 The World of Abstract
Abstract by Country
Abstract Masters
|
The modern aesthetic, which took the decisive step of objectivism to subjectivism aesthetic aesthetic, ie that does more aesthetic than the starting point of his investigations, but the product of the behavior of the subject contemplating culminates in a doctrine that can be characterized by the very name of the general theory of empathy. This theory was formulated clearly and completely in the writings of Theodor Lipps. For this reason, his aesthetic system will serve as pars pro toto, as the foil to the following treaty.
For the fundamental objective of my essay is to show that modern aesthetic, which proceeds from the notion of empathy, is not applicable to large areas of art history. Its Archimedean point is located onepole of human artistic feeling alone. It will take the form of a comprehensive aesthetic when he met with the lines that lead from the opposite pole.
We consider this against pole-an aesthetic that does not envy the man with empathy, but his desire to abstraction. Just like the envy of empathy as a presupposition of aesthetic experience finds its satisfaction in the beauty of the organic, so the desire of abstraction finds its beauty in life-denying inorganic, in the lens or, in general terms, in all abstract law and necessity.
We will endeavor to shed light on the antithetical relationship of empathy and abstraction, first characterize the concept of empathy in some general features. The simplest formula that expresses this kind of aesthetic experience tracks: aesthetic enjoyment is objectified self-enjoyment. To enjoy the aesthetic means to please me in a sensuous object diverse from myself, to myself to empathize with her. "What I in empathy is quite general life. And life is energy, internal, effort and achievement. In short, life is activity. But the activity is one in which I feel energy expenditure. By its nature, this activity is an activity of will. It is business or desire in motion. "
While earlier aesthetic operated with pleasure and displeasure, Lipps gives these two sensations of the value of tones of feeling that, in the sense that the tone lighter or darker in color is not the color itself same, but precisely a color tone. The crucial factor is, therefore, rather the sensation itself, ie the movement within the interior life, inside self-activation.
The presupposition of the act of empathy is general apperceptive activity. "Every object of sense, insofar as there is for me, is always the product of two components of what is given and sensually my apperceptive activity. Each line request an apperceptive activity of me, that I understand what it is like. I must expand my inner vision until it embraces the whole line, I did inwardly to define what I apprehended and extract, as an entity and its environment. Thus, each line is already asking me that the internal movement that includes the two pulses: the expansion and delimitation. In addition, however, each line, under the direction and shape, made all kinds of special demands on me.
"The question now arises: how do I behave towards these requirements. There are two possibilities, namely that I say yes or I say no to such a request, I freely exercise activity required of me, or I resist the demand, the natural tendencies, inclinations and needs of self-activation in me are in unison with the application, or they are not. We always have a need for self-activation. In fact, this is the fundamental necessity of our being. But selfactivation required of me by a sensible object can be so constituted that, precisely by virtue of its constitution, it can not be done by me without friction, without domestic opposition.
"If I may engage in the activity required of me unopposed inward, I have the feeling of freedom. And it's a feeling of pleasure. The sensation of pleasure is always a sense of free self-activation. It is the tone or color directly experienced the sensation resulting from the activity that occurs when the product of activity without internal friction. It is a symptom in the consciousness of unison between the demand of free activity and my completion of it."
In the second case, however, there arises a conflict between my natural struggle for self-activation and that required of me. And feel of a conflict is also a feeling of displeasure from the object.
The elders of the situation under Lipps positive empathy, empathy and second negative.
In this general apperceptive activity leads first be spiritual in my possession, this activity belongs to the object. "The shape of an object is always being-formed by myself, by my inner activity. It is a fundamental fact of all psychology, and certainly any aesthetic, an "object sensually given" precisely understood, is an unreality, something that does not and can not exist. In it there for me - and such objects only come into question - it is impregnated by my activity, my inner life. " This perception is not random and arbitrary, but necessarily related to the subject.
The activity becomes apperceptive aesthetic pleasure, in the case of positive empathy, in the case of unison of my natural tendencies to self-activation with the activity required of me by the sensual object. Regarding the work of art as it is this empathy which only positive is questioned. This is the basis of the theory of empathy, insofar as it finds a practical application for the artwork. Hence result the definitions of beauty and ugliness. For example: "Only to the extent that this empathy there are beautiful forms. Their beauty is this ideal of freedom with which I live in them.
Conversely, the shape is ugly when I'm unable to do so, when I feel inwardly unfree, inhibited, stressed in the form or in its contemplation'face artistic creations for centuries and peoples. There is no help for us, for example, in the understanding of this vast complex of works of art that pass beyond the narrow confines of the Graeco-Roman and modern Western art. Here we are forced to recognize that a whole different mental process is involved, which explains the strange and purely negative in our assessment, the quality of this style. Before beginning to attempt a definition of this process, a few words must be said concerning some basic concepts of science to art, because what follows can only be understood once agreement was reached on these concepts basis.
Since the flowering of art history took place in the nineteenth century, it was natural that theories about the genesis of the artwork should have been based on how materialistic things to see. It is worth mentioning that a sane and rational effect of this attempt to penetrate the essence of art exercised on aesthetics and aesthetics of the speculative handsome spiritism eighteenth century. In this way a valuable basis was provided for the young science. Work as Semper Stil remains one of the great acts of art history, which, like any intellectual edifice, which was heavily built and carefully crafted, stands outside the historical valuation of "good" or " incorrect. "
Nevertheless, this book with his materialist theory of the genesis of the artwork, which has penetrated into all walks of life and, through several decades even in our own time, has been tacitly accepted the premise that for most surveys of art history, for us today is a fulcrum of hostility to the progress and mental laziness. The way to any deeper penetration into the inner essence of art is barred by the exaggerated assessment placed on secondary factors.
Moreover, anyone who bases his approach on Semper Semper has spirit. Everywhere there are signs of a reaction against the materialism jejuni and artistic indolent. The violation most important in this system is probably the one made by the Viennese scholar Alois Riegl who died prematurely, including digging deep and greatly planned work on the late Roman art industry - to some extent by lack of access publication - has unfortunately not received the attention deserved by his time of important decisions.
|
More Art Zones
|
RSS Feed XML Sitemap HTML Sitemap Contact Us Privacy Policy
