the humanities are today due to their inherent inadequacy of their lack of intelligence is at the same time, almost always a lack of aesthetics ", Theodor W. Adorno, Ästhetische Theorie. This penetration is a legacy of Nietzsche. Nietzsche, in fact, marks the beginning of this avant-garde another, a thought aistetico, that is flourishing
today in the postmodern thinkers.
.
Wolfgang Welsch, Ästhetisches Denken (Stuttgart, 1990) and Ästhetische Zwei Wege der Zeiten Ästhetisierung (Saarbrücken, 1992) taken in History of European Ideas, translating and editing for "Juliet" by Maurizio Bortolotti), has made an important contribution to the philosophical debate on postmodern in an exemplary manner by clarifying not only the relationships between this kind of thinking and modern art, but also the importance that art has taken the philosophy in recent decades. Thanks also to the staff and penetrating ability to synthesise Welsch, many of the instances merged into the philosophical debate of the seventies and eighties are made clearer in the light of a kind of thinking that is modeled on the art and aims to exit the constraints an excessive rationalism, setting a model for reflection that arises as a turning point in many instances, even then ultimately social and cultural, that have gone through the last few decades. It reminds us that art and philosophy, even if they seem to have place only in universities and cultural debates, play their function in the contemporary world, which is too often opaque and almost hidden by established habits, which seem to overshadow what instead appears as a link cornerstone of contemporary culture, its relationship with the vital sphere; important and profitable relationship for art in recent decades.
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