Aesthetics2 este tratado contiene 104 pag en ingles, las siguientes monografias seran en castellano ya que es nuestro idioma.
Aesthetics2
Walter du Halde
In the very fact, this work was devoted to Georg Wilhelm Friedrich Hegel, the hero of my dreams in my youngest life in the Fine Art School. However, the stubbornly truth pull me one more time in the quicksand of philosophical confrontation, and the storm it was over my again.
Strictly, Hegel I never leave him, because his dialectical system-ever green- is the source of my knowledge, but the struggle is now and here. Don´t surprice if you find the noble profile of Hegel in my Coat-of Arms, when my truly weapon is the historical dialectical materialism.
This work represent the fruit of many years of deep thinking, whith excessive caution in strangely circumstances. (at this time I was expelled and pursued from the Communist Party; firs from the Soviet PC and later on the Chinese PC ) . I never resigned to the Engelianism-Leninist-Stalinist position. Under those problems and far off my country I began to write as an excuse to make up for my fallfight against counterrevolutionary forces.
I´ll write about aesthetics, that thing mistress present in all my life, some time as an angel or to come in a sigth, but ever an ladylove covered in rose-colored over gloomy optical-gray. She follow sleeping in my bed, and with me ; I hope as far as the end.
I shold like to start this work, reporting the Aesthetics International Congresses along this century . There , we can find many raw material to analice: his contribution, theoretical investigations and, overcoat: the contradictions and antagonisms between differents ideological systems, specially nowadays, when illiteracy has been wiped out and publishing is done in the world on an unprecedented scale.
We believe in the integral function of art and his role in th ideological and moral education. Our manuscript are in this way, not only with the Aesthetics Congresses but with the exceedingly complex problems of the artistic creation.
This work is the evidence of our counter blow.
The armies of the revolution is in force an victorius against the filthy traitors; but more over than this, we must to get ready the new generations to enter in battle.
Our front line is ideological in philosophy, aesthetics and art.
Your health! Comrades. . .
Failure to grasp the dialectical interconnection between these two aspects quite frequently leads to a distorted picture of progress in art or even denial that any such progress is taking place.
Some one reduced the history of society to the history of art, by relying on the method of living in the object and casting aside or disregarding objective law, causality. There are still some special devil´s advocates of this approach. At the same time tendency is making itself increasingly felt, and that is the tendency to reduce art to life and treat the two as identical. At first sigth these two approaches appear to contradict one another. But in fact they are extreme which meet. Both o them treat social existence and social consciousness, the object and its artistic reflection, as identical.this rise to all kinds of subjectivist theorizing about the `value definition of social deveplopment´,with the general conclusion that everything depends on the angle from wich an object is viewed.
As history tells us, the assessment of art according to the categories of progress and regress becomes particularly important in the so-called transitional periods, which mark a turn from social formation to another. There is nothing surprising in this, such periods reveal the conflict between the new productive forces and the old production relations, a conflict which, in he economy, goes on to exacerbate all social contradictions
At such times the masses become more active in political life and new social forms are created, the basis of a new superstructure is laid and social development accelerates; of cost with a new reconditioning, rearranging and revaluation of the material of art, in particular his categories.
As we now, the changes in the economic basis lead sooner or later to the transformations of the whole immense superstructure . This transformation also embraces social consciousness, culture and art. A new understanding of the world arises, the class consciousness of social groups increases and a new type of culture, including art, takes shape. A new system of aesthetic relationships replaces the old system and a fundamental reappraisal of values begins; new traditions linking present with past an future artistic development come into being and a new moral and aesthetic ideas are formulated, specially on socialist realism, whose dogmatic old principles it must pull down, and build up a new one.
What we have to bear in mind is that consciousness in all cases reflects changes taking place in the basis, but not always fully and accurately; so the transformation in economic relations may also be falsely expressed in aesthetics, in art.
Nor can one unconditionally accept all the statements that have been made about previous epoches , about the art of time pats. Materialism rightly remarked that enlightenment gave positive assessments only to the aesthetic phenomena that conformed to their own ideas. He was not citing an isolated case. Assessments of the aesthetic significance of the various epochs, not to mention particular works of art, is a highly controversial subject.
Ironically some theoretician put in, people discover themselves in the forebears and their progeny , they habitually judge the future and the past from the standpoint of their own time, by direct analogy with the past, thus elevating their own aesthetic ideas to the status of an absolute or eternal principle. Ironically some theoretician put in , people discover themselves in their forebears and their progeny , they habitually judge the future and the past from the stand point of their own time, by direct analogy with the past, thus elevating their own aesthetic ideas to the statusof an absolute or eternal principle. While stressing the unity of the general and the historical in social life and culture. It is not necessarily deny all standars in art. It rejects only metaphysical standars and models of ´eternal beauty´, which ignore the integral nature of the historical process and the diversity of ways in which general laws manifest themselves in life and culture. When the materialist philosopher wrote about the enduring significance of Greek art, he suggested that this was due to certain forms of social development without which Greek art would never have existed. They said: “ the charm their art has for us does not conflict with the immature stage of the society in which it originated. On the contrary its charm is a consequence of this and inseparably linked with the fact that the immature social conditions which gave rise, and which alone rise, and which alone could give rise, to this art cannot recur”. If ancient Greek art still retains its significance as an ideal, as an unattainable model, it is because this was where the historical childhood of humanity, manifested itself in its most beautiful forms, because ancient Greece experienced the fullest and most dynamic development of all social forms. The reason lies not in immaturity in general, but in the immaturity of antagonistic class contradictions, which were later to be so powerfully developed in feudal and particularly bourgeois society, moreover in all its spheres from the basis to the forms of social consciousness and art itself. Hegel was one of the firs to demonstrate the hostility of bourgeois society to art. He proved that the capitalist production was inimical to certain branches of intellectual production, e.g. art and poetry. Private System fetters the intellectual development of the working man and turns him an appendage of the machine; it condemns the bourgeois to spiritual poverty because the pursuit of profit tends to outweigh all his other feeling. Private System turns everything, including art, into a commodity. All the victories of art in bourgeois society –in prose, particularly in the novel, in painting, music and so on- are born of the struggle against the anti-aesthetic essence of bourgeois relations, against the omnipotence of money. This is why the `childhood` world of the ancients, where aim of production is to provide for human needs, reveals itself as something far more elevated than the capitalist world, where man´s aim is to produce and the aim of production is individual profit-making. The comparative significance of different historical epochs, and even whole social formations, for the artistic development of humanity depends on the degree to which the social relations of these epoch and formations disclose the human being, on whether they promote ( and if they do promote, to what degree) , the humane aspirations of art, on what part the people play in the creation of artistic culture, and to what extent its values belong to the people. These factors are bound to affect the comparative aesthetic value of artistic phenomena in different epochs and within the framework of each epoch, the various artistic trends, schools and individual artists, the character of art its ideological , aesthetic essence and its ability to understand the truth, and to know the essential needs of social development. The question of the relation between global historical progress and the progress of the individual society, both as whole and in its specific artistic development, is of great importance in sociology and the theory of art. In the masterpiece “ A Contribution to the Critique of Political Economy”, Karl Marx says: “ An adult, cannot become a child again, or he becomes childish. But does the naïveté of the child not give him pleasure, and does not himself endeavour to reproduce the child´s veracity on a higher level? Does not the child in every epoch represent character of the period in its natural veracity? .This analogy can help us to understand the essence of the question. Great works of art live eternally as unique creations of human genius. “to be continued”Aesthetics3