(PDF FREE) [La deshumanización del arte] By José Ortega y Gasset

Galileo oEsn an interesting tangent Oglinda salvata on how much modern art was even then not that modern at all for example abstract art in a sense being rather regressive in its attempt to start from scratch He doesn t spent much timen that though and that s kind f the main problem The whole thing freuently feels like a summary f a much longer text that explains things in detail but the author did not have time Nemico or patience to write I disagree with just about everything he argues in here but it s still a very thoughtful and engaging setf essays In my judgment the characteristic feature Cannella e polvere da sparo of new art from the sociological pointf view is that it divides the public into two categories those that understand it and those that don t The I read f Jos Ortega y Gasset the I discover that he was ne Every House Needs a Balcony: A Novel of the most complete intellectualsf the previous century During his prolific career he made contributions to political theory to philosophy to literary criticism and now I see to art criticism In the title essay f this collection Ortega sets ut to explain and defend the new art He was writing at the high point DOGA AST of modernism when the artistsf the Generation Poems (The I Tatti Renaissance Library) of 27 in Spain a cadre that included Dal Bu uel and Lorca were embarkingn new stylistic experiments Somewhat Bleach, Volume 05 older and rather conservative by temper Ortega shows a surprising to me affinity for the new art He sees cubism and surrealism as inevitable productsf art history and thinks it imperative to attempt to understand the young artists One reason why Ortega is attracted to this art is precisely because Gather Together in My Name 1ST Edition of its inaccessibility An elitist to the bone he firmly believed that humankind could be neatly divided into two sorts the masses and the innovatives and had nothing but scorn for the former Thus new art s intentional difficulty is for Ortega a wayf pushing back against the artistic tyranny Pentimento of the vulgar crowd This shift was made says Ortega as a reaction against the trendf the preceding century when art became and accessible The titular dehumanization consists La maga delle spezie of the new art s content becoming increasingly remote from human life The artf the nineteenth century was The Last Testament on the whole confessional and sympathetic relyingn its audience s ability to identify with characters r the artist himself But the new art is not based n fellow feeling It is an art for artists and appeals Run to the Roar: Coaching to Overcome Fear only tour pure aesthetic sense As usual Ortega is bursting with intriguing ideas that are not fully developed He notes the new art s use The Art of Teaching the Bible: A Practical Guide for Adults of ironyneiric symbolism its rejection Gaudi of transcendence its insistencen artistic purity and its heavy use The Collected Works of Abraham Lincoln, Vol. 2 of metaphor But he does not delve deeply into anyf these topics and he does not carefully investigate any particular work Astrología para principiantes or movement Ortega s mind is like a simmering ember that sheds sparks but never properly ignites He has a seemingly limitless storef pithy Amen: what prayer can mean in a world beyond belief observations and intriguing theories but never builds these into a complete system He is like a childn a beach picking up rocks examining them and then moving No Puedo Perderte on He wasn tne for sand castles One reason for this is that he normally wrote in a short format essays articles and speeches and In Every Heartbeat only later wove these into books It is a journalistic philosophy assembledn the fly Personally I find this manner f philosophizing intriguing and valuable His books are short punchy I find this manner f philosophizing intriguing and valuable His books are short punchy rich and even if I am seldom convinced by his views I also never put down Sortemesse onef his books without a store La fabbrica di cioccolato of ideas to ponder He is even worth reading just for his style like Bertrand Russell in English Ortega manages to combine clarity sophistication and personality I look forward to the next book If you ask yourwn self strictly and peremptorily Who am I not What am I but Who is that I Klara with A K of whom I perpetually talk in my daily life you will become awaref the incredible manner in which philosophy has always gone astray by giving the name f the I to the most unlikely things but never to the thing that you call the I in your daily life That I which is you my dear #Friend Does Not Consist In Your Body Nor Yet In #does not consist in your body nor yet in soul your consciousness r your character You found yourself with a body a soul a character as you found yourself with the capital which your parents left you with the country in which you were born and with the human society in which you move Just as you are not your liver be it sound Samurai! or diseased neither are you your memory be it goodr bad nor your will be it strong La meglio gioventù or weak nor your intelligence be it acuter dull The I which you are found itself with these physical r psychical things when it found itself alive You are the person who has to live with them by means f them and perhaps you spend your life protesting against the soul with which you were endowed Solea of its lackf will for example as you protest against your bad stomach By the Light of the Moon orf the cold climate Molly Fyde and the Darkness Deep of your country The soul then remains as muchutside the I "which you are as the landscape remains utside your body Let us say if you choose that among "you are as the landscape remains utside your body Let us say if you choose that among things with which you found yourself your soul is the closest to you but it is not you yourself We must learn to free Lambs of God ourselves from the traditional idea which would have reality always consist in some thing be it physicalr mental You are no thing you are simply the person who has to live with things among things the person who has to live not any life but a particular life There is no abstract living Life means the inexorable necessity Morte a credito of realizing the design for an existence which eachne OS Graficos Do Ventilador: Identificando a Assincronia Paciente Ventilador E Otimizando as Definicoes of us is This design in which the I consists is not an idear plan ideated by the person involved and freely chosen It is anterior to in the sense Keely and Du of independent from all the ideas which his intellect forms to all the decisionsf his will Our will is free to realize Mill Hill or not to realize this vital design. Realism and the romanticismf the nineteenth century The dehumanization Star Wars Dooku: Jedi Lost of the title which was meant descriptively rather than pejoratively referred most literally to the absencef human forms in nonrepresentational art but also to its insistent unpopularity its indifference to the past and its iconoclasm Ortega championed what he saw as a new cultural politics with the goal This Poison Will Remain of a total transformationf society Ortega was an immensely gifted writer in the best belletristic tr. .

The Dehumanization Un eroe dei nostri tempi of Art and Other Essays Ortega y GassetWhen I bought this book the title sounded to me as something negative that art was according to Ortega undergoing its dehumanization As I read the essays the firstne who gives title to the book and which contains different sections being the longest I realized dehumanization is not necessarily a negative process but it s just a process going Geldsack on Ortega believes the XIX century s art and literature and music was bentn trying to be realistic Rescued by a Horse: True Stories of Physical, Emotional, and Spiritual Healing on trying to capture reality even though that s not possible since what s leftn canvas is a draft a schematic selection chosen by the artist The Secret of the Glass of the infinity integrated in each person What about insteadf trying to paint the person aiming to paint Discovery: Poetry and Art by Rick and Jan Sikes our abstractionr The Genealogy of the Family of Francis Beaman, Sr Northampton County, North Carolina (American Surname Series) our ideaf a person then in his wordsel cuadro renunciando a emular la realidad se convertir a en lo ue aut nticamente es un cuadro una irrealidadmy translation the picture renouncing to emulate reality will become what it genuinely is a picture a non realityAnd according to Ortega art and artistic and historic ages can be understood as we see the relation between the artists and their intentions which in modern art for him early XX century has undergone a switch in focus and it s now bent Lions and Tigers and Snares over itself art is the contentf art the goal f art and thus it s dehumanizedThis uote towards the end explains the core f the essayLa aspiraci n al arte puro no es como suele creerse una soberbia sino por el contrario gran modestia Al vaciarse el arte de patetismo humano ueda sin trascendencia alguna como s lo arte sin m s pretensi nPure art s aspiration is not as we believe prideful much Fox Play on the contrary it reveals great modesty Once art is emptiedf all that s pathetically human it stands without any transcendence just art no pretensionsThe last essays also address the change Star Wars: Lando of vision First paintings and philosophy are looking at the short distancebjects and painters paint those Genius Loci: Towards a Phenomenology of Architecture objects their voluminous nature Then the artists look to the distance and try to depict thosebjects that are further away there s the search for perspective trying to find a geometric arrangement and chiaroscuro as transitions between painting bjects to trying to paint the space we perceive when we stop looking at what we have in front and when we try to paint the whole f what s perceive as we project Aria Appassionata our sight into the distance Painters pay attention to the space and start painting the space Velazuez in Las hilanderasr Las meninas When they look at a scene r a landscape they now paint their vision f it Impressionism they don t go after reality but they give us their idea The Untold Story: My 20 Years Running the National Inquirer of reality thus painting what s subjective to them Autumn Effect at Argenteuil 1873 by Claude Monet Impressionism landscape Courtauld Gallery London UKModern art goes beyond the subjective to the intra subjective Art is now painting ideas cubism He says art started to bring theutside to the canvas and continued to bring the inside to the canvas to end in his times focused Betrayed, Betrothed and Bedded on art itself This is why manyf us claim we don t like new art we say that to mean a we got it but it s not Anna Laetitia Barbauld Poems 1792 our cupf tea b we don t understand it thus we can t enjoy it And if we don t understand art it s probably because artists were left with just this ne thing to explore art itself I don t know about you but this
resonated true to 
true to With art from the XX century up to now the moment I know something about the artist what he was trying to accomplish what he meant in art s timeline the new uestions new dilemmas new techniues the artist uncovers the I can understand and thus appreciate PaintingsPart f the essay also is his explanation f what he calls primitive man classic man riental man Mediterranean man and Gothic man In his Meditations Bioetica Della Sessualita, Della Vita Nascente E Pediatrica on Don uixote he also talked about Mediterranean man and Gothic man and here I understood that difference even better Those typef historic man go hand in hand with their view Jennifer Scales and the Messenger of Light of reality and the art they left usOrtega talks to us a lot about literature too in his view art literature philosophy history they are all needless to say connectedThere s lovely stand alone short essays too like thene devoted and entitled La GiocondaIn all honesty I m too ignorant Itinerari nel sacro. L'esperienza religiosa giapponese of art history as to know if Ortega isnto something good f if he is missing the mark I ll be reading again the difficult introduction by someone new to me Valeriano Bozal In it Bozal gives us the philosophical background f Ortega what he understood by image Bad Land or by idea He also tells us that Ortega had many detractors as many as defenders It s true that Ortega starts with very bold asser Jos Ortega y Gasset provides uite a goodverview Lettere: 1942-1943 of the paradigm shift that happened with the beginningf self consciously modern art in different media in the mid 19th century and L'ipocrisia dell'Occidente. Il Califfo, il terrore e la storia onwards He describes very well how it s very different worldviewsr even definitions The Fire of Origins of art that lie behind traditional and modern art styles even in the subtle cases It s also a fascinating read in this era when modernist art and literature is generally regarded as ratherld fashioned at least among my generationThat s also kind f the title essay s downfall though and you can see it in the title Though the author by #his wn confession attempts to stay neutral and descriptive rather than prescriptive the general tone f the writing remains almost ridiculously #own confession attempts to stay neutral and descriptive rather than prescriptive the general tone f the writing remains almost ridiculously He just can t resist letting disapproving remarks about the impersonal and esoteric nature Escaping Me of modern art slip throughIt also gets kindf schizophrenic borderline surreal when Ortega y Gasset also shows some admiration for how far the avant garde Goodbye Marianne of his day was willing to go and he even seems to admire their personal and artistic integrity elsewhere Near the end he go. No workf Spanish philosopher and essayist Jos Ortega y Gasset has been freuently cited admired The Maxx: Maxximized Vol. 3 or criticized than his defensef modernism The Dehumanization Il cacciatore of Art In the essayriginally published in Spanish in 1925 Ortega grappled philosophically with the newness The Unscratchables of nonrepresentational art and sought to make it understandable to a public confused by it Many embraced the essay as a manifesto extolling the virtuesf vanguard artists and promoting their efforts to abandon the. Which we ultimately are but it cannot correct it change it abbreviate it Therapy or substitute anything for it We are indelibly that single programmatic personage who must be realized Theutside world The Hug orur The Resurrection Tree and Other Stories own character makes that realization easierr difficult Life is essentially a drama because it is a desperate struggle with things and even with Autostop con Buddha: Viaggio attraverso il Giappone our character to succeed in being in fact that which we are in design Some very exciting ideas in this selection Sadly some rather fancifulnes as well Promises a lot than it delivers but Oh my What promises Back in the day Art was walking Speak the Ocean on two legs and was well groomed and smelling nice while in public But those were the goodld days Now Art is nowhere near as human as it used to be so probably humans need a better dictator to put Art in its place Allen Tate asserted the responsibility Newark's Little Italy: The Vanished First Ward of the critic to exercise his moral nature in making judgments OyG disagrees The dehumanizationf art is not an accusation but a statement f fact reflecting an inevitable evolutionary process OyG correctly identifies the elements f repudiation and desecration in modern art then juststeps aside Fascinating and full Tolstoy Lied: A Love Story of bon mots If you think Ortega y Gasset s notionf humanization as the episteme Second Sight (Circle of Three, of constructing generating and understanding any formf human sentiment and activity in Strife our reality this essay can say something even to the 21th century readers My Finnish edition contains both The Dehumanization and Ideasn the Novel Ortega is a confused gent with strange wishes He wants art to be solely about art and nothing pertaining to the real world should be included in it whatsoever He effortlessly euates enjoyment with understanding and Only a Few Bones: A True Account of the Rolling Fork Tragedy and Its Aftermath opines that certain people just have the ability to understand art while some people don t and this cannot be changed He insists that plot driven novels should come to an end so that the modern novel would be perfect escapism with as much detail as possible but with little impelling action so that the reader can immerse themselves perfectly in the work Plus some muddled thoughts about how great modern art is ironical because it makes a pointf laughing at itself instead Baby Colossus (Short Story) of being laughed atIt s pretty clear to me that Ortega s yet againne Roy Al of those polemic thinkers who pose good uestions yet provide horrible answers and hence the best they can do is to provide leftovers for thought which can lead to yourwn conclusions I for Modern Castrato: Gaetano Guadagni and the Coming of a New Operatic Age one find the idea about autonomous art laughable because the line drawn between artistic fiction and reality is non existent if mere words can launch powerful associations which will transport you back to reality in a trice how can anyone think that art especially something that deals with words like literature could escape extraneous existence Ortega s demand for pure escapism which reuires active effort from both the artist and the experiencer simply ignoresne Panzer Baron: The Military Exploits of General Hasso von Manteuffel of the things that makes art so tremendously significant to me its ability to influencene s Apple Training Series own existence in real life if you insist making the distinction Ortega demands that familiar forms be avoided especially in paintings because they will invoke human passions and thus disrupt the communion between man and art so inther words he presupposes non human state Of Mind Which Takes Control mind which takes control pure art is experienced Mmmyes Interestingly he brings up Proust as an exemplar in modern literature yet Proust s masterpiece is packed with intertextual and extra textual references which perforce drive the reader away from the state f escapism It s also replete with moral and aesthetic contemplation and it would be sheer #mule headed ignorance to pretend that it nly exists in his #headed ignorance to pretend that it nly exists in his and nowhere elseBut Ortega has his points though they are dreadfully articulated I do happen to agree with him that plot is pretty much meaningless when it comes to the Great Novels it s about the atmosphere ideas they incubate ways which they can give you to look world afresh emotions that they cause you to feel mind you that Ortega wouldn t underwrite these points Plot drivenness does hurry you n cause you to lust for a resolution The Dashwood Sisters Tell All or a twist and it all feels so very wrong at times in my case For me like for Ortega the plot is an essential structure which keeps everything from falling apart yet it really isn t muchf a thing to focus The Dashwood Sisters Tell All: A Modern Day Novel of Jane Austen on given that the best things novels have had toffer me haven t had anything to do with who wedded whom Asylums. Le istituzioni totali: i meccanismi dell'esclusione e della violenza or who got brutally murderedr who was the long lost character all were waiting for Ortega s idea about how characters shouldn t be defined straight is also a lucid Symbols of Sacred Science one let the text speak for itself He elucidates his stance beautifully in the casef Dostoevsky whose characters he defined as independent from the reader since they defy definition and seem to live a life A Shopkeepers Millennium of theirwn even if the reader couldn t pigeonhole them Additionally Ortega s aversion for everyday forms does not turn Torchwood: Moving Target out to be completely useless he pointsut that art provides an Topo Tip Fa I Capricci opportunity for something different and this should be caressed whole heartedly by those who want to feel the great strengthf art and also artists should keep this in mind when they re producing their works so that they wouldn t make things too familiar and too easy without any proper reason For example the familiar forms like pictures Torah Anthology : Vol. 3B - From Jacob Until Joseph (Me'Am Lo'EzSeries or word concepts are employed the the experiencer has to fall backn themselves which is not exactly ideal if the purpose 12 Shades of Surrender of someone s art indeed is to provide something new and strangeBut let us not be too addled by Ortega s call for l art pour l art there s no point in trying to thwart the great creative and interpretative forces which Art brings about by resorting to such tuppenny ha penny dicta Let us not scorn Art the great teacher. Adition His work has been compared to an iceberg because it hides the critical massf its erudition beneath the surface and because it is deceptive appearing to be spontaneous and informal than it really is Princeton published the first English translation Ce la faccio da sola of the essay paired with another entitled Notesn the Novel Three essays were later added to make an expanded edition published in 1968 under the title The Dehumanization A Way of Hope: An Autobiography of Art and Other Essaysn Art Culture and Literature.

DOWNLOAD La deshumanización del arte

La deshumanización del arte
Opening Moves The Monster's Lament: A Novel Project Duchess

Leave a Reply

Your email address will not be published. Required fields are marked *