~ RILEGGENDO EDGAR WIND SUI PERICOLI DELLA CULTURA. ~ PRIMA PUNTATA: L’ATROFIA CONTEMPORANEA ~
C’è un ministro della Repubblica che rischia d’essere cacciato dal governo con l’accusa di «aver speso poco» per la cultura. Un tanto al chilo: si è capito che le faccende sublimi, da Platone a Hofmannsthal, sarebbero per l’opinione pubblica corrente un fatto di soldi. Più si spende più cresce il livello culturale. Un assai volgare liberalismo si è impadronito anche dell’opposizione nominalmente di sinistra. Ma forse questa smania di investimenti muove soprattutto dalle preoccupazioni delle camorre che ruotano intorno al mercato dell’arte and entertainment, the cultural industry of the healed state, simply employed in that sector. Poverty of imagination is never mentioned in such discussions on the budgets of the spirit. Minister to kindly 'cuts' at this fabulous Scissorhands, certainly not suited to work in the quagmire of smart, we dedicate our modest reflections on the dangers of betting culture.
In 1963, BBC radio, six lectures transmitted by Edgar Wind, Berlin art historian who taught at Oxford. Twenty-eight minutes each, therefore, very short while addressing the great themes of Western thought had been working with scissors, too. Collected under the title of Arts and anarchy conversations became a book, translated into Italian by Adelphi, which sums up the tone of the lessons of British el'erudizione German professors more insistently returning to the issues in this "Almanac." Let's start with the first: the paradoxical weight loss of culture when it is most prevalent in the bread, so that is considered harmless, even beneficial, as any pasta dish, and relied on the barricades as a meal time. There has been forgotten in the meantime the sacred fear that enveloped this special human activity, we emptied of its dark nature, and even threatening, for simplicity the Enlightenment was spreading like a disinfectant. Plato understood all around us most of gazzettieri suspected of everything that comes from human imagination, driven by demons. The suspect and at the same time considered, to the point "to think that a man could be changed from what he imagined," Wind reminds us. And, as is well known to those who have not read Plato, believed that "the art of camouflage was a very dangerous practice, and suggested some curious laws, under which the imitation of gestures or extravagant evil characters were prohibited." So Wind evokes the Platonic scissors of censorship, a word which is unpronounceable in our time. But the exquisite professor Berlin likens the pruning to the complaint - again scissors, cut! - Highlighting the contradictory activities of the censor (and trimmer): revitalize what you cut, threatening to ruin everything if you also affect the root. However, no pruning, no revive, without any censorship - as if what he says art was harmless, useless, baby - it will atrophy contemporary art, where art is a huge playground that invades every where in vain . The U.S. courts, cited by Wind, evidently in the forties gave more weight to the art, ruled that "the more a book is tedious, the more its obscenity should be excused, "while" the greater the art, the greater its strength harmful. " Today, more than at the time of Wind - has already been half a century from the sixties - the art is a kind of label that allows complete freedom. But a world without limits, without censorship, it loses credibility, is condemned to an eternal marginalization. At center stage reigns in fact science. Wind
Before, it was clear already in Hegel. Art became the language of romantic experience "interesting", the new key word of the time. Now a subject "interesting" raises a fleeting attention, in short loses interest, is bound by the same law of fashion. Hegel realized then that art had lost "the close connection that had previously had with the central energies of man." The dialectical philosopher wrote: "For us, art is no longer the supreme way in which the truth you create a life ...." The truth, incomprehensible, but revered in our world, and science. The artists are the entertainment, maybe a bit 'shamans liturgy to replace the abandoned churches.
Yield eunuch, art has lost its power left, looks like a trinket. Confused with the "free time" of prisoners of work, Tourism, with the trip and pastarelle Sunday, it becomes a paste, an openness to all provocations saccharine, sorbitol with resignation, because you already know that the game is just to move the bar higher and higher, but without the risk of falling , art is now no risk. Act in place of free access, you can get, as in Gide's novel, the murder, but without fear or trembling: the veil also made ornamental aesthetic.
Plato would have agreed with the American court, "the still weak are hardly capable of very good and very bad." The great artist disrupts the social order and the human heart, is very dangerous as the great criminal, without overlapping the two figures. Instead he tried to approach Germany in the nineteenth century: the Renaissance artist and Cesare Borgia. Burckhardt spoke of the "rule as a work of art," Nietzsche at his school, excited by this overlap, came to be confused with Titian Borgia. But Burckhardt was less platonic than it seems and he happened to utter a sentence above the opposite of that nature weak. Or rather, Wind adjusts it to him so, and it seems an anticipation of what was said by Hannah Arendt about the Nazis: the mediocrity "as the true evil force in this world." There can be locked in the antithesis. Baudelaire, citatissimo in queste conferenze, sembra sciogliere il nodo: «la passione frenetica dell’arte è un cancro che divora il resto». Non si tratta cioè di una passione neutra, la frenesia artistica è già mossa dai dèmoni, i grandi artisti e i mediocri son guidati ugualmente da tale «divina pazzia». Non si scherza con la energia della immaginazione, non a caso le singole arti si chiamano discipline, serve una serie di tecniche e un addestramento onde tenere a bada la fiamma della fantasia. Ci si muove tra l’eccesso e l’atrofia, tra la possente forza barbarica e la forma civilizzatrice. Zolla, che Wind probabilmente non conosceva, compilerà in quegli stessi anni, una Storia del fantasticare in which - as written by Grace Marciano - "having thoroughly explored the fantasy of the psyche and shared experience in fashion history and literature in the West, with vibrant force denounced the false link between imaginatio real and fantasy ( day dreaming ) el'impostura their contamination perpetrated in modern times. Powered by advertising and the use of the media distorting the fancy galloping severed second Zolla the perception of difference, known to traditional societies, emerging from between the archetypical ' imaginatio true and delusions of reverie. " In this infernal uproar, the author of sentimental romance and the great surrealist author in the same way they cling to the fantasy undisciplined.
"But what precautions to take, in our modern, turbulent artistic life, not letting yourself be overcome by these forces, or to not suffocate? What should our economy to avoid both over artistic and atrophy ", he asks at one point Wind on tiptoe. Perhaps the first precaution would be to stop doubting the threshold of panculturalismo prevailing on the compulsive dissemination of art. The old suspicions about its commercialization at least avoided the ludicrous apologies market of former revolutionaries.
"The Director of Kussevitzky orchestra music used to say that there will not be enough: more music is performed, more music is played, the better for everyone. It is clear, it seems to me that things went just as he wanted. At no other time in history has been offered to the public, and the audience hears, as a lot of music today, and probably the same goes for literature, "the author admits. Adorno would say indignantly that the young lady of good family who played the piano with a few scores that were circulating in the homes of the middle class had a knowledge of music and aesthetic enjoyment of the infinitely superior stereo technology fetishist who collects availability of records. And just as one might said of the literature: the metropolitan passenger trains that read a novel a day are definitely less literary experience of the poet-farmer. He condemned the role of consumers. Exhibitions and concerts are often booked and paid for the books with the same card 'cultural'. But the consumer of culture does not react, did not react even in the days of Wind, "we are inundated with shows, we gorge on art books, and these vast pools of available images are taken up with avidity, and I may add, with a degree of intelligence that would surely have astounded generations, less adaptable than ours. It has become rare in the case of the person, Mass. front of a pictorial language for her unusual, makes light of derision, as if the joke of a buffoon who can not draw [...], but this performance art, almost without conditions, it is equally alarming. " There is neither fear nor sacred resistance of intelligence. They say yes to everything and it all does not say anything.
"We are inclined to art, but art does not affect us very deeply, and that is why we can absorb so much, and many, many different genres." Valéry was impossible for the museum where the eloquence of too many different scenes confused: how to read multiple books simultaneously. Eclecticism prevalent is a sign of indifference. The public has become immune to art, has a vaccine, contact with it should not fear anything, no longer runs any risk: it can absorb large quantities. The scandal then he should shake, remember the ancient holy fear that it raised, but reduced to a conditioned reflex has lost its role as dangerous. Now, a century and more, is funded by the state democratic, open to everyone, such as education.
The art has become a ubiquitous ornament of a very ugly world. Well, would the minister to use every day scissors platonic.
(1 .- continues )
C’è un ministro della Repubblica che rischia d’essere cacciato dal governo con l’accusa di «aver speso poco» per la cultura. Un tanto al chilo: si è capito che le faccende sublimi, da Platone a Hofmannsthal, sarebbero per l’opinione pubblica corrente un fatto di soldi. Più si spende più cresce il livello culturale. Un assai volgare liberalismo si è impadronito anche dell’opposizione nominalmente di sinistra. Ma forse questa smania di investimenti muove soprattutto dalle preoccupazioni delle camorre che ruotano intorno al mercato dell’arte and entertainment, the cultural industry of the healed state, simply employed in that sector. Poverty of imagination is never mentioned in such discussions on the budgets of the spirit. Minister to kindly 'cuts' at this fabulous Scissorhands, certainly not suited to work in the quagmire of smart, we dedicate our modest reflections on the dangers of betting culture.
In 1963, BBC radio, six lectures transmitted by Edgar Wind, Berlin art historian who taught at Oxford. Twenty-eight minutes each, therefore, very short while addressing the great themes of Western thought had been working with scissors, too. Collected under the title of Arts and anarchy conversations became a book, translated into Italian by Adelphi, which sums up the tone of the lessons of British el'erudizione German professors more insistently returning to the issues in this "Almanac." Let's start with the first: the paradoxical weight loss of culture when it is most prevalent in the bread, so that is considered harmless, even beneficial, as any pasta dish, and relied on the barricades as a meal time. There has been forgotten in the meantime the sacred fear that enveloped this special human activity, we emptied of its dark nature, and even threatening, for simplicity the Enlightenment was spreading like a disinfectant. Plato understood all around us most of gazzettieri suspected of everything that comes from human imagination, driven by demons. The suspect and at the same time considered, to the point "to think that a man could be changed from what he imagined," Wind reminds us. And, as is well known to those who have not read Plato, believed that "the art of camouflage was a very dangerous practice, and suggested some curious laws, under which the imitation of gestures or extravagant evil characters were prohibited." So Wind evokes the Platonic scissors of censorship, a word which is unpronounceable in our time. But the exquisite professor Berlin likens the pruning to the complaint - again scissors, cut! - Highlighting the contradictory activities of the censor (and trimmer): revitalize what you cut, threatening to ruin everything if you also affect the root. However, no pruning, no revive, without any censorship - as if what he says art was harmless, useless, baby - it will atrophy contemporary art, where art is a huge playground that invades every where in vain . The U.S. courts, cited by Wind, evidently in the forties gave more weight to the art, ruled that "the more a book is tedious, the more its obscenity should be excused, "while" the greater the art, the greater its strength harmful. " Today, more than at the time of Wind - has already been half a century from the sixties - the art is a kind of label that allows complete freedom. But a world without limits, without censorship, it loses credibility, is condemned to an eternal marginalization. At center stage reigns in fact science. Wind
Before, it was clear already in Hegel. Art became the language of romantic experience "interesting", the new key word of the time. Now a subject "interesting" raises a fleeting attention, in short loses interest, is bound by the same law of fashion. Hegel realized then that art had lost "the close connection that had previously had with the central energies of man." The dialectical philosopher wrote: "For us, art is no longer the supreme way in which the truth you create a life ...." The truth, incomprehensible, but revered in our world, and science. The artists are the entertainment, maybe a bit 'shamans liturgy to replace the abandoned churches.
Yield eunuch, art has lost its power left, looks like a trinket. Confused with the "free time" of prisoners of work, Tourism, with the trip and pastarelle Sunday, it becomes a paste, an openness to all provocations saccharine, sorbitol with resignation, because you already know that the game is just to move the bar higher and higher, but without the risk of falling , art is now no risk. Act in place of free access, you can get, as in Gide's novel, the murder, but without fear or trembling: the veil also made ornamental aesthetic.
Plato would have agreed with the American court, "the still weak are hardly capable of very good and very bad." The great artist disrupts the social order and the human heart, is very dangerous as the great criminal, without overlapping the two figures. Instead he tried to approach Germany in the nineteenth century: the Renaissance artist and Cesare Borgia. Burckhardt spoke of the "rule as a work of art," Nietzsche at his school, excited by this overlap, came to be confused with Titian Borgia. But Burckhardt was less platonic than it seems and he happened to utter a sentence above the opposite of that nature weak. Or rather, Wind adjusts it to him so, and it seems an anticipation of what was said by Hannah Arendt about the Nazis: the mediocrity "as the true evil force in this world." There can be locked in the antithesis. Baudelaire, citatissimo in queste conferenze, sembra sciogliere il nodo: «la passione frenetica dell’arte è un cancro che divora il resto». Non si tratta cioè di una passione neutra, la frenesia artistica è già mossa dai dèmoni, i grandi artisti e i mediocri son guidati ugualmente da tale «divina pazzia». Non si scherza con la energia della immaginazione, non a caso le singole arti si chiamano discipline, serve una serie di tecniche e un addestramento onde tenere a bada la fiamma della fantasia. Ci si muove tra l’eccesso e l’atrofia, tra la possente forza barbarica e la forma civilizzatrice. Zolla, che Wind probabilmente non conosceva, compilerà in quegli stessi anni, una Storia del fantasticare in which - as written by Grace Marciano - "having thoroughly explored the fantasy of the psyche and shared experience in fashion history and literature in the West, with vibrant force denounced the false link between imaginatio real and fantasy ( day dreaming ) el'impostura their contamination perpetrated in modern times. Powered by advertising and the use of the media distorting the fancy galloping severed second Zolla the perception of difference, known to traditional societies, emerging from between the archetypical ' imaginatio true and delusions of reverie. " In this infernal uproar, the author of sentimental romance and the great surrealist author in the same way they cling to the fantasy undisciplined.
"But what precautions to take, in our modern, turbulent artistic life, not letting yourself be overcome by these forces, or to not suffocate? What should our economy to avoid both over artistic and atrophy ", he asks at one point Wind on tiptoe. Perhaps the first precaution would be to stop doubting the threshold of panculturalismo prevailing on the compulsive dissemination of art. The old suspicions about its commercialization at least avoided the ludicrous apologies market of former revolutionaries.
"The Director of Kussevitzky orchestra music used to say that there will not be enough: more music is performed, more music is played, the better for everyone. It is clear, it seems to me that things went just as he wanted. At no other time in history has been offered to the public, and the audience hears, as a lot of music today, and probably the same goes for literature, "the author admits. Adorno would say indignantly that the young lady of good family who played the piano with a few scores that were circulating in the homes of the middle class had a knowledge of music and aesthetic enjoyment of the infinitely superior stereo technology fetishist who collects availability of records. And just as one might said of the literature: the metropolitan passenger trains that read a novel a day are definitely less literary experience of the poet-farmer. He condemned the role of consumers. Exhibitions and concerts are often booked and paid for the books with the same card 'cultural'. But the consumer of culture does not react, did not react even in the days of Wind, "we are inundated with shows, we gorge on art books, and these vast pools of available images are taken up with avidity, and I may add, with a degree of intelligence that would surely have astounded generations, less adaptable than ours. It has become rare in the case of the person, Mass. front of a pictorial language for her unusual, makes light of derision, as if the joke of a buffoon who can not draw [...], but this performance art, almost without conditions, it is equally alarming. " There is neither fear nor sacred resistance of intelligence. They say yes to everything and it all does not say anything.
"We are inclined to art, but art does not affect us very deeply, and that is why we can absorb so much, and many, many different genres." Valéry was impossible for the museum where the eloquence of too many different scenes confused: how to read multiple books simultaneously. Eclecticism prevalent is a sign of indifference. The public has become immune to art, has a vaccine, contact with it should not fear anything, no longer runs any risk: it can absorb large quantities. The scandal then he should shake, remember the ancient holy fear that it raised, but reduced to a conditioned reflex has lost its role as dangerous. Now, a century and more, is funded by the state democratic, open to everyone, such as education.
The art has become a ubiquitous ornament of a very ugly world. Well, would the minister to use every day scissors platonic.
(1 .- continues )
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