It is suggested that postmodern aesthetics, far from the possibility of being conceived as philosophical aesthetics or philosophy of art (at least as presented by Alexander G. Baumgarten at the beginning of Modernity), would acquire in the current era the physiognomy of an aesthetic pop, whose founding expression would seem to be the aesthetic experience itself and not other conditions attributable to a certain aesthetic canon. In relation to this conjecture, which apparently implies a certain overcoming of the idea of work, we discuss, on the one hand, the connection between art and artificial intelligence and, on the other hand, the implications of Everyday Aesthetics on the concept of experience. Both practices would testify to a renewed aesthetic common sense.
Este artigo propõe-se a apresentar dois ambientes virtuais, o AMADIS e o Orkut, a fim de estabelecer relações entre eles, tendo como apoio teórico os conceitos de estética e socialidade. O primeiro é um ambiente virtual de aprendizagem desenvolvido para fins pedagógicos; o segundo é um ambiente virtual que tem alcance mundial e agrega indivíduos por suas redes de interesses e amizades. O objetivo deste artigo é analisar o entrelaçamento entre teoria e algumas das características dos ambientes, suas semelhanças e distinções, a partir do estudo da formação de redes digitais suscitadas por influências estéticas. Foi realizado um estudo qualitativo comparativo estrutural entre os ambientes, colocando-os em paralelo, traçando analogias entre suas áreas, funcionalidades e possibilidades de ações dos usuários. Ao final do estudo e da argumentação, conclui-se que as redes de relações entre os conceitos-chave do estudo da correlação estética-socialidade (neotribalismo, corpo coletivo, ator-persona, espacialidade e pertença, de acordo com Maffesoli), estruturadas a partir do confronto entre as subdivisões dos ambientes, são rearranjáveis e recriáveis.
This paper aims to analyze the process of art's moving into the purview of aesthetics. Therefore, Martin Heidegger follow some concepts developed by the greeks, for instance the conjunction between matter and form and art as mimesis. The german philosopher also explain the relation between subject and object as the time of the world picture's assumption. Considering the interpretations given by the modern thinkers, Heidegger evaluate how the artwork becomes a support of sensitive experiences and how the judgment of taste associated aesthetics with the beauty and our sensibility.
The present text has as objective not only to define the concepts of "moral", "ethics" and "aesthetics of existence", in the periods studied by Michel Foucault, but also to capture their significant differences, in view of the orientation towards the possibility of an ethical-political in and of the present time. Such arche-genealogical studies of Classical Greece (4th century BC), of the Greco-Roman period (1st and 2nd century AD) and of Christianity (3rd and 4th centuries AD), show that these concepts maintain their mark, by the use of techniques aimed at achieving temperance and an increasing and detailed care of itself. The stylization of life gained forms of the most varied in this historical process, based on practices that sometimes approached the moral attitude of the ethical attitude. This flexibility of the uses of concepts, consequently of historical and cultural practices, brings in Foucault the opening of thought in the search for a political attitude towards acts, thoughts and freedom.
As questões políticas e estéticas que emergem da prática ativista feminista, expressa no estudo de caso que vamos analisar: imagens/fotografias/memes postados no perfil do Instagram da personagem/performer Ex-Miss Febem, criada pela artista e ativista Aleta Valente. Nesse contexto, refletiremos as noções de Beatriz Preciado de "tecnologias do gênero" e "contrassexualidade" na construção de um pós-feminismo. ; The political and aesthetic issues that emerge from feminist activist practice, expressed in the case study that we are going to analyze: images/photographs/memes posted in the Instagram profile of the character/performer Ex-Miss Febem, created by the artist and activist Aleta Valente. In this context, we will reflect Beatriz Preciado's notions of "gender technologies" and "counter-sexuality" in the construction of a post-feminism.
From the ideas of Immanuel Kant and Hannah Arendt regarding Faculty of judgment, this article seeks to analyse the possible connections between our ability to judge the beautiful, and the way in which contemporary art articulate aesthetic values, moral and cognitive. To this end, presents some aspects of appropriation that Arendt makes aesthetic judgment of taste who thinks the beautiful as a political category, aimed at a possible Association of public manifestations of contemporary art to the political action of public character.
This article aims to approach the relationship between poetry and philosophical thought through the approximation between Kantian aesthetics and the work of Carlos Drummond de Andrade. It makes a presentation of the poet's work in the four phases of its development. It briefly exposes Kant's aesthetic conception, highlighting his classification of the arts, his concept of fine arts and the privileged place that the philosopher gives to poetic art. It undertakes an approximation of fine arts and poetry with Drummond's Poema de Sete Faces.
The following article aims to present and develop Martin Heidegger's criticism of Aesthetics from the essay 'The Origin of the Work of Art' ('Der Ursprung des Kunstwerkes', 1936). For Heideggerian thinking, Aesthetics, as an heir to the metaphysical paradigms, kills what is essential in the art (its ontological truth) by taking it fundamentally as an object capable of provoking and impacting the sensitivity of the contemplating subject. As will be shown Heidegger traces the origin ('Ur-sprung') of such a conception in the first Western philosophical systems with Plato and Aristotle, and its development in the initial moments of modernity with Descartes and the other heirs of his thinking. Since we are already at the heart of historical sedimentation when conceiving works of art, it is necessary to dive into such sedimentation to develop the sleeping potentialities. This is the invitation that Heidegger offers us and that we also offer the reader here.
This paper has as main goal to analyze the relation between negative utopia and catastrophe in Theodor W. Adorno's Aesthetics. The philosopher argues that modern art is associated to a kind of utopia which is not a positive representation of how the society should be. The negative utopia only shows how the society should not be. The artwork thus is charged with the contradictions of an unreconciled society. That explains why modern and new art is so recurrently characterized by the ugly, the repulsive, the dark and the catastrophic. In Adorno's formulation, the artwork is a determinate negation of the administered society. As such, the artwork is also a determinate negation of the administered culture, i.e. your constitution is given by the determinate negation of the culture industry's standards and of art tradition.
The work 'De revolutionibus orbium coelestium' (1543) installed the foundation stone of a mentality that conceived a new rationality model. The heliocentric hypothesis devised by Nicolas Copernicus has entered the contemporary narrative as one of the battles fought against medieval cosmology, which translates into a confrontation with the socio-political hegemony that the Catholic Church projected on the most decisive questions of humanity. Nevertheless, cosmology, seen through a hermeneutic gaze proposed by Ernst Cassirer, allows us to suspend the ascending condition of history in order to direct our attention to the neoplatonic, Pythagorean and Gnostic filiation of certain qualities that finally played in favour of the acceptance of the new image of the world. These doctrines were key in the articulation of that new cosmology, and nevertheless, our modernity has not known how to recognize its contributions to what could be a history of ideas. For these reasons we will relate the work with some cosmological precepts in the epistemological context of the Renaissance, which will shed light on certain unknown areas of the work, and also, why not, on certain unknown areas of the spirit of our modernity.
The article analyzes the political and theoretical potential of cinematographic language to express and rebuild the relationship between sexual and gender differences. As cultural products, the three films analyzed - A Casa Assassinada (1972), Sunday, bloody Sunday (1971) and Les Amities Particulières (1964) - allude to feminist issues of the time, as well as instigating a reading of gender beyond the narratives, by historicizing the visibility of the female body, heteronormativity, and the subversiveness of forbidden loves as represented through the films' structure. The text argues, from a queer perspective, that the aesthetic nature of twist cinema, within the limits of each style and period, was precisely the boldness to run risks in its visual grammar, not making political concessions in challenging the moral canons of current society.
In his writings on modernity, technique and technical reproducibility, Benjamin proposes a theoretical view of reproducible art that dialogues with the demands of the new temporality. If the modes of artistic production are expanded by technological advances, resizing their field of action to more modern forms of expression such as radio, for example, there is here a new experimental relationship between the public and the work, in addition to a new intermediary function. The concern with the use of technique for totalitarian purposes, however, made the author formulate the demand for a politicization of art. This politicization is present in his radio work with children that is linked to the commitment to use the apparatus for enlightenment. ; Em seus escritos sobre modernidade, técnica e reprodutibilidade técnica Benjamin propõe uma visada teórica sobre a arte reprodutível que dialoga com as exigências da nova temporalidade. Se os modos de produção artística são ampliados pelos avanços tecnológicos redimensionando o seu campo de atuação para formas de expressão mais modernas como o rádio, por exemplo; há aqui uma nova relação experimental entre o público e a obra, além de uma nova função intermediadora. A preocupação com o uso da técnica para fins totalitários, entretanto, fez o autor formular a exigência de uma politização da arte. Essa politização está presente em seu trabalho radiofônico com crianças que se articula ao compromisso do uso do aparato para o esclarecimento.
At a time when everything becomes art, art no longer belongs to itself, to the point of overflowing from the frames that have enclosed it for several centuries – museums, galleries, churches – with unprecedented effects not only in the field of aesthetics, but above all in ordinary life. To understand this in depth, it is necessary to take into account the digital reproducibility of the work of art as a dynamic that upsets the relationship between work and spectator, subject and object, politics and everyday life. From the second half of the 18th century onwards, we saw a dynamic of "aestheticization of the public" parallel to the birth of the cultural industry and, therefore, the transformation of culture into merchandise. It is an ambiguous process, as it implies the emergence of the mass as the central subject of our culture, but also its definitive reification. What about aesthetics in such a condition? This study explores the genology and history of this process by updating Walter Benjamin's thinking in relation to the cultural emergencies of our time. In particular, it seems essential to understand what happens to the aura in the context of a condition in which the aesthetic object, the work of art and, more generally, the area that concerns beauty is available, used and consumed in everyday life, to the point of placing our cities as "open air museums". ; Numa época em que tudo se torna arte, a arte já não pertence a si mesma, ao ponto de transbordar dos quadros que a enclausuraram durante séculos – museus, galerias, igrejas – com efeitos inéditos não só e não unicamente no campo da estética, mas sobretudo na vida quotidiana. Para compreender esta dinâmica em profundidade, é necessário ter em conta a reprodutibilidade digital da obra de arte, enquanto dinâmica que perturba a relação entre obra e espectador, sujeito e objeto, política e vida quotidiana. A partir da segunda metade do século XVIII, assistimos a uma dinâmica de "estetização do público" paralela ao nascimento da indústria cultural e, portanto, ...
At a time when everything becomes art, art no longer belongs to itself, to the point of overflowing from the frames that have enclosed it for several centuries – museums, galleries, churches – with unprecedented effects not only in the field of aesthetics, but above all in ordinary life. To understand this in depth, it is necessary to take into account the digital reproducibility of the work of art as a dynamic that upsets the relationship between work and spectator, subject and object, politics and everyday life. From the second half of the 18th century onwards, we saw a dynamic of "aestheticization of the public" parallel to the birth of the cultural industry and, therefore, the transformation of culture into merchandise. It is an ambiguous process, as it implies the emergence of the mass as the central subject of our culture, but also its definitive reification. What about aesthetics in such a condition? This study explores the genology and history of this process by updating Walter Benjamin's thinking in relation to the cultural emergencies of our time. In particular, it seems essential to understand what happens to the aura in the context of a condition in which the aesthetic object, the work of art and, more generally, the area that concerns beauty is available, used and consumed in everyday life, to the point of placing our cities as "open air museums". ; Numa época em que tudo se torna arte, a arte já não pertence a si mesma, ao ponto de transbordar dos quadros que a enclausuraram durante séculos – museus, galerias, igrejas – com efeitos inéditos não só e não unicamente no campo da estética, mas sobretudo na vida quotidiana. Para compreender esta dinâmica em profundidade, é necessário ter em conta a reprodutibilidade digital da obra de arte, enquanto dinâmica que perturba a relação entre obra e espectador, sujeito e objeto, política e vida quotidiana. A partir da segunda metade do século XVIII, assistimos a uma dinâmica de "estetização do público" paralela ao nascimento da indústria cultural e, portanto, ...
The problem of bad conscience, on Nietzsche, holds a central part of his reflections that it is understood, particularly, of Second Dissertation of 'For genealogy of moral'. Given the fact of trial to be diagnosed as one expression of occidental culture's nihilism, can not deny it, but, develop forms for conceive it, that is, forms of rub shoulders with it. Thus, rather than of trail acting as pleasure on guilt, of witch demands weakness and powerlessness, this would act as feeling of guilt on create, when unloading a quantum of force that be expressed in work of art. When optimizing the trail, as aesthetics production, Nietzsche would be transfiguring bad conscience when overcoming nihilism.
