Arquivo para a ‘Museology’ Categoria
Tragedy and the arts
30
Jan
I am not speaking here of tragedy in the ordinary
sense, but as an artistic category that is not only important for understanding the arts and beautiful Greek, but is claimed as a new idea of tragedy “as proposed by Hölderlin, Hegel or Nietzsche.” (Ranciére, 2009, p. 25).
Just as Byung Chul Han in “The Salvation of the Beautiful” will problematize the dualism between contemplation and action, typical of modern philosophy that separates subject from object, Rancière penetrates further by proposing his “aesthetic revolution”, stating that what is there is “The abolition of an ordered set of relations between the visible and the sayable, knowledge and action, activity and passivity” (Ranciére, 2009, p. 25).
I said this when analyzing the Oedipus of the “psychoanalytic revolution” that invalidates “those of Corneille and Voltaire and who intends to resume – beyond the French tragedy, as well as the Aristotelian rationalization of tragic action – as the tragic thought of Sophocles” (idem , p. 25).
Ranciére will discuss in the following pages of his chapter on the “aesthetic revolution” on psychoanalysis saying that it is “invented at that point in which philosophy and medicine are mutually questioned to make thinking a question of disease and disease a question of thinking ” (Ranciére, 2009, p. 25), in paint above Marie Spartali Stillman (1844–1927),.
A large part of modern neo-therapies (I call exoteric psychoanalysis) go around, as if the problem of idealistic thinking was “disease” and a large part of human suffering could be solved as “thought” transforming it into disease.
This happens due to a bad relation with the thinking of tradition, late modernity is nothing but the bad reading of rationalism and idealism, or the delayed reading of empiricism, the thinking of Hanna Arendt’s “active” action, expressed in Byung Chul Han , is also part of the thinking of tradition that Ranciére will identify in the “representative regime as an absolute power of making” (Ranciére, 2009, p. 27).
It clearly identifies this regime in Baumgarten’s discourse on “confused clarity”: “in the aesthetic regime, this identity of knowledge and non-knowledge, of acting and suffering, which… constitutes the very way of being of art ”(Idem, p. 27), of course this is the art of tradition. And so it says, that the aesthetic revolution had already started with Vico, in his New Science, who against Aristotle and the representative tradition, although Rancière knows that his problem was not the theory of art, but the theological-poetic problem of “ wisdom of the Egyptians ” about hieroglyphs.
What place does aesthetics occupy in our time
29
Jan
I imagined that it would be difficult, even
impossible, to approach the subject, since it is concerned with art critics of various types, Freudian psychoanalysts and very rarely anyone with our aesthetic, in the sense of beautiful Greek, or the contemplation of which Byung Chull speaks Han.
I found in a small text by Jacques Rancière, I am increasingly meeting this author, who came to know his work almost by chance (The emancipation of the spectator), referring to the theme as the aesthetic unconscious, but he himself explains it at the outset. psychological aspect of the theme.
I find right at the beginning of the book: “aesthetics does not deal with science or the discipline that deals with art.
Aesthetics designates a way of thinking that deals with the things of art ” (Rancière, 2009, p. 11) and this would be enough, but it complements their thinking and that they seek:“ to say what they consist of as things of thought. ” ( Rancière, 2009, p. 12).
It is a finding, but it could not be otherwise in a dialogue with the Kantian “tradition”, the following complement follows, saying that art as a thought is a recent reference and refers to the work Genealogy of art by Baumgarten of 1790 as the criticism of the Faculty of Judging of Kant.
From Baumgarten, a simple reference in his work would suffice, referring to the union of objects that “must be thought in a beautiful way with causes and effects, as this union must be sensitively known through the analogue of Reason” (Baumgarten, 1933 , p. 127) and so both he and Kant will establish “confused thinking” about the definition of aesthetics.
Rancière will say that both when calling Kant’s confused or heterogeneous sensitive thought, both will make art “no more than a minor knowledge, but a knowledge of what is not thought” (Rancière, 2009, p. 13) and the note of author will link it to enlightenment and liberalism.
There is no explicit reference to Nietzsche’s thought about art, but when discussing Oedipus, the most typical Greek tragedy and Nietzsche defends its role in art, he says about the Freudian use of this tragedy as “universal”, which at the same time encompasses three aspects: “a general tendency of the human psyche, a determined fictional material and a dramatic scheme considered exemplary.” (Rancière, 2009, p. 15).
Of course, this is only introductory, what Ranciére wants to explain is that it is not a matter of subjective or “confused knowledge”, but “a paradoxical union of disease and medicine that is, a paradoxical union of the two” (p. 26) in a reference to “The birth of tragedy” of the Nietzsche, what idealism as thought and romanticism as “aesthetics” want to deny.
Rancière, J. (2009) O inconsciente estético. trad. Monica Costa Netto. São Paulo: ed. 34.
Bruno, besides the heretic
15
Jan
I read in my youth Giordano Bruno’s “La cena de las cenizas”, one of six dialogues
written in Italian, written during his two-year stay in London (1583-1585).
The Dominican priest discussed the Copernican Revolution in this book, and although he was accused of heretic, his discussion was no other than Christian eschatology in his worldview beyond his time glimpsing the ways of the infinite world and his view of God.
He paid with his own life, being burned alive on February 17, 1600 in Rome, but all his commentators claim that their dialogue opened the way for a new link between the paths of cosmology and philosophy, but contrary to the medieval Christian worldview.
His philosophy went beyond the limitations of reason (mathematical and logical) using for his bold vision an amalgamation of basic facts and cosmic reality, but without neglecting a reflection that led to humanistic action.
Also fleeing empiricism and using mental experiments from which he deduced the ramifications of his worldview, some interpreters claim that he used reasoning similar to what Einstein used for his intuitions about the universe.
Referring to the cosmos as infinite reality, Bruno went beyond the spheres of Aristotle and Ptolemy, to him as well as to Kepler, Paracelsus and Nicolas de Cusa the universe is a living being that holds an essential unity that unites all particular beings, which are but emanations of the whole, this cosmological view influenced the entire Renaissance.
His worldview, which did not triumph in the Renaissance, perished and was interrupted by the emergence of Cartesian reason, Hume’s idealism and empiricism, but deserves to be reread and studied as a strong influence on Renaissance thought.
Here’s what was said about Giordano Bruno in the famous cosmos series:
https://www.youtube.com/watch?time_continue=6&v=XzTREw3AKEQ&feature=emb_logo
A re-reading of the three wise men
03
Jan
In times of fundamentalism and religious intolerance, a re-reading of the Magi that they 
have adopted and also “contemplating” the birth of Jesus is essential for dialogue.
The first necessary is that God has communicated with the “wizards” of the East, he can reopen closed hearts for reconnection (religion of the Latin verb religare which is to reconnect), for they were not even religious in the conventional sense, but
magicians and God reconnected them.
The second is that the divine communication was through stars, which means that they could understand this language and that God spoke in their human language, that is, there are forms beyond the dogmatic communication between God and men, even non-believers.
Cosmology is an ancient and fundamental part of philosophy, its evolution and composition studies the universe, and comes from antiquity, the pre-Socratics studied it, also seek the explanation of the origin and transformation of nature and the universe and build myths and divinity, creating a relationship between mortal and imortal beings.
So God is not so indiferente to this, a universal proposition should not disregard cosmology, and if one wishes to construct a cosmogony, that is the beginning and end of all life, then an eschatology is also constructed, and Christian eschatology may be related to Is not this, after all, God the beginning and the end of everything?
Thesecond re-reading, the question about of the stars, in fact even today they are looking for cosmological evidences ofthe star that the Magi followed, a star, a come t, this could help to date Christmas of a more precise date.
Theologians such as Teilhard Chardin did not fail to consider the cosmological hypothesis, and the notion of a Christ-centered universe helps a non-fundamentalist interpretation of a more complex eschatology, and so we have recourse in the previous post (in 1 / 4 /2019) to St. Gregory of Nazianzen.
The third is that the magi were “contemplating” the boy-God, in addition to the active vita, Hannah Arendt also spoke of her in The Human Condition (published in 1956, with Brazilian edition of 2009), which comes from the conference Work, Work and Action (Brazilian publication of 2006), but already spoke of this question Aristotle in the bios politikos and the vita negotiosa or actuosa in Augustine, and, recently Byung Chull Han in The society of the fatigue.
But they did not come to worship only, where the element offered incense is essentially this, but also brought gold in the sense of wealth and myrrh in the sense of sacrifices offered.
Magi should signify the opening of Christianity to other languages which are also an expression of the infinite, of the universe, and of the sacredly constructed life in all and in all.
The Essentials List
02
Jan
We carry too many burdens, not just our bags, bags, even books and too much
to do, because the contemporary world has difficulty making the list of the essentials.
Taking care of small household chores, not just leaving them to others, taking work seriously and taking time to rest, also dealing with what can get us out of the stress and anxiety of everyday life, having time for family members and to meditate , contemplate or even just think.
Baroque paintings, paintings and music seem to speak of a still world, too calm for my taste, some would say, but the aspects of flowers, bodegons, and still life indicate something else that is hard to see these days: flow power.
It is not the energy of force, but the energy of soul and spirit, the one that can really put us in the essentials in the face of such a troubled life, full of conflict and contradictory values, even if it is claimed to have difficulty living, it is the flow of everyday life, which is not the flow of life, of energy can be said of baroque art.
Some form of spirituality and inner well-being is responsible for harmony and life on the outside, even though daily life pushes us in the opposite direction, we must have the ability to “get out of the conventional” to make the list of essentials. When we were asked by the apostles to teach them how to pray, we could think of meditating or even just thinking for people who have no religious background.
One can for all indicate the Lord’s Prayer, the one in the “heavens” not far away, but contemplative and in Being.
May his name be holy in present terms, let meditation and contemplation always be present, may your kingdom of peace and harmony come, if not from the outside, to which we are fighting, at least the interior to face conjunctural difficulties.
And lastly, let us work for daily bread, without seeking excess and consumerism, that we may be able to forgive and be forgiven to go beyond the daily conflict. And deliver us from the evil of war, the destruction of nature, and all social ills.
Óbidos, the Portuguese medieval city
22
Jul
The city of Óbidos, considered one of the 7 wonders of Portugal, the little towns are villages,
although they have municipal council, are linked to a district and this city is linked to the district of Leiria, in the province of Extremadura, the center has 2200 inhabitants , but the whole region has almost 12 thousand.
The city has a castle with walls, considered one of the 7 wonders of Portugal, where you can live with medieval aspects, this week for example, there is the medieval festival, but the project “Literary Village” turned Óbidos into Literary City by UNESCO.
It is 80 kilometers from Lisbon, has three cross streets, Rua Direita, Rua do Facho and Josefa d’Óbidos, a tribute to the main baroque artist of the city, post tomorrow. There are vestiges that Óbidos is inhabited from primitive peoples, its logistics near the sea, the climate and the fortification of defenses were in this region also the Romans, the Muslims and in the year 1148, after the conquest of Santarém and Lisbon by D. Afonso Henriques, was also taken from the Arabs.
There is near the Lagoa (lagoon) d’Óbidos, it is possible for the real road, being like lagoon easier of defense and also with exits to the sea in several points, going from the Beach of Bom Sucesso to the Praia da Foz do Arelho (Beach of the Foothills of the Sea Arelho), bypassing the Lagoon.
As for the name, the word comes from the Latin Oppidus, which means “fortified city”, there are signs that the emperor Cesar Augustus erected the city in the late 1st century BC. This week Óbidos holds the Medieval Festival, and there will be a doctoral meeting of Digital Art from the Open University.
The video below shows the Medieval Festival of last year:
https://www.youtube.com/watch?v=QeVOXpiKBC4
The spiritual in art, almost forgotten
15
Nov
In addition to Kandinsky, a contemporary recognized as having influence in spiritual art, there are three others almost forgotten: Raymond de Sebonde, author of Natural Theology; Gaudí, creator of the
Mediterranean Gothic, and Salvador Dali, incorrectly seen as paranoid-critic, see this in sequence.
Dali said after a long phase that he himself said he had a psychological and indirect influence of Freud, to integrate into a new phase, where his frame Christus Hypercubus will be a landmark, and may even relate contemporaneousness with Quantum Physics, the fourth dimension of the universe (the Hypercube), and to a certain extent to the tesseract of Charles H. Hilton.
He says in his Anti-matter Manifesto he writes in all letters: “In the surrealist period, I wanted to create the iconography of the inner world and the wonderful world, of my father Freud … Today, the outside world and that of physics transcended the world of psychology, he declair: “My father today is dr. Heisenberg”, so is a Dali post-surrealism as he proclaims himself.
We have already posted something about this before, but we have developed a little more here.
Proclaimed Dali about his work: “I Dali, re-updating Spanish mysticism, I will prove with my work the unity of the universe, showing the spirituality of all substances,” in which the use of substance is not by chance, even of the physical universe, but may also be that which Teilhard Chardin called the “Christocentric universe,” that is, his Noosphere in the most substantial sense of the word, or in the physical sense of the universe.
This dimension, besides being studied in Particle Physics and Astrophysics, appeared in films like “Contact” (1997, direction of Robert Zemeckis) based on the work of the same name of Carl Sagan, and recently the film Interstellar (direction of Christopher Nolan , 2014), and the possibility of the fourth dimension and the universe being immersed in a hypercube is scientific.
Einstein had predicted a relativistic phenomenon Lense-Thirring (homage to Josef Lense and Hans Thirring) that remained for a long time without proof until this effect began to be detected in artificial satellites and since then has been studied as a real possibility, is a effect of a gyroscope due to the gravitational magnetic field.
The Artefacto 2018 event will begin tomorrow in Lisbon, at Palácio da Ceia, among other works, and will present an Ode to Christus Hypercubs by Dr. Jônatas Manzolli from Unicamp, which will feature pianist Helena Marinho from Aveiro and the soloist Beatriz Maia.
Incomplete verses and power
30
Oct
All incompleteness is human, but it is also the cause of our blindness, we could complete it with
dialogue, attentive listening to the Other, or with the postmodern philosophy that has nothing to drink but is very solid: living in the Other , a post-me.
I see libertarian, literary and biblical verses, all incomplete, by the absence of the Other, or by the simple idealistic division between subjects and objects, here made plural, to give meaning to a verse by Fernando Pessoa (importante portuguese poet):
“I only want to make it of all humanity; even if I have to lose it as mine. More and more like this I think “, also incomplete, but final because at first it is only that many know “Navigate is accurate, live is not necessary “, which was not his, but the motto of many Portuguese navigators.
This poem also needs completeness: “I am increasingly putting the impersonal purpose of magnifying the homeland and contributing to the evolution of humanity. It is the form that in me has taken the mysticism of our Race, “as this is welcome in times of eternal return.
I wanted to make a thought about power, but I cannot but be power, says our Portuguese poet: “Everything I think, All I am Is an immense desert Where I am not”, are verses of “Everything I think” (Fernando Pessoa) being also incomplete.
Complete with my student life, fighting for democracy in an authoritarian country, I said the final verses of this poem of everything I think: “Extension stopped With nothing to be there, Sand sifted I’ll give you the sting of the life I’ve lived.”
Said Faust in his Goethe (it was the character to say): “although I do not cast my being if it solves in nothing”, power of whom? What can you do about my Being?
Time of being
29
Oct
There is a time of not being, we are complaining today of the acceleration, but Chul-Han’s
diagnosis in The burnot Society is not so distant from that made by St. Augustine 14 centuries ago: “What is time? How are the past and the future, since the past is no longer and the future is not yet? “And the present? We barely say “now” and it has already fallen in the past “, this in a time when neither the technology of the press existed, what changed then?
Salvador Dali’s picture gives us an idea about the “persistence of memory” and the right to forgetfulness sanctioned by the European Union court on May 13, 2014 gives the diagnosis of a modern “disease”: hyper connectivity, in a Brazilian slang: we enter the “stack”.
The aid of machines that should give us rest periods in transmitting part of our work to them, and being able to perform long tasks faster should give us rest, but we no longer know how to have the period of contemplation and leisure, it seems to be “a time lost”.
We blame this acceleration for the machine of efficiency, concentration of capital, and other phenomena that predate the internet, there are many authors of the last century who touch the subject, after all Paulicéia Desvairada (Crazy people of St. Paul) (write in 1922) is a well-known novel of Mario de Andrade of 1922, and the first studies of the information explosion in the area of science date back to the 1940s.
Says Mário de Andrade about the artist in his poem dedicated to this:
My desire is to be a painter – Lionardo.
whose ideal in mercy heats you;
making the open to the world of the wide corolla
illustrious dream that I await in my bosom.
My longing is, bringing to the dark background of life.
The color of the Venetian school,
give shades of pink and gold, for alms.
how much there is of Penedia* or thistle.
When you find the source of the inks
and the exalted brushes with which you paint,
Veronese! your pictures and your friezes.
I will live where misfortunes live;
And I’ll live to color smiles.
on the lips of those who imprecate or who weep.
It may be a hard time to do poetry, or to contemplate, but we cannot let the Self-die because of a Time whose fragility is always gone. * (type of rocks group)
Digital collaboration between Art Museums
18
Sep
An open source digital software platform for art curation and sharing between museums and other art
exhibition environments was developed by collaboration between researchers at New York University (New York University) and art analysts and historians at the Frick Art Library Reference of New York.
The ARIES platform, available for free from ARtImageExplorationSpace.com, simplifies the organization, exploration and analysis of digital collections, allowing experts to manipulate images.
The developed toolkit allows users to enlarge features, filter images, add annotations, change lenses, tag images, select and color images (see picture) and share collections.
Claudio Silva, of NYU Tandon, stated that “since ARIES is also Web-based, it is portable and free of the complexities of installing a system.
This is especially important for our target users, who have little or no computing experience.” ARIES was developed by a multidisciplinary team, including Claudio Silva and Juliana Freire, and by professors from the Department of Computer Science and Engineering of NYU Tandon and faculty members of VIDA Center Lhaylla Crissaff and Marcos Lage, are visiting NYU researchers Tandon João Rulff, VIDA associate researcher Luke DuBois, artist, professor and co-director of NYU Tandon’s integrated digital media program; and Louisa Wood Ruby and Samantha Deutch, research director and assistant director of the Collection History Center at the Frick Art Reference Library, respectively.
Claudio Silva said the team is releasing new features incrementally and plans to make the software more robust, in order to improve documentation, tutorials and case studies in order to broaden the user base. As you can see at least, the project was part of the CNPq-Brasil scholarship support and is supported by a grant from the National Science Foundation Computational Research Infrastructure (CRI).
Frick Art Reference Library was founded nearly 90 years ago (1934) by Henry Clay Frick’s daughter (1849-1919), Helen Clay Frick, is in the building at 10 E. 71st Street, the Library is one of the leading references in history and collections of art.
