ACONCEITUALIDADE DO FENÔMENO ESTÉTICO
Alcy Xavier
O juízo que comanda nosso sentimento do belo e demais sensações do fenômeno estético é o juízo de gosto, afirmou Kant na sua grande obra “CRÍTICA DO JUÍZO”
Confirmando e reforçando essa ideia ele escreveu no parágrafo 17: “Não pode haver nenhuma regra de gosto objetiva que determine por conceitos o que seja belo, posto que todo juízo desta fonte é estético, ou seja, que seu motivo determinante é o sentimento do sujeito e não um conceito do objeto”.
A palavra Estética de origem grega latinizada para “aesthesis” e que significa “sentidos’, presente também em Anestesia por exemplo,e também em Sensibilidade foi proposta por Baugarten no século XVIII para substituir a imprecisão do conceito latino “Arte”aplicado em inúmeros objetos e eventos,de modo inadequado, deturpando a clareza da atitude estética e do objeto igualmente estético. Baugarten partiu das evidentes sensaçõe provocadas pelos objetos estéticos em nossos sentidos.
Na parte segunda da CRÍTICA DA RAZÃO PURA cap. I - “Da Lógica em geral”, Kant tem uma interessante e instigante afirmação: “O entendimento não pode perceber e os sentidos não podem pensar coisa alguma. Somente quando se unem resulta o conhecimento”. A propósito dessa afirmação, há uma interessante experiência que pode ser feita imediatamente por qualquer pessoa - colocar o dedo maior sobre o indicador, nivelar ambos e tocar a ponta do nariz. Com os circuitos do tato invertidos, sentiremos duas pontas no nariz. Esse é o momento em que o entendimento age, resultando no conhecimento claro de que efetivamente temos uma só ponta. Essa experiência foi aqui colocada para demonstrar a importância dos nossos sentidos na aferição dos elementos estéticos de um objeto. Em particular, o gestual dos olhos no processo da visão, é muito solicitado.
CONVERGÊNCIAS
HEGEL
Na sua famosa ESTÉTICA que fascinou e continua a fascinar milhares de pessoas cultas e artistas do mundo inteiro, no capítulo III, afirmou sua concordância com esse raciocínio de Kant em várias passagens...Assim, disse Hegel: ”Nesse aspecto, a CRÍTICA DO JUÍZO que examina os juizos estético e teleológico é uma obra notável e muito instrutiva. Ao referir-se aos objetos belos da natureza e da arte, aos produtos da natureza que, pelo caráter finalista lhe abrem o caminho para o conceito do organismo e do ser vivo, Kant só os considera do ponto de vista da reflexão e do juízo reflexivo. É certo que Kant define o juízo em geral pela faculdade de pensar o particular como participante do geral. diz que o juizo é refletido quando está só perante o particular que irá integrar no geral a achar. Para o fazer, precisa o juízo de uma lei, de um principio a que obedeça e a que Kant chama Finalidade...
Finalmente, Kant concebe o juízo estético e diz que ele é não o produto do intelecto como tal, ou seja, da nossa faculdade de formar conceitos, não o produto da intuição sensível, que possui tão variadas modalidades, mas resulta do livre jogo do intelecto e da imaginação. É assim que o objeto fica referenciado ao sujeito e ao seu sentimento de prazer e agrado...Enfim, Kant representa o belo como sendo um objeto de um prazer necessário, independentemente de todo o conceito.
Neste pequeno registro da convergência dos pensamentos de Kant e Hegel relativos a Aconceitualidade do fenômeno estético, é necessário expor a diferença entre suas grandes Estéticas. Kant investiga na CRÍTICA DO JUÍZO o juízo reflexivo que julga o Sentir em forma objetivamente válida. Assim, fica provada a extensão dos juízos sintéticos aos sentimentos, como ocorreu anteriormente nas Críticas com os juízos do conhecimento e da moralidade. Para Kant há uma finalidade formal subjetiva, a Beleza, e uma finalidade objetiva real, a Perfeição. A indagação na segunda parte do livro dá lugar a uma profunda teleologia da natureza, sintetizada na sua teoria do sublime.
Já a Estética Hegeliana parte da identidade entre sujeito e objeto, entre natureza e espírito ou em outras palavras, do inteligível no sensível. Para Hegel a arte é um elemento capital num sistema cultural, como uma sensível e profunda forma de conhecimento. Ele a define pela Ideia, é a manifestação ou aparência sensível da Ideia; é a Ideia Platônica em ação, encarnada na coisa particular. Assim sua visão da arte é a de uma ciência da arte integrada num processo dialético e metafísico.
O filósofo exclui a beleza da natureza , "O belo da arte é a beleza nascida do espírito” (afirma na Estética-parte I-cap.III.)
Com certeza, a profundidade destas duas concepções do estético já anunciavam a “Einfuhlung” (projeção do subjetivo no objeto estético ou empatia) essa teoria, iniciada por F. TH. VISCHER, discípulo de Hegel deu origem a inúmeros estudos sobre a Gestalt (gênese da forma) - palavra cunhada por Goethe. Essa importante teoria estabeleceu o vínculo, a ponte que faltava entre o sujeito e o objeto estético. Essa analítica da projeção dos sentimentos foi belamente definida por M. Merleau Ponty: ”A coisa é o correlato do meu corpo”. Esta síntese admirável convergiu para o pensamento erudito de Sergei Eisenstein quando formulou sua tese da sincronização dos sentidos no ”O SENTIDO DO FILME,” onde o geométrico, o psicológico e o metafísico se unem para uma forte imagem tendo como fundamento a Lógica Dialética.
O século passado, violentíssimo, resultou na mediação da estética, numa proliferação confusa de ISMOS. Esse colapso foi detetado por Jurgen Habermas, que afirmou em poucas laudas o fim da Modernidade termo oriundo da idade média e das vanguardas. Como vivemos hoje no pós-moderno, é difícil entender as vanguardas remanescentes da modernidade inclusive no plano dos conceitos, desde já, absurdos na questão estética.
A propósito e para finalizar, aqui estão algumas palavras de Jean Wahl no seu TRATADO DE METAFÍSICA - (versão original Payot-Paris-1953): “Trataram de construir filosofias do absurdo. Porém não levaram em conta que não pode haver absurdo senão em relação a uma norma racional, e de que apesar das aparências, as filosofias do absurdo implicam numa norma do racional tal e como toda a exceção não existe senão pela regra que infringe".
2011
Alcy Xavier
AESTHETICS ARE NOT CONCEPTUAL
The judge that controls our sense of beauty and other sensations of aesthetics is the judgement of taste, Kant said in his great work "Critique of Judgement"
Confirming and reinforcing that idea he wrote in paragraph 17: "There can be no objective rule of taste that determines what a concept is fine, since all the judgments of this source is aesthetic, or determining that his motive is the feeling of the subject and not a concept of the object. "
The word aesthetics Latinized from Greek for "aesthesis" which means “senses” also present in Anesthesia for example, and also in sensitivity was proposed by Baugarten in the eighteenth century to replace the Latin vagueness of the concept "art" applied to many objects and events, improperly, distorting the clarity of the aesthetic attitude and aesthetic of the object also. Baugarten departed from the obvious aesthetic sensations caused by objects on our senses.
In the second part of the CRITIQUE OF PURE REASON cap. I - "Logic in general," Kant has an interesting and provocative statement: "The understanding can not feel and the senses can not think of anything. Only when they unite appears knowledge. " The purpose of this statement here. Th ere is an interesting experiment that can be performed immediately by anyone - put the biggest finger on the indicator, and both even touch the tip of the nose. With the touch circuits reversed, we feel two points on the nose. This is the moment on that acting understanding, resulting in the clear knowledge that we have effectively only one point. This experience was put here to demonstrate the importance of our senses in the assessment of aesthetic elements of an object. In particular, the moving of eyes in the process of vision, it is very much requested.
CONVERGENCES
HEGEL
In his famous AESTHETICS that fascinated and continues to fascinate thousands of educated people and artists from around the world, in Chapter III, said his agreement with this reasoning in several passages of Kant ... Thus, Hegel says: "In this respect, CRITIQUE OF JUDGEMENT, which examines the aesthetic and teleological judgments is a remarkable and very instructive
Work. In referring to the beautiful objects of nature and art, the products of nature, the character finalist will pave the way for the concept of the body and being alive, Kant considers only from the standpoint of reflection and reflective judgment . Admittedly, Kant defines the general court in the faculty of thinking the particular as a participant in the general. So, the judge is reflected when it is only to the individual who will integrate the overall feel. To do so, must wich the court of a law, a principle that meets what Kant calls a Purpose ...
Finally, Kant conceives the aesthetic judgments and says it´s not the product of the intellect as such, or in our faculty to form concepts, not the product of the sensible intuition, which has such varied modalities, but results from the free play of intellect and imagination. This is how the object is referenced to the subject and its feeling of pleasure and satisfaction ... Anyway, Kant represents the beautiful as an object of pleasure necessary, whether the whole concept.
In this small record of the convergence of the thoughts of Kant and Hegel concerning to aesthetics are not a conceptual question, it is necessary to expose the difference between these great aesthetics. Investigates Kant's Critique of Judgement, the reflective mind that judges feel fit objectively valid. Thus, it is proved the extension of synthetic judgments to the feelings, as occurred previously in critiques with the judgments of knowledge and morality. For Kant there is a formal subjective purpose, beauty, and an objective real purpose,the Perfection. The question in the second part of the book gives rise to a deep teleology of nature, summarized in his theory of the sublime.
Already the Hegelian Aesthetics part of the identity between subject and object, between nature and spirit or in other words, the intelligible in the sensible. For Hegel art is a vital element in a cultural system as a sensitive and profound form of knowledge. He defines the idea, how the manifestation or appearance of the sensible, it is the Platonic Idea in action, embodied in the particular thing. So his vision of art is a science of art integrated into a dialectical and metaphysical process.
The philosopher excludes the beauty of nature, "The beauty of art is beauty born in the spirit" (says - in the Aesthetic-Part I-cap.III.)
Surely the depth of these two conceptions of the aesthetic has announced the "Einfühlung" (subjective projection in the aesthetic object or empathy) that theory, initiated by F. TH. Vischer, a disciple of Hegel gave rise to numerous studies on the Gestalt (genesis of form) - a word coined by Goethe. This important theory established the link, the bridge that was missing from the subject and the aesthetic object. That's cost projection of feelings was beautifully defined by M. Merleau Ponty: "The thing is the correlate of my body." This wonderful synthesis converged thinking scholar Sergei Eisenstein when he formulated his theory of synchronization of the senses in"THE MEANING OF THE FILM," where the geometric, psychological and metaphysical unite for a stronger image on the grounds of Dialectical Logic.
The last century,so violent, resulted in the mediation of the aesthetic, in a confusing proliferation of ISMS. This collapse was detected by Jurgen Habermas, who said into few pages the end of Modernity term coming from the Middle Ages and the vanguards. As we now live in the postmodern, it is difficult to understand the vanguard of modernity, including remnants of the concepts in the plan as of now, absurd in the aesthetic issue.
At purpose and to finally, here are some words of Jean Wahl in his TREATY OF METAPHYSICS - (original version Payot-Paris-1953): "They tried to build philosophies of the absurd. But do not take into account that there may be absurd but in relation to a rational standard, and that despite appearances, the philosophies of the absurd to imply a standard of rational and just like any exception does not exist without a rule violation.
Alcy XavierAlcy Xavier
AESTHETICS ARE NOT CONCEPTUAL
The judge that controls our sense of beauty and other sensations of aesthetics is the judgement of taste, Kant said in his great work "Critique of Judgement"
Confirming and reinforcing that idea he wrote in paragraph 17: "There can be no objective rule of taste that determines what a concept is fine, since all the judgments of this source is aesthetic, or determining that his motive is the feeling of the subject and not a concept of the object. "
The word aesthetics Latinized from Greek for "aesthesis" which means “senses” also present in Anesthesia for example, and also in sensitivity was proposed by Baugarten in the eighteenth century to replace the Latin vagueness of the concept "art" applied to many objects and events, improperly, distorting the clarity of the aesthetic attitude and aesthetic of the object also. Baugarten departed from the obvious aesthetic sensations caused by objects on our senses.
In the second part of the CRITIQUE OF PURE REASON cap. I - "Logic in general," Kant has an interesting and provocative statement: "The understanding can not feel and the senses can not think of anything. Only when they unite appears knowledge. " The purpose of this statement here. Th ere is an interesting experiment that can be performed immediately by anyone - put the biggest finger on the indicator, and both even touch the tip of the nose. With the touch circuits reversed, we feel two points on the nose. This is the moment on that acting understanding, resulting in the clear knowledge that we have effectively only one point. This experience was put here to demonstrate the importance of our senses in the assessment of aesthetic elements of an object. In particular, the moving of eyes in the process of vision, it is very much requested.
CONVERGENCES
HEGEL
In his famous AESTHETICS that fascinated and continues to fascinate thousands of educated people and artists from around the world, in Chapter III, said his agreement with this reasoning in several passages of Kant ... Thus, Hegel says: "In this respect, CRITIQUE OF JUDGEMENT, which examines the aesthetic and teleological judgments is a remarkable and very instructive
Work. In referring to the beautiful objects of nature and art, the products of nature, the character finalist will pave the way for the concept of the body and being alive, Kant considers only from the standpoint of reflection and reflective judgment . Admittedly, Kant defines the general court in the faculty of thinking the particular as a participant in the general. So, the judge is reflected when it is only to the individual who will integrate the overall feel. To do so, must wich the court of a law, a principle that meets what Kant calls a Purpose ...
Finally, Kant conceives the aesthetic judgments and says it´s not the product of the intellect as such, or in our faculty to form concepts, not the product of the sensible intuition, which has such varied modalities, but results from the free play of intellect and imagination. This is how the object is referenced to the subject and its feeling of pleasure and satisfaction ... Anyway, Kant represents the beautiful as an object of pleasure necessary, whether the whole concept.
In this small record of the convergence of the thoughts of Kant and Hegel concerning to aesthetics are not a conceptual question, it is necessary to expose the difference between these great aesthetics. Investigates Kant's Critique of Judgement, the reflective mind that judges feel fit objectively valid. Thus, it is proved the extension of synthetic judgments to the feelings, as occurred previously in critiques with the judgments of knowledge and morality. For Kant there is a formal subjective purpose, beauty, and an objective real purpose,the Perfection. The question in the second part of the book gives rise to a deep teleology of nature, summarized in his theory of the sublime.
Already the Hegelian Aesthetics part of the identity between subject and object, between nature and spirit or in other words, the intelligible in the sensible. For Hegel art is a vital element in a cultural system as a sensitive and profound form of knowledge. He defines the idea, how the manifestation or appearance of the sensible, it is the Platonic Idea in action, embodied in the particular thing. So his vision of art is a science of art integrated into a dialectical and metaphysical process.
The philosopher excludes the beauty of nature, "The beauty of art is beauty born in the spirit" (says - in the Aesthetic-Part I-cap.III.)
Surely the depth of these two conceptions of the aesthetic has announced the "Einfühlung" (subjective projection in the aesthetic object or empathy) that theory, initiated by F. TH. Vischer, a disciple of Hegel gave rise to numerous studies on the Gestalt (genesis of form) - a word coined by Goethe. This important theory established the link, the bridge that was missing from the subject and the aesthetic object. That's cost projection of feelings was beautifully defined by M. Merleau Ponty: "The thing is the correlate of my body." This wonderful synthesis converged thinking scholar Sergei Eisenstein when he formulated his theory of synchronization of the senses in"THE MEANING OF THE FILM," where the geometric, psychological and metaphysical unite for a stronger image on the grounds of Dialectical Logic.
The last century,so violent, resulted in the mediation of the aesthetic, in a confusing proliferation of ISMS. This collapse was detected by Jurgen Habermas, who said into few pages the end of Modernity term coming from the Middle Ages and the vanguards. As we now live in the postmodern, it is difficult to understand the vanguard of modernity, including remnants of the concepts in the plan as of now, absurd in the aesthetic issue.
At purpose and to finally, here are some words of Jean Wahl in his TREATY OF METAPHYSICS - (original version Payot-Paris-1953): "They tried to build philosophies of the absurd. But do not take into account that there may be absurd but in relation to a rational standard, and that despite appearances, the philosophies of the absurd to imply a standard of rational and just like any exception does not exist without a rule violation.
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