Estetika praznine 8. Tudi v filozofiji Tudi mladi Karl Marx je v svoji doktorski disertaciji obdelal to temo, saj je primerjal Demokritovo in Epikurovo teorijo narave. Estetika praznine. Umetnost in meditacija.

Author:Mezizahn Nabei
Language:English (Spanish)
Published (Last):17 June 2016
PDF File Size:5.25 Mb
ePub File Size:7.35 Mb
Price:Free* [*Free Regsitration Required]

Estetika praznine 8. Tudi v filozofiji Tudi mladi Karl Marx je v svoji doktorski disertaciji obdelal to temo, saj je primerjal Demokritovo in Epikurovo teorijo narave. Estetika praznine. Umetnost in meditacija. Ko se skloni k poti, gozdni poti sredi gore, le redko prehojeni z boso nogo.

Ko se stisne k zemlji in jo z rokami previdno razgrebe, do prvega kamna. Jutro nato, ko izusti besedo sonce, zasije zvezda. Tedaj vzljubi tudi dan. In izbere predmet, ki ne piska. Za odprtino je zid in njegov monolog je brez odmeva. Ni ga iz ust, je konstrukt brez smisla.

Zvok, ki je hkrati notranji in zunanji. Je tu in tam. Za edinimi vrati — praznine. Pot do vrat praznine. In kateri so pravi? Tam se razkrivajo korenine, zemlja in kamenje. Gomazijo in se pretakajo v starodavnem krogu, zapojejo brez glasu. In kako predstavi te svoje izbrane predmete? Out of fear of losing the individual his concept does not search for a different space, a different paradigm.

It spins in circles and at the moment of inertia steps onto the staircase that leads to the only door — the one leading to the void. Through the analysis of the visual, the idea almost absurdly seeks psychological relations by revealing the architecture of the void.

The artist wishes to exhibit the inventory of the bare space and expose the ritual objects of the non-linear, circular journey. He uses visual aesthetics to find the poetics of the void. The void has been discussed already by philosophers in antiquity, for instance the atomic theorists Democritus, Epicurus and Leucippus, who were the first to state that the void has a structural function, i.

Contrary to this, Aristotle and his school of ontological paradigm believed in the non-existence of the void. However, as he defined void as a space in which there is nothing, he merged the concepts of space and nothing, which once again indicates the previously mentioned ambiguity of the term void.

The void was a key concept also in 19th and 20th century philosophy. Heidegger understood this term differently, for he contrasted the void as the essence of things das Ding with scientific thought, which in his opinion operates with objects and cannot consider the void. The philosopher, writer and poet Alain Badiou does not understand the void as a bare lack of existence, but as existence free of all predicates. The notion of the void is also addressed by contemporary science, especially quantum physics, according to which the physical vacuum is not truly empty.

Thanks to the quantum principle of indeterminate and equal mass and energy found in the relativity theory, the vacuum has changed from a passive void into an endless complex and dynamic environment.

Thus, a new understanding of void is beginning to emerge in the field of quantum physics and certain philosophical fields. The void is no longer empty, for it has an internal structure of its own. It is the seat of the most violent physics. The aesthetics of the void. Drawing with ink, a lyrical haiku, an ikebana, the art of arranging flowers and gardens - these are merely a few obvious examples of art in which the void is present and in which it functions through creativity and primary forms, i.

In order to show that it is necessary to lean upon the experience of the void as well as on meditation exercises that lead to it, he states that one should start by analysing Taoist and Buddhist texts on meditation and the experience of the void, and then consolidate the influence of these instructions on art and the aesthetic experience.

Art and meditation. He bends down to the path, a forest path in the middle of the mountain, rarely walked upon by bare feet. He curls up to the ground and carefully removes the soil with his hands, until he reaches the first stone. The morning after, as he utters the word sun, a star appears.

This is when he becomes fond of the day. He picks up an object that does not whistle. Behind the opening stands a wall and his monologue is echoless. It does not emerge from the mouth, it is a meaningless construct. Logic loses its meaning. He realises that there is no meaning upon which he could lean and upon which he could build fake hope.

He falls quiet and silence parts the wall. He no longer attempts to whistle, but he hears a sound. The sound comes from within and from the outside, at the same time. It is here and there. Behind the only doors — void. The path to the doors of the void. The artist wishes to exhibit the right objects. Which ones are the right ones? Every day he sets to the foothill of the mountain where he visits the place where the mountain opens and he can see roots, soil and stones.

They crawl and flow in an ancient circle, they sing without a voice. You search for a sacrificial bowl for your entire life, just so you could give it to them. When he smells these mixtures, he might be able to see what he could build in order to step into this mountain. How does he present the selected objects? They crawl from the centre, from where there are no objects, where there are no skills that would build the meaning. They are fragile, with no glamour, small, point fluctuations in space.

Erupting and declining. From point zero through the point of growth back to point zero. Mladen Dolar , which attempts to connect the philosophical reflection of the void from antiquity to today with the problem of the void as addressed by science.

Experts in both fields are fully aware that the two languages, coming from the philosophical and the scientific side, are incommensurate, thus the project does not cater for an easy synthesis. They believe that philosophical and scientific attempts to address this issue can lead to the point of mutual clarification. V notranji prostor pokrajine. Prva pokrajina je iz snovi tvoje vsakdanjosti, zunaj hrupa in drame, polja drugih podob.

Soba je prazna, prazen je stol. Svetloba pokrajine se zrcali skozi okno. Prvotno polni prostor. Ti si ta pokrajina. The primary landscape with its original power that emerges from the crucial intersection, the chosen point in time and space, carries the only possible edge. The edge over which the gaze can transcend into a different space through a thousand glances. Into the inner space of the landscape. The first landscape emerges from our everyday, outside of the noise and drama, a field of other images.

It is a path of long times, insights into the same feelings. It is also the same mirror in which you view the world which was created in the same way. You step into the only possible landscape carrying images, you wish to set them down and change the landscape. However, you do not change it, the images fall and you remain the same within the same landscape.

Thus piles of rubble that cause you anxiety lie within you, at your very beginning. Your room is starting to overflow, it is impossible to find an empty chair to sit on.

Because of this you want to leave, leave your space and close the door behind you. However, you do not do this, for the moment you would leave you would need to know where you want to go. As you do not have another room you realise the dire situation in which you have found yourself in.

You get to know the possibility of actuality. You stay in the room and tidy it up. You get to know every piece of rubble, its absurdity. As you touch the objects and they turn into dust, you get to know the bitterness and its healing powers. Once you have tidied the room you could sit down on a chair. The room is empty, and so is the chair. The light seeping from the landscape shines through the window. It fills the room.

Now you can leave, into the same landscape. You are the landscape. Vendar se v sobi absurdno dotaknejo stropa.



Mukus Towards a New Architecture. V obeh primerih je v ospredju pozicija kritika, ki esstetika prek akta kritiziranja inavgurirana kot tista, ki objekt bolje vidi, in je na podlagi te perspektive legitimna pozicija sojenja. Pogosto govorijo le same o sebi in o svoji vrednosti na trgu lepih slik in popularne kulture. Journey to InfinityZDA,str. Ta je kljub neprisotnosti telesa v delu sugestivno predstavljen in prisoten.


Estetika praznine





Related Articles