Blog Marcos L. Mucheroni Filosofia, Noosfera e cibercultura

 The fact that the contemporary world finds no space for silence, for listening and especially for contemplation, the mere fact of admitting that there is the beautiful even without any belief, is the fact that we cling to the tensions between subject and object, now Projected on the object, sometimes projected on the subject, but without the “world of objects” is an abstract.
Among the three most beautiful phrases about art encounter: “Art says the unspeakable; Expresses the inexpressible, translates the untranslatable “of Leonardo da Vinci, but on the beautiful expression of art I find the phrases between the ones I most appreciate and perhaps the most quoted, of Victor Hugo:” the beautiful is so useful with the useful, Sometimes even more “and Dostoevsky:” beauty will save the world ”
The fact is that art is always expressing what everyone sees according to necessity and utility: the new, the beautiful and the unprecedented, following the line of da Vinci, and following the line of Victor Hugo the useful of the seemingly useless, Marcel Duchamp, by placing a urinal on his head and calling it “The Fountain” (1917), revealed the double face of utility, or perhaps the uselessness of what we call useful, then it can be said that art is paradoxical.
The modern utilitarian philosophy will say that the beautiful is the concept related to certain characteristics visible in the objects (or beings), nothing differs from the concept of property and the aesthetics would be only and exclusively the character of the object.
Schopenhauer criticizes Kant in saying that he does not correctly establish the content of the a priori “common frontier” of subject and object, for in the first place he does not recognize the “first, principal and most universal” form of representation, namely, that of being Object for a subject (of the Objekt-für-ein-Subjekt-Sein) before talking about the beautiful.

According to him when we preach something beautiful (schön), we say, in objective terms, that in him we know “not the particular thing, but the Idea”. However, since any particular thing is the objectification of an idea, at first it can be known in everything, as the philosopher concludes: “Everything is beautiful”, but for him everything is a part of the Will and not of Being.
The work The origin of the work of art, fruit of three lectures given by Heidegger in 1939, but the book was only published in 1950, with translations into the Portuguese of the 70s, will develop according to three aspects: the thing, the truth and The art-poetry.
For truth he takes up poetry or “alethéia,” a phenomenon from which being (of men and things) comes to the fore and gains meaning, already the expensive concept thing to his master Edmund Husserl, to return to itself and do it with Poetry, not as a literary genre, but Poetry is rather the movement from which things arise, it is the movement of production from where it happens to the unveiling of the being making it gain body and meaning, art is then unveiling, happening Or a new “appear” of the thing happens.
Exemplifying: A stone before being an art, it will be the thing-stone transformed into thing-art through the “artifice” of the artist and is the soul of this one who, only going beyond the limits of his body, gives life to the stone and transforms it into art, In this stone is then ontological.
Rodin’s phrase: “I choose a block and I take everything I do not need from it”, or from Michelangelo to the statue of Moses: “Why not talk?”.