Blog Marcos L. Mucheroni Filosofia, Noosfera e cibercultura

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.