The future of art as against - Analysis of the possibility of an anachronistic aesthetic implacable face of history of art. 
THE FUTURE OF ART AS AGAINST THE
is possible to raise the "History of Art" from a philosophy of history that involves two basic checks involving deep criticism.
"we can not produce a coherent notion of the image without a thought of the psyche and the unconscious, that is, without a critique of representation." (Huberman, 2006, pg. 51).
One criticism that addresses the problems of representation and image, from a need to incorporate not only new theories of knowledge, but a patch that translates the image as "static snapshot" of the concept to the image understood as a practical action never ended, emphasizing its practical and active.
In this case there is proposed the practice of repetition as an act of search or travel in the past that the incidence of improving the search paths.
The other basic review is to produce a coherent notion of the image, making inherent insert a "review time", which involves difference and repetition, in obvious allusion to the dispute that is installed on each repetition (Deleuze, 1968, 337-339). The symptom-Zizek, Lacan and Freud anachronism should be introduced as a form of critical history, "it would be necessary to carry out not from outside but from within the historical practice." (Didi-Huberman, 2006, 51).
- The notion of anachronism
Didi-Huberman is strongly inclined to argue that "the art historian is often believed that the only issue regarding it is the objects' (Didi-Huberman, 2006, pg. 83), therefore, before we talk about image or portrait or copy is indispensable to analyze the relationships that cross the object of art.
The principle of relations has been and Huberman is for "the relationship of similarity, which allows comparisons between objects and between moments of history. Is taken as the beginning of European art history from Pliny the Elder in his Natural History (Histoire Naturelle , Ed Les Belles Lettres, 1950). This book was presented to the Emperor Vespasian in 77. Fifteen centuries later, another story of art born with Vasari, when he engaged in 1550 to the Pope and Prince Cosimo de Medici ( de'piú eccellenti pittori Le vite, et arquittetori Scultori , French Les vies des meilleurs peintres, sculpteurs et architectes, Paris, Berger-Levrault, 1981).
Podemos determinar dos comienzos de la historia del arte en donde Plinio a partir de su Historia Natural proporciona una clave que “jamás dejó de proporcionar un modelo espontáneo a los discursos sobre el arte pictórico o escultórico” (Didi-Huberman, 2006, 84). Mientras tanto el “Renacimiento Vasariano” surgiría de una subversión de los textos de Plinio. No es tan recto este camino, pues está en juego en esta inversión un régimen epistémico, según el cual la historia del arte se conformaría como una estructura cerrada para el caso de Vasari. Al contrario del texto pliniano cuyo régimen epistémico es abierto, en el cual “los objetos figurativos” (Didi-Huberman, 2006, pg. 85) are nothing more than a demonstration, among others, human art, that is a continuous practice of similarity search, but where the similarity operation is ultimately a continuum of similarities tried and tried.
Plinio What does "art" extends to natural history, art is increasingly used by man mimics or surpasses nature. The scheme closed to discuss art Vasari only privileges imitation ( imitazione ) of nature, until even a concept of similarity and dignity between the legal and social world with the natural world, which presupposes that can be discuss changes Like the notion of socially accepted as a myriad of attractions between similar: similar laws, similar artists, similar works, such moments, similar economies. Dignity can then speak of a political and cultural similarity of the work with nature, although in this case any improvement of nature should be questioned from Pliny as excess or exaggeration. It happens that "this dignity is at the heart of everything that Pliny meant by art, image and likeness" (Didi-Huberman, 2006, 86).
Both one and the other, Pliny and Vasari, pose, although in different forms, which is basic to understanding art that is worth the same in both directions: the dignity of work and the dignity of respect for nature. This respect for nature is in the accuracy of what is copied, but also in the nature of accuracy. Something is still exact (ex act: Out of action) and action on the exact nature is not to be confused with the intervention in nature, since it is an act unworthy of a lack of respect. In the case of the Kantian sublime ( Critique of Pure Reason ) would be talking about the exact nature and not of productive nature ... clarify , which is perhaps what he fears Pliny.
- history "against the"
Art history is an inaccurate story, "against the grain" of history, of how inaccurate matching. In this it is worth the representable or image, to maintain loyalty without damage to nature. Any damage to nature should not be understood as the use of natural resources (oil, water, hunting, wind), but as something at once aesthetic and ethical. The aesthetic is likened, not to force the ethical accuracy to achieve an image, like nature, an energy-wind and tide. Huberman
to search for the past not as a fixed thing, even as an ongoing process. There is a fixed know not a causal account, which then:
"will be necessary to renounce the secular model of historical progress (...) any denial serves as background to the guidelines of the living, the positive, so that the phenomenon called 'aging and decline' should be regarded as the forerunners, the great illusions of post-synthesis "(Didi-Huberman, 2006, pg. 136).
This is the model that Huberman fixed on the basis of Benjamin's texts in especially Theses on the Philosophy of History . The image is for Benjamin the phenomenon originating in the story: "A picture is that where time is spent with the now in a flash, forming a constellation. In other words, image is dialectics in suspense, not dialectical overcoming, but free up delay resolution and (im Stillstand dialectik ). While the relationship between the present and the past is purely temporal relationship of time spent in the present now is dialectical: it is not something that develops, but a broken image and can be illustrated in the photos staccato film tape or the findings of a slow motion, to what Huberman calls "evil eye" of time in history. As a strange rhythm dismantling the story and throws into confusion. The image removed disarmament history as a clock. The clock stops running. Is suspended, "brings an effect of knowledge that would be impossible otherwise. You can separate the parts of a clock to kill the excruciating ticking, but also to better understand how it works. Such is the dual system that describes the verb removed: first the fall of another turbulent and discernment, structural deconstruction "(Didi-Huberman, 2006, pg. 156).
mounting in the art prior dissociation is what builds, the effect of removal so that in sum goes back to a "not knowing" turbulent, choppy, broken and exact nature of which we have referred fair price for the rags, the waste instead of synthetic and composite material. That is the exact nature, which is not pierced or destroy but collect in tatters.
- A move to the future of art history backwards.
The first end of the world Biennale, held in Ushuaia in 2007 the group Delborde 1 the transport takes home a nomadic to the site of the Biennale, the city of Ushuaia across a range of 5 km. about the inconvenience of traffic and people look surprised. The oldest inhabitants of the city will remember when in the 60s and 70s the transfer of homes from one point to another of the people was a common image. A move back in history as the effect of the wheels of a carriage house in the films of prosecution proceedings for outlaws. At this time the diligence reyos move back view as though the movement is forward.
That story was happy, he inhabited the earth with glory. There was discussion about the distribution of land, nor was it a gift but an obligation to distribute the extreme burden of staying in the stay of the migrant population. That story was not happy, is now happy, when we add glory to the story.
were varying policies from the State regarding the transfer of land to the occupants. "There is no land available," while important properties are given for the construction of resorts and real estate prices rise. The hotel grounds are competing with immigrants for land unfairly. Disloyalty is not economic but ontological. For the hotel industry seeks to offer a place for a short time travelers in a position to pay the price that an immigrant can not afford land. For travelers, these are handled by a circular form from their place of residence, mostly in the northern hemisphere, and different places they visit as tourists, or as bourgeois leisure travelers.
This situation makes newcomers occupy land illegally, without permission of occupation but with "sled houses, trunks and boxes adapted to skate under the stalls of wood, very light and portable.
Many see this work of art exposure and generate discussion around a topic of utmost relevance and often hidden. In the biennial Ushuaia, Well-to-end of the world happened to a group of artists developed a nomadic home, or house sleigh virtually ready to be transferred. The house is actually a sled physical installation that crawls like a piece of furniture to travel, rather than installation. It is not a trailer but a house overhauling of history. It will not be a craft, but a work of art that returning to the freedom of free occupation of land by those early arrivals.
4. The generation of memory as sublime.
That house is like this other house that do not have constant expelled although they do have lots home. The memory is enough to argue that the first purchases of land were without persecution and currently is home to the persecuted, the evil, the intolerable. In this case the memory is as the likeness is prohibited. Memory is also pursued by the memory. Memorizing is to build a house like the sled sliding displacement of memory. The house moves circularly shortcuts though the streets. Return to the same place because it does not leave the city but avoids the opposite reasons that are no longer legal settlements moving and have a memory-image-static, past, only a past. The displacement of the house turns the box generator memory and activating a memory since the house was moved in the changing world by itself and by the look that check on the house. In turn, these two changes is incumbent upon each other. The transformation compared to an observation as an effect of observation allowed to save face in the nature of change from the aura. For that reason makes Adorno criticism spooky characters and the character of the music of Wagner. In this measure is a parallel to the analytical Benjamin makes the aura. The crucial difference is that Adorno looking at the artwork as aesthetic appearance of the illusion while Benjamin institutionalized checks in search of the receiver. Adorno struggle to save the ghost of the apparent, and not the look you like the bourgeois receiver, so that does not tolerate the thing-ness of a neovanguardia which dislodges the phantasmagoria, which is really what brings the bourgeois art.
The reception would be impossible without it and therefore change his attitude towards the work done things the same way it would change the home city if the change of place without the existence of a ghost. Predates a ghost appears and saves the memory impaired, it is sublime returns as beauty. La feliz historia de los primeros ocupantes es ahora feliz y se hace presente como memoria feliz de la anterioridad que preserva que mantiene el pasado en estado de sido ya que “nadie puede hacer que lo que ya no es no haya sido” (Ricoeur, 2000, 566). Paul Ricoeur menciona un acoplamiento propio del Dasein entre adelantarse y venir-hacia-atrás, del sentirse arrojado. El trineo de la casa trineo no vuelve el horizonte de espera en una prevalencia del “que ha sido” por sobre el “no ser ya”. La obra de arte hace su historia a contrapelo porque hace del ya una largada, una salida, un punto de partida para hacer historia hacia presentar el pasado. El presente es un momento pasado, un hundimiento y un vacío complete with memory. Oblivion is the present when we recall the past, until this past emerge as been in its repetition. Oblivion is immemorial and then resume action with variations on "Dasein and" as a recall against the grain, in the sense that it is said that the authenticity of what has been and is in Dasein, the helplessness and the present (Ricoeur , 2000, 566) Build
memory involves going to where you do not remember if it was, up to the memory itself or the memory itself, in a parallax of the house. The house calls to mind the obvious but also of the "blind memorial." Absolutely nothing has visibility memorial if it does not turn visible until you see it, until something is lacking or scarce except for the house. The house is no shortage, "excasea" or ceases to be home on the visible, as the house it was. The house has its own inside the house.
Beauty can generate a feeling of lack of ethics by revealing, as in this situation of poor households whose inhabitants are compelled to abandon the occupied lots identified by neighbors as if they were usurpers motivating the humiliating effect on critics who argue against the use of the effect of humiliation rather than the effect of beauty.
outstanding and Dialectic implacable history.
If beauty should be humiliating, an unresolved dialectic, where the desired shape as it breaks the process of policy towards welfarism for electoral purposes, into a "democracy assistance" so typical of South America such as when trying as it has proceeded with populations that are moved to vote or to receive food. It is so common that a critic feels humiliated by the lack of serious humiliation, such as cold or lack of education to speak properly. The critic who humbles himself in front of works of art that people bring that complaint is not a humiliation. It is humiliating to feel that someone is humiliated, unless that is additional to the humiliated. In this sense the act of proposing an art from the rag, is proposed as a humiliation factor. In that case what happens is that art is cathartic, as it shows the beauty of form or face a beauty break. But more than a beauty break is a break of beauty: Beauty is what you do not like but we must attend. A routine that is clear in abject art, art land when we see that the criticism was sitting in the break between the environmental complaint and the possible beauty of photographs of places infected with radiation or contamination of water by businesses. Would enter the problem of social realism in art. Better a picture or a film about the miserable pittance that the art of using the poor. Perhaps then the critic must humble "art." We should go back to the point at which the Indians were the walking through the streets of Europe, to show man's ruddy show gross or less. But the fact is that what is sought to show a shred of a hangover is to generate memory. The mass media, film, documentary, not humble because we see the real, as if it were sublime beauty of difference. One should ask what opinion can be issued when you see something that goes beyond the beautiful view a documentary on poverty and displeasure, but a trial humiliated, ashamed of the trial court. This would be the case to which we refer. The critic, the historian does not make judgments on the sublime, sublime in this case poverty, lumpen referred to by Benjamin. That is why Benjamin is adopted because of the shameful waste of human sublimity. The waste is to recall the beautiful to the sublime way, not in total agreement of reason and imagination, but as the hype that the reason does not catch but accepts and generates a moral appetite in remembrance. The waste we are in a dead end before an implacable past. Benjamin's dialectical model is given as the only way to deal with the trivial model of "fixed past" which "is expressed here through two words whose meanings come together, not random, double-movement scheme: Einfall refers to the fall and the eruption, Umschlag refers to the investment and involvement. The first word reminds us that history as an object of discipline is not a fixed thing or even a simple ongoing process. The second word reminds us that history as a discipline is not a fixed knowledge or even a causal story (Huberman, 2006, 135). No era of decline, any denial of the background serves the interests of the living, so that the phenomena of revocation must be considered as the precursors, the ghosts of the great post-synthesis. We must give to every story-oriented, there are series of branching rhizomes where each object from the past collide their previous history and subsequent history. "Just as each object of culture must be thought of as an object bifurcation of barbarism, every historical progress should be thought of as a bifurcation catastrophe '(Huberman, 2006, 136). idealist aesthetics considers the work of art as a sensory representation of the absolute, and reconciliation of contradictions. Consider the possibility that art is a sustained break more than a reconciliation, conflict, protest. But we can maintain the relationship between art and criticism of the alinacion, or the art of breaking or anti-works maintained by the idealist aesthetics prestige to stand as works within the official institutions and bourgeois. This feeling pleasant and painful at the same time is the feeling of the sublime. There is then this sense of humiliation in front of the condition of suffering that show works as a critique of bourgeois alienation incapable of being united with painful environments. See also our smallness and our greatness. We can describe this beautiful paragraph "When we look at a starry night sky areas, there comes a time when the imagination is tired of the crowd represented worlds and the vastness of space. Give up on it, because it always appears as a small all sizes to imagine. Given this, humble experience, always finite, and the idea is successful, the man unable to sit, small, overwhelmed, but at the same time as ruler of the whole through the idea. His spirit is due to nature, and this mixture of humiliation and pride, respect and contempt of itself, is what we call the feeling of the sublime "(García Morente, 2001, 185).
The beauty does not provide absolute freedom: up there just reaches the sublime. However Schiller gives a sufficient step into consideration that what matters is that the object "appears" free, or self-determined, thus forming the concept of beauty as a feeling of freedom in appearance "(Schiller, 1967, 400) This latter feeling us disclaims all body influence. Thus, "we feel free beauty because it is sensitive instincts harmonize with the law of reason, we feel free because it is the sublime sensitive instincts have no effect on the law of reason, because the spirit works here as if it were under other laws than his own "(Schiller, 1991, 220). This feeling of the sublime consists of pain and happiness, which is a test of our moral autonomy. Namely, this ambiguous composition allows us to see that principle self that makes us independent of all sensitive emotions. The beauty in this sense, has the peculiarity of matching the right to sensitivity, but in the sublime, reason and sensibility do not match. What we "ask the body," the appetite, not often require the right, and vice versa. The physical man and moral man are well separated. Hence, establishing pain sublimity, but then also its content.
Vasari implies What is the elevation above nature and natural history is a major exercise that there is greatness in human beings: freedom . In it, as we saw in Kant, is where his dignity. This involves the separation from the furious nature as compels us not to be happy (guided by the pleasure-sensitive), but to be worthy of it. Why has no merit, despite their genuine beauty, behave morally guided by a sensitivity (when given the harmony between nature and reason) and favored by circumstances, that is, moments of joy, sorrow for others, etc..
sublime also appears wherever there is a perceived conflict between the moral and physical world. Struggle in which human dignity is operated and where it is too easy to succumb to the bribery of appetite or pain. "Blessed, then, if" the human being has learned to endure what can not change with dignity and appeal that can not save "(Schiller, 1991, 233). Sublime emotions do nothing to encourage this resistance. It is here that come into play pathetic the environment in which these emotions occur.
pathetic represented in tragedy, that is, art that represents the suffering and human suffering. It is an artificial Unfortunately, just like a real disgrace, as Schiller puts us in direct contact with the law of the spirit that reigns in our hearts. The moral resistance to pain and humiliating violence is pathetic. Since it is through pain and tragedy leads to freedom and, therefore, the larger form of the sublime: the sublime pathos. In the art should help the characters to be recognized as such, to be accepted as sincere pain models on the way to the sublime. The beauty is characterized then considered in relation to the experience of the sublime. The coalition with the practical reason is determined Schiller for freedom appeared and accepted in the sensible world (Feijoo, 1990, XXVII).
Unfortunately Schiller distinguishes here between real and artificial . The characteristic of the first being spontaneous and unpredictable nature of the helplessness of man before. Not only that, but she herself becomes the victim into someone even more helpless than before to be exposed. But the misfortune artificial pathos, tragedy, on the contrary, "we are always fully equipped, and as it is merely imaginary space in our mind wins the autonomous principle affirms the absolute independence of this "(Schiller, 1991, 234) to set up an art history. A story that makes us worthy if we suffered the humiliation involved feel degraded by suffering to the sublime. Art history of the degradation front of the object which refers to an initial moment of excellence, which of course we have not forgotten but we bring this in humiliation.
These misfortunes artificial allow preparation of the man that we have already spoken to any real troubles may have in real life, that is, to violence. Thus, a regular contact with them will be able to deal with real misfortunes as if they were artificial and, as Schiller says, "of turning the real suffering in a sublime emotion" Schiller, 1991, 235). This familiarity with misfortune, as the German playwright continues, "gives us the show terribly splendid change that destroys everything, it returns to create and destroy it again, and the destruction, as soon undermines slowly as quickly ensues "(Schiller, 1991, 235). It also gives us the image of humanity struggling with fate, the portrait of the place of happiness, injustice triumphant etc. Then, finally, two basic laws are as pathetic
terrible thing in history is justified by the pleasing effect that occurs in the imagination of the viewer is not trapped by the events. The Iliad is the justification for the brutal beauty of the Trojan war do not participate. What they have in common is that the dramatic moments that makes them great for the viewer (Burger, 199) We are all "little Neros" for whom the sight of Rome burning the cry of the fugitives and the cries of children would be unbearable if not elapsed for us as a spectacle (Karl Ph. Moritz, quoted by Peter Bürger 1996, 68). There is a coincidence in that treatment by Kant, when he says that the war has some sublime n if and positively distinguished business that brings the "mere spirit of the activity, but also low self-serving, cowardice and malice by lowering the mindset of the people (Kant, KDU, 28.351).
could speak of a simulation in artistic appearance. (Bürger, 1996, 77). A simulation constant in the continuity with the thought of defending Huberman Pliny, as a continuation of similarities tried and tried, not only ends in the anamorphosis of Holbain in the ambassadors, we must introduce in the box to see the oval wheel well, but as we approach the ideal look, the threshold of the eye begins. We feel that this threshold we look at the movement and look in amending tenaciously to make us see that the object pretends to be fixed and self-determined in another dimension. Not so. The threshold shows the moving box along with the simulation of observer's expectation and corresponds to the transition to the sublime from the beauty that since Vasari would not want, but nature elucidatory proposed as a model that provides a spontaneous discourse on the art of painting or sculpture.
suspect that pretends not to notice that the box and the observer in seizure lead to the sublimity of conciliation or no historical discrepancy starts there. Hostility that finally returned to nature and history supremacy its dissonance in action. The cultural event of art should appear natural, considering that "the concept of nature that applies here rousseaniano not have the sense of immediacy and simplicity in contrast to the aristocratic dissimulation ... but [it] pursues a transcendent goal" ( Burger, 1996, 116-118)
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