~ Rereading WIND. ~
FOURTH AND LAST BET: THE MECHANIZATION OF ART ~
How to neutralize the "disturbing effects of the art '? Following Edgar Wind by three points in his essay collection Art and anarchy (Adelphi), we first saw the dangers involved when the art was at the center of Western civilization, so the more recent phenomena that made harmless: art pour l'art and the cult of the fragment, fetishism fetishism of form and detail, the culture piece by piece, the landscape of rubble, the Apocalypse without figures. In this last look at the polite speech of the German scholar tap the "mechanization of art." Boccioni advocated with the enthusiasm of the future for any gift of modernity and ordered the cult to the followers of his sect: "Man to evolve toward the car." Le Corbusier, when he already saw the good effects, it excited so ridiculous, "Man (the one that created the machinery) acts as a god, that is, in perfection." Wind does not deal with new faiths, his book is not a tirade against modernity, simply records how often the machine flatten the art. He sees even "disturbing similarities between the 'pure art' and the needs of mechanization," since the 'pure form' "is easier to mechanize.
The machines have simplified the art so that the artists they had to invent obstacles, the difficulties inflicted penitential autocostringersi in artificial limits to replace the traditional ones wiped out by technology (but also, it must be said, for absolute freedom, without the sting of brilliant principals). Of course it is ancient history already Federico da Montefeltro, for example, unable to read a printed book, it seemed a desecration, and the first printed books were trying desperately to look like manuscripts and sometimes there is added a hand-coloring to make the initial closest to the thumbnails: Faced with these new products offered themselves as surrogates, the Duke of Urbino subdorava a fraudulent intent. In the last century, however the actions of machines multiplied indefinitely, the technology offered all the services to artists and art made a trivial matter. The first to throw into chaos the techniques of representation was the photo: upset the painting and yet throughout the nineteenth century was presented as a mechanical painting, painting degraded. Then came the cinema, theater degraded, after television, cinema degraded, and so the vicious circle of general degradation, while breeds imitation of, the pseudo-ancient, universal counterfeiting. Some filmmakers of the last century hand-painted film, color it in an anti-naturalistic, to deny its mechanical nature, the engineers of the equipment claimed to play with the stereo fidelity'alta 'concert hall, and John Cage fighting event in the machine by introducing the development of sound ... It is the story of the culture of the fifties and sixties, prior to the end of the acceptance of the bluff as the only horizon of Contemporary Art. In those years still remained troubled by the entry of cars on the cultural scene and tried to compete with them. Wind, who wrote at that time, submit its reservations about it.
Speaking of the music playing, note that the recording disk develops "his own style." He explains: "certain relevant idiosyncrasies of phrasing, for example, that can astonish and make an impression in the concert hall, rather irritating if you listen to often. Consequently, the recording tends to eliminate them, aiming to get a finishing technique that allows continuous and repeated listening. " One emphasis of the changes hidden, and then tamed the perception of sweetened art. The uniform mechanical train the ear as the eye. The composer has begun to focus "to a style of musical performance suited to montage and performance stereo; mechanized as well as the language of cinema has had a decisive influence on certain styles of theatrical literature and drama, making the range of 'human expression to the possibilities of the screen. " Speeches of the past, we are no longer used, although the system is properly reinforced and face cross genres and disciplines of the market to greater glory (novels written with an eye already the subject of cinema, film designed to be divided into TV evenings: they are very known), but there is strippers, because they would say, Wind, culture does not cause any scandal now.
Wind takes a look also to the minor arts, we steal a beautiful remark: "The knives, forks and spoons can not fail to disturb the aerodynamic act of eating, since we make it aware to no avail." We realize that even a confused or feel discomfort without understanding why?
But it is in painting (at that time was still called it that) that seems most obvious mark of reproducibility, "that our way of looking at art has undergone a mutamento provocato dalla riproduzione, è ovvio. I nostri occhi sono oggi molto più pronti a cogliere qugli aspetti della pittura e della scultura che con maggiore efficacia la macchina fotografica riesce a mettere in evidenza». Jean Clair aggiungerà, decenni dopo, che la riproduzione fotografica esclude proprio quanto c’è di ‘artistico’ in un quadro, mentre ogni gesto idiota della body art, una volta riprodotto nella foto, viene enfatizzato, diventa icona, come nella reclamistica della pop art. Questa era la vera «perdita dell’aura» che inorgogliva le avanguardie. Mai mettendo in luce, però, che si stava sviluppando – come scrive Wind – «un’immaginazione pittorica e scultorica decisamente tesa verso la fotografia», una sua appendice fumosa, con il risultato di raggiungere una «indiretta compiutezza» solo attraverso la riproduzione meccanica. L’odierno Google Art Project, per cui i direttori dei massimi musei parlano innocentemente di possibilità di «vedere» online i quadri che essi conservano, come se si trattasse davvero di una «visione» davanti allo schermo che informa coi pixel, è il coronamento di un tale svuotamento culturale. L’arte non ha più una casa, un tempio, si diffonde nel profano e, dopo il passaggio nel museo cartaceo di Malraux, entra nel museo virtuale, diventa compiutamente profana (e del tutto inutile). Ciononostante, negli ultimi decenni, coloro che bearing the name of artists who have worked almost exclusively to expose their products in a few museums, works created death to be buried immediately.
Even the old is now seen through the filter of our machines. Here the engineer Viollet-le-Duc believed that with the technology to resurrect the art of medieval cathedrals instead of giving life to the "nineteenth-century Gothic." The methodology currently about restoration, casuistry and variable depending on the seasons of philosophy, do not interfere with our present to impose his mark on the cleaning of art, falsifying a little then. "The idea that a painting of the fifteenth century, for example, can be given safely science to its former state, as if five hundred years of existence had not left a trace on it, is of course absurd, both from the chemical point of view, both from a historical perspective. " Just as the translation has impressed his date or on a disc you can hear the rustle of the time, even the cleanup will be characterized by 'shadow history'. And since, as we saw Jünger in the thirties, the modern landscape is continually being restored, thanks to technology just in constant update, the falsification of the past is intensified.
"We must discourage the fine arts" was saying Degas, worried about the ugly turn that cultural issues were taking. Now the missionaries of culture as the proposed remedy to the ills of the world, without being even more aware of how often it is the mirror suggestive of the evil.
(4. - end )
FOURTH AND LAST BET: THE MECHANIZATION OF ART ~
How to neutralize the "disturbing effects of the art '? Following Edgar Wind by three points in his essay collection Art and anarchy (Adelphi), we first saw the dangers involved when the art was at the center of Western civilization, so the more recent phenomena that made harmless: art pour l'art and the cult of the fragment, fetishism fetishism of form and detail, the culture piece by piece, the landscape of rubble, the Apocalypse without figures. In this last look at the polite speech of the German scholar tap the "mechanization of art." Boccioni advocated with the enthusiasm of the future for any gift of modernity and ordered the cult to the followers of his sect: "Man to evolve toward the car." Le Corbusier, when he already saw the good effects, it excited so ridiculous, "Man (the one that created the machinery) acts as a god, that is, in perfection." Wind does not deal with new faiths, his book is not a tirade against modernity, simply records how often the machine flatten the art. He sees even "disturbing similarities between the 'pure art' and the needs of mechanization," since the 'pure form' "is easier to mechanize.
The machines have simplified the art so that the artists they had to invent obstacles, the difficulties inflicted penitential autocostringersi in artificial limits to replace the traditional ones wiped out by technology (but also, it must be said, for absolute freedom, without the sting of brilliant principals). Of course it is ancient history already Federico da Montefeltro, for example, unable to read a printed book, it seemed a desecration, and the first printed books were trying desperately to look like manuscripts and sometimes there is added a hand-coloring to make the initial closest to the thumbnails: Faced with these new products offered themselves as surrogates, the Duke of Urbino subdorava a fraudulent intent. In the last century, however the actions of machines multiplied indefinitely, the technology offered all the services to artists and art made a trivial matter. The first to throw into chaos the techniques of representation was the photo: upset the painting and yet throughout the nineteenth century was presented as a mechanical painting, painting degraded. Then came the cinema, theater degraded, after television, cinema degraded, and so the vicious circle of general degradation, while breeds imitation of, the pseudo-ancient, universal counterfeiting. Some filmmakers of the last century hand-painted film, color it in an anti-naturalistic, to deny its mechanical nature, the engineers of the equipment claimed to play with the stereo fidelity'alta 'concert hall, and John Cage fighting event in the machine by introducing the development of sound ... It is the story of the culture of the fifties and sixties, prior to the end of the acceptance of the bluff as the only horizon of Contemporary Art. In those years still remained troubled by the entry of cars on the cultural scene and tried to compete with them. Wind, who wrote at that time, submit its reservations about it.
Speaking of the music playing, note that the recording disk develops "his own style." He explains: "certain relevant idiosyncrasies of phrasing, for example, that can astonish and make an impression in the concert hall, rather irritating if you listen to often. Consequently, the recording tends to eliminate them, aiming to get a finishing technique that allows continuous and repeated listening. " One emphasis of the changes hidden, and then tamed the perception of sweetened art. The uniform mechanical train the ear as the eye. The composer has begun to focus "to a style of musical performance suited to montage and performance stereo; mechanized as well as the language of cinema has had a decisive influence on certain styles of theatrical literature and drama, making the range of 'human expression to the possibilities of the screen. " Speeches of the past, we are no longer used, although the system is properly reinforced and face cross genres and disciplines of the market to greater glory (novels written with an eye already the subject of cinema, film designed to be divided into TV evenings: they are very known), but there is strippers, because they would say, Wind, culture does not cause any scandal now.
Wind takes a look also to the minor arts, we steal a beautiful remark: "The knives, forks and spoons can not fail to disturb the aerodynamic act of eating, since we make it aware to no avail." We realize that even a confused or feel discomfort without understanding why?
But it is in painting (at that time was still called it that) that seems most obvious mark of reproducibility, "that our way of looking at art has undergone a mutamento provocato dalla riproduzione, è ovvio. I nostri occhi sono oggi molto più pronti a cogliere qugli aspetti della pittura e della scultura che con maggiore efficacia la macchina fotografica riesce a mettere in evidenza». Jean Clair aggiungerà, decenni dopo, che la riproduzione fotografica esclude proprio quanto c’è di ‘artistico’ in un quadro, mentre ogni gesto idiota della body art, una volta riprodotto nella foto, viene enfatizzato, diventa icona, come nella reclamistica della pop art. Questa era la vera «perdita dell’aura» che inorgogliva le avanguardie. Mai mettendo in luce, però, che si stava sviluppando – come scrive Wind – «un’immaginazione pittorica e scultorica decisamente tesa verso la fotografia», una sua appendice fumosa, con il risultato di raggiungere una «indiretta compiutezza» solo attraverso la riproduzione meccanica. L’odierno Google Art Project, per cui i direttori dei massimi musei parlano innocentemente di possibilità di «vedere» online i quadri che essi conservano, come se si trattasse davvero di una «visione» davanti allo schermo che informa coi pixel, è il coronamento di un tale svuotamento culturale. L’arte non ha più una casa, un tempio, si diffonde nel profano e, dopo il passaggio nel museo cartaceo di Malraux, entra nel museo virtuale, diventa compiutamente profana (e del tutto inutile). Ciononostante, negli ultimi decenni, coloro che bearing the name of artists who have worked almost exclusively to expose their products in a few museums, works created death to be buried immediately.
Even the old is now seen through the filter of our machines. Here the engineer Viollet-le-Duc believed that with the technology to resurrect the art of medieval cathedrals instead of giving life to the "nineteenth-century Gothic." The methodology currently about restoration, casuistry and variable depending on the seasons of philosophy, do not interfere with our present to impose his mark on the cleaning of art, falsifying a little then. "The idea that a painting of the fifteenth century, for example, can be given safely science to its former state, as if five hundred years of existence had not left a trace on it, is of course absurd, both from the chemical point of view, both from a historical perspective. " Just as the translation has impressed his date or on a disc you can hear the rustle of the time, even the cleanup will be characterized by 'shadow history'. And since, as we saw Jünger in the thirties, the modern landscape is continually being restored, thanks to technology just in constant update, the falsification of the past is intensified.
"We must discourage the fine arts" was saying Degas, worried about the ugly turn that cultural issues were taking. Now the missionaries of culture as the proposed remedy to the ills of the world, without being even more aware of how often it is the mirror suggestive of the evil.
(4. - end )
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