~ Rereading EDGAR ON THE WIND "HAZARDS OF CULTURE. ~ Second point: L'ART POUR L'ART ~
"Nothing brings more surely the most perfect barbarism
an exclusive attachment to the pure spirit ..."
............... .................................................. ....................... Paul Valery
the wake of Edgar Wind, said in the last episode that culture is a mat to get heavily into public coffers to get any freedom, but this source of privileges has lost its connection with the way the human life. More and more abstract, is deceptively like the epitome of good and good taste. The legend Culture Well go hand in hand and has received many blows in the twentieth century, especially when they are seen some of its best exponents end up in the districts such as the Nazi-fascist, perhaps to dazzle: from Benn to Heidegger, from Jung to Schmitt, by Marinetti Sironi, Pirandello to Pound, to name the first big names that come to mind, and to refute the formula it comforting that he is always in the 'right'. As for the elegance of which is cloaked, just walk into a bookstore and see its products in more light on the counters: trivial titles with double meanings, in English slang globalist: Divette every, every ghost television, every journalist publishes His successful book, we must faticare molto per rinvenire una copertina promettente, e maggiore fatica è necessaria per prendere in mano un bel libro. Nella percezione della maggioranza la cultura continua a essere considerata quanto mai oblativa benché non nasconda affatto i vili interessi che le si accumulano intorno, tra i pochi anzi che riescono ad animare sempre il mercato. Nessun disinganno può mandare in crisi quel belletto che serve a mascherare masse assai rozze e che è venduto loro come un deodorante dello spirito.
Senza ricette, Wind prova a spiegare l’inflazione spaventosa di questa parola, l’indebolimento culturale degli ultimi tempi, la insipienza dell’arte resa definitivamente «innocua». La «sublime indifferenza» for human passions and the cult of form have certainly contributed to refining the art history, have opened new frontiers in sensitivity, they have cleaned up the sentimentality, but by dint of purifying the art we get an activity that crosses with ' useless. Purism and destruction go hand in hand. Made light, spiritual, why art should involve someone seriously? Gide called it "une peinture décérebrée" brainless, dead, in advance on what is seen in the fairs of today. Wind is the primary cause for the search of 'art pour l'art .
of madness and death which leads to an art end in itself, beautifully told Balzac in his novel Le Chef-d'oeuvre inconnu (see this 'Almanac' Death and the devil hidden in the artist ) in which a painter annihilates his work to purify of each subject. More or less contemporaries of the French novelist, the German Romantics preached the dissolution of poetry and painting in music. Mallarme declared that "the Destruction fut but Beatrice 'is already an artist such as that shown in the tragic history of Balzac. Among the leading critics to this art stripped of every vital function, just remember Wölfflin and his observation on the essence evident in the Gothic style pointed like a shoe in a cathedral. So saying, he says Wind, "he had discovered that the more a person is charged with religious emotion, the greater are the obstacles that hinder the apprehension purely visual." It is therefore stripped of all emotion, to reduce it to sign a minimum of particles on which the sign will be built later semiotics. Proceeds from such theories, the shoe was placed on the pedestal of the cathedrals, the prevailing aesthetic fetishism.
Ortega y Gasset, tempted by the elegant paradoxes, did not notice what was growing in the garden of his "art dehumanized," she seemed merely a sophisticated buffoonery, remota dal pubblico popolare, un gioco aristocratico intraducibile, non riuscì a prevedere quell’«appetito di solennità» per cui vieppiù gli installatori e provocatori, i comici del contemporaneo, tengono tanto alla fatale parola: «arte». D’altronde è ormai soltanto una simile parola che permette la trasmutazione di una merce qualsiasi in un oggetto estetico di grande prezzo, per il godimento delle masse che si piegano devote di fronte a un misterioso feticcio che produce magicamente soldi dal nulla. E nella celebrazione enfatica della giovinezza il saggista spagnolo tralasciava l’affermazione della «emotività adolescenziale» che a lungo andare diventa cliché stucchevole e insopportabile (ragione in most of the ridiculous that arouse the people on these machines mature toys).
Fear of consonance in Schönberg, the iconoclastic taste in the arts, the obsession with detail: this is the show of art that has abandoned its "vital tasks." By dint of seeking absolute, at the expense of the sensuous vision that praises the empirical world, it happens, the manner of the man who wished to become an angel of Pascal, which we find ourselves in the most wretched prose. Instead, as noted by Paolucci in the catalog of the exhibition just opened at Forli on his master's Angels "beauty who embodies the idea has to be absolute and at the same time natural Melozzo so he thought. The beauty of the lives of the supreme empyrean True and yet it is rooted in history, is recognizable in women and men who live under heaven. " Baudelaire would have agreed, "beauty is made of an eternal, unchanging [...], and a related element, linked to the circumstances, and will be, if you will, from time to time or at the same time, the era, fashion, morality, passion. Without this second element that is like [...] the appetizer of sweet divine, the first element would be indigestible [...], inappropriate to human nature. " Precious balance between 'actual experience and vicarious experience "of art that mystics, priests aesthetics of the new religion (but also, on the other hand, the theorists of the engagement) were destroyed.
Another danger of the culture that his singers ignore or forget. But if evil is not an aesthetic present is the result of a plot of eccentrics and scoundrels, it is a matter of "deeper than any individual whim." Therefore it can not be made reversible with a simple decision. If we want the art back to a more central role in our lives - Wind claims - first, that we must change our lives. "
(2. - continues )
"Nothing brings more surely the most perfect barbarism
an exclusive attachment to the pure spirit ..."
............... .................................................. ....................... Paul Valery
the wake of Edgar Wind, said in the last episode that culture is a mat to get heavily into public coffers to get any freedom, but this source of privileges has lost its connection with the way the human life. More and more abstract, is deceptively like the epitome of good and good taste. The legend Culture Well go hand in hand and has received many blows in the twentieth century, especially when they are seen some of its best exponents end up in the districts such as the Nazi-fascist, perhaps to dazzle: from Benn to Heidegger, from Jung to Schmitt, by Marinetti Sironi, Pirandello to Pound, to name the first big names that come to mind, and to refute the formula it comforting that he is always in the 'right'. As for the elegance of which is cloaked, just walk into a bookstore and see its products in more light on the counters: trivial titles with double meanings, in English slang globalist: Divette every, every ghost television, every journalist publishes His successful book, we must faticare molto per rinvenire una copertina promettente, e maggiore fatica è necessaria per prendere in mano un bel libro. Nella percezione della maggioranza la cultura continua a essere considerata quanto mai oblativa benché non nasconda affatto i vili interessi che le si accumulano intorno, tra i pochi anzi che riescono ad animare sempre il mercato. Nessun disinganno può mandare in crisi quel belletto che serve a mascherare masse assai rozze e che è venduto loro come un deodorante dello spirito.
Senza ricette, Wind prova a spiegare l’inflazione spaventosa di questa parola, l’indebolimento culturale degli ultimi tempi, la insipienza dell’arte resa definitivamente «innocua». La «sublime indifferenza» for human passions and the cult of form have certainly contributed to refining the art history, have opened new frontiers in sensitivity, they have cleaned up the sentimentality, but by dint of purifying the art we get an activity that crosses with ' useless. Purism and destruction go hand in hand. Made light, spiritual, why art should involve someone seriously? Gide called it "une peinture décérebrée" brainless, dead, in advance on what is seen in the fairs of today. Wind is the primary cause for the search of 'art pour l'art .
of madness and death which leads to an art end in itself, beautifully told Balzac in his novel Le Chef-d'oeuvre inconnu (see this 'Almanac' Death and the devil hidden in the artist ) in which a painter annihilates his work to purify of each subject. More or less contemporaries of the French novelist, the German Romantics preached the dissolution of poetry and painting in music. Mallarme declared that "the Destruction fut but Beatrice 'is already an artist such as that shown in the tragic history of Balzac. Among the leading critics to this art stripped of every vital function, just remember Wölfflin and his observation on the essence evident in the Gothic style pointed like a shoe in a cathedral. So saying, he says Wind, "he had discovered that the more a person is charged with religious emotion, the greater are the obstacles that hinder the apprehension purely visual." It is therefore stripped of all emotion, to reduce it to sign a minimum of particles on which the sign will be built later semiotics. Proceeds from such theories, the shoe was placed on the pedestal of the cathedrals, the prevailing aesthetic fetishism.
Ortega y Gasset, tempted by the elegant paradoxes, did not notice what was growing in the garden of his "art dehumanized," she seemed merely a sophisticated buffoonery, remota dal pubblico popolare, un gioco aristocratico intraducibile, non riuscì a prevedere quell’«appetito di solennità» per cui vieppiù gli installatori e provocatori, i comici del contemporaneo, tengono tanto alla fatale parola: «arte». D’altronde è ormai soltanto una simile parola che permette la trasmutazione di una merce qualsiasi in un oggetto estetico di grande prezzo, per il godimento delle masse che si piegano devote di fronte a un misterioso feticcio che produce magicamente soldi dal nulla. E nella celebrazione enfatica della giovinezza il saggista spagnolo tralasciava l’affermazione della «emotività adolescenziale» che a lungo andare diventa cliché stucchevole e insopportabile (ragione in most of the ridiculous that arouse the people on these machines mature toys).
Fear of consonance in Schönberg, the iconoclastic taste in the arts, the obsession with detail: this is the show of art that has abandoned its "vital tasks." By dint of seeking absolute, at the expense of the sensuous vision that praises the empirical world, it happens, the manner of the man who wished to become an angel of Pascal, which we find ourselves in the most wretched prose. Instead, as noted by Paolucci in the catalog of the exhibition just opened at Forli on his master's Angels "beauty who embodies the idea has to be absolute and at the same time natural Melozzo so he thought. The beauty of the lives of the supreme empyrean True and yet it is rooted in history, is recognizable in women and men who live under heaven. " Baudelaire would have agreed, "beauty is made of an eternal, unchanging [...], and a related element, linked to the circumstances, and will be, if you will, from time to time or at the same time, the era, fashion, morality, passion. Without this second element that is like [...] the appetizer of sweet divine, the first element would be indigestible [...], inappropriate to human nature. " Precious balance between 'actual experience and vicarious experience "of art that mystics, priests aesthetics of the new religion (but also, on the other hand, the theorists of the engagement) were destroyed.
Another danger of the culture that his singers ignore or forget. But if evil is not an aesthetic present is the result of a plot of eccentrics and scoundrels, it is a matter of "deeper than any individual whim." Therefore it can not be made reversible with a simple decision. If we want the art back to a more central role in our lives - Wind claims - first, that we must change our lives. "
(2. - continues )
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