Das definições estéticas à des-definição da arte
Autor(a) principal: | |
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Data de Publicação: | 2021 |
Tipo de documento: | Tese |
Idioma: | por |
Título da fonte: | Repositório Institucional da UFMT |
Texto Completo: | http://ri.ufmt.br/handle/1/3300 |
Resumo: | This present study aims to articulate ideas from several ancient, modern or contemporary authors who approach aesthetics and arts, in order to verify the meeting between arts and philosophy and, consequently, their running together. However, we see this journey has converted in a laborious relationship, with approximations and distancings. In general the aesthetics, asreflection and discussion about arts, assumesthe task to impose a way to control an individual’s senses and perception in the specific field of the artistical universe. This took place in 18th century, when Baumgarten used the greek term “Aisthesis” to substantiate the aesthetic discipline as a type of sensible knowledge, that is, a free game between reason, sensibility and imagination. Before the systematization of aesthetics, for ancients and medievals it was taken as a philosophy of arts and metaphysics of beauty, both disentangled ofsensibility. Sensibility was not wellseen by rational authors, because it would be the source of mistakes; with aesthetics, sensibility starts conquering space in philosophical reflections about arts. In medieval world, both beauty and arts were submitted to God. Moreover, philosophy in this period was subordinated to theology and used as a support to theological inferences. With Kant and Hegel, arts philosophy enters a new perspective, synonym with aesthetics. Thus, the sensibility gains primacy and the posed question is the judgement of preference and the sublime as a condition and consequence of pleasure. Arts assists to a type of metaphycial value, since the idea of masterpiece from uniqueness, something rare and orientated to contemplation, besides disclosing what is behind it, represents something greater. The modern arts question the aesthetics’ imposition regarding to feeling, that is, the values, norms and narratives conducted to arts, and meanwhile the fine arts academies convert themselves in reserved spaces of artistic experimentation to the public, the studios belong to the artists. The modern vanguards break up with this rational and metaphysical appanage of aesthetics, besidesrupturing with norms in the artistical universe, in other words, with the shape, the matter, the contents and, mainly, the beauty. The contemporary art disconnects itsef from any aesthetic and academic-artistic prescription, proving to be adventurous, modifying the concept of arts, its definitions are fugitive, which means, art disdefines itself, and this dis-definition is to be guided by other ways, not opposite, but different of those established by aesthetics. The crisis in contemporaneity does not belong to arts, art is happening, the crisis belong to aesthetics that is not able to reflect and talk about arts in current times. Trying to solve the problem, Bourriaud presents his relational aesthetics. As a symptom of this flexible and developer moment of all cultural manifestations, in other hand, the decolonial study proposes an aesthetics and decolonial arts, an aesthesia. It is a way to give voice to Latin-American cultures, furthermore, to make visible their thinking, acting and feeling. So, we travel back to aesthetics’ origin, the sensibility totally amplified, but covering the features of local values. |
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Das definições estéticas à des-definição da arteEstéticaArteBelezaDes-definiçãoSensibilidadeDecolonialidadeCNPQ::LINGUISTICA, LETRAS E ARTESAestheticsArtsBeautyDis-definitionSensibilityDecolonialityThis present study aims to articulate ideas from several ancient, modern or contemporary authors who approach aesthetics and arts, in order to verify the meeting between arts and philosophy and, consequently, their running together. However, we see this journey has converted in a laborious relationship, with approximations and distancings. In general the aesthetics, asreflection and discussion about arts, assumesthe task to impose a way to control an individual’s senses and perception in the specific field of the artistical universe. This took place in 18th century, when Baumgarten used the greek term “Aisthesis” to substantiate the aesthetic discipline as a type of sensible knowledge, that is, a free game between reason, sensibility and imagination. Before the systematization of aesthetics, for ancients and medievals it was taken as a philosophy of arts and metaphysics of beauty, both disentangled ofsensibility. Sensibility was not wellseen by rational authors, because it would be the source of mistakes; with aesthetics, sensibility starts conquering space in philosophical reflections about arts. In medieval world, both beauty and arts were submitted to God. Moreover, philosophy in this period was subordinated to theology and used as a support to theological inferences. With Kant and Hegel, arts philosophy enters a new perspective, synonym with aesthetics. Thus, the sensibility gains primacy and the posed question is the judgement of preference and the sublime as a condition and consequence of pleasure. Arts assists to a type of metaphycial value, since the idea of masterpiece from uniqueness, something rare and orientated to contemplation, besides disclosing what is behind it, represents something greater. The modern arts question the aesthetics’ imposition regarding to feeling, that is, the values, norms and narratives conducted to arts, and meanwhile the fine arts academies convert themselves in reserved spaces of artistic experimentation to the public, the studios belong to the artists. The modern vanguards break up with this rational and metaphysical appanage of aesthetics, besidesrupturing with norms in the artistical universe, in other words, with the shape, the matter, the contents and, mainly, the beauty. The contemporary art disconnects itsef from any aesthetic and academic-artistic prescription, proving to be adventurous, modifying the concept of arts, its definitions are fugitive, which means, art disdefines itself, and this dis-definition is to be guided by other ways, not opposite, but different of those established by aesthetics. The crisis in contemporaneity does not belong to arts, art is happening, the crisis belong to aesthetics that is not able to reflect and talk about arts in current times. Trying to solve the problem, Bourriaud presents his relational aesthetics. As a symptom of this flexible and developer moment of all cultural manifestations, in other hand, the decolonial study proposes an aesthetics and decolonial arts, an aesthesia. It is a way to give voice to Latin-American cultures, furthermore, to make visible their thinking, acting and feeling. So, we travel back to aesthetics’ origin, the sensibility totally amplified, but covering the features of local values.Pretende-se neste trabalho articular as ideias de vários autores antigos, modernos e contemporâneos que abordam a estética e a arte, para verificarmos o encontro da arte com a filosofia e, consequentemente, a caminhada em conjunto. Porém, veremos que esta caminhada converteu-se em uma relação laboriosa, com aproximações e distanciamentos. De modo geral a estética, enquanto reflexão e discurso sobre a arte, assume como tarefa impor uma forma de controlar os sentidos e a percepção do sujeito no espaço específico do universo artístico. Isso ocorreu no século XVIII quando Baumgarten recorreu ao termo grego “Aisthesis” para fundamentar a disciplina estética como uma espécie de conhecimento sensível, isto é, um jogo livre entre a razão, o sensível e a imaginação. Antes da sistematização da estética, para os antigos e medievais tratava-se de uma filosofia da arte e uma metafísica do belo, ambas desvencilhadas do sensível. A sensibilidade era mal vista pelos autores racionalistas, porque esta seria a fonte do erro; com a estética a sensibilidade começa a ganhar espaço nas reflexões filosóficas sobre a arte. No mundo medieval, tanto a beleza quanto a arte estavam submetidas a Deus, aliás, a filosofia nesse período estava subordinada à teologia e servia de sustentação para as inferências teológicas. Com Kant e Hegel, a filosofia da arte entra em uma nova perspectiva, tendo a estética como sinônimo e, dessa maneira, a sensibilidade ganha primazia e a questão que se coloca é o juízo de gosto e o sublime como condição e consequência do gozo. A arte atende uma espécie de valor metafísico, pois a ideia de obra prima a partir da unicidade, algo único voltado à contemplação, além de revelar algo por detrás dela, representa algo maior. A arte moderna questiona a imposição da estética quanto ao sentir, ou seja, os valores, normas e narrativas voltados para a arte e enquanto as academias de belas artes se convertem em espaços reservados da experiência artística ao público, os ateliês pertencem aos artistas. As vanguardas modernas rompem com esse apanágio racional e metafísico da estética, além de romper com as normas do universo artístico, isto é, com a forma, a matéria e o conteúdo e, sobretudo, com a beleza. A arte contemporânea desliga-se de qualquer prescrição estética e acadêmico-artístico, revela-se aventureira, modifica a concepção de arte. Suas definições são fugidias, ou seja, a arte se des-define e se desdefinir é pautar-se por outras vias, não contrárias, mas diferentes das estabelecidas pela estética. A crise na contemporaneidade não é da arte, a arte está ocorrendo, a crise é da estética que não consegue refletir e dizer sobre a arte do tempo hodierno. Na tentativa de resolver o problema, Bourriaud apresenta sua estética relacional. Como sintoma desse momento flexível e incorporador de todas as manifestações culturais, por outro lado, o estudo decolonial propõe uma estética e uma arte decolonial, uma estesia. Seria uma maneira de fazer falar as culturas da América-Latina, isto é, tornar visível a sua maneira de pensar, agir e sentir. Assim, retornamos à origem da estética, a sensibilidade, completamente ampliada, porém, abarcando as especificidades dos valores locais.Universidade Federal de Mato GrossoBrasilFaculdade de Comunicação e Artes (FCA)UFMT CUC - CuiabáPrograma de Pós-Graduação em Estudos de Cultura ContemporâneaBrandão, Ludmila de Limahttp://lattes.cnpq.br/3912278759228410Brandão, Ludmila de Lima725.084.267-68http://lattes.cnpq.br/3912278759228410Bertoloto, José Serafim138.779.921-53http://lattes.cnpq.br/4937833975814371725.084.267-68Maneschy, Orlando Franco320.011.932-20http://lattes.cnpq.br/6198572031091761Leite, José Carlos005.636.858-59http://lattes.cnpq.br/8162237062073092Menendez, Larissa Lacerda894.436.751-53http://lattes.cnpq.br/8070939322802687Faria, Gabriel Pereira2022-05-31T15:29:25Z2021-12-022022-05-31T15:29:25Z2021-09-09info:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/doctoralThesisFARIA, Gabriel Pereira. Das definições estéticas à des-definição da arte. 2021. 164 f. Tese (Doutorado em Estudos de Cultura Contemporânea) - Universidade Federal de Mato Grosso, Faculdade de Comunicação e Artes, Cuiabá, 2021.http://ri.ufmt.br/handle/1/3300porinfo:eu-repo/semantics/openAccessreponame:Repositório Institucional da UFMTinstname:Universidade Federal de Mato Grosso (UFMT)instacron:UFMT2022-06-08T07:03:23Zoai:localhost:1/3300Repositório InstitucionalPUBhttp://ri.ufmt.br/oai/requestjordanbiblio@gmail.comopendoar:2022-06-08T07:03:23Repositório Institucional da UFMT - Universidade Federal de Mato Grosso (UFMT)false |
dc.title.none.fl_str_mv |
Das definições estéticas à des-definição da arte |
title |
Das definições estéticas à des-definição da arte |
spellingShingle |
Das definições estéticas à des-definição da arte Faria, Gabriel Pereira Estética Arte Beleza Des-definição Sensibilidade Decolonialidade CNPQ::LINGUISTICA, LETRAS E ARTES Aesthetics Arts Beauty Dis-definition Sensibility Decoloniality |
title_short |
Das definições estéticas à des-definição da arte |
title_full |
Das definições estéticas à des-definição da arte |
title_fullStr |
Das definições estéticas à des-definição da arte |
title_full_unstemmed |
Das definições estéticas à des-definição da arte |
title_sort |
Das definições estéticas à des-definição da arte |
author |
Faria, Gabriel Pereira |
author_facet |
Faria, Gabriel Pereira |
author_role |
author |
dc.contributor.none.fl_str_mv |
Brandão, Ludmila de Lima http://lattes.cnpq.br/3912278759228410 Brandão, Ludmila de Lima 725.084.267-68 http://lattes.cnpq.br/3912278759228410 Bertoloto, José Serafim 138.779.921-53 http://lattes.cnpq.br/4937833975814371 725.084.267-68 Maneschy, Orlando Franco 320.011.932-20 http://lattes.cnpq.br/6198572031091761 Leite, José Carlos 005.636.858-59 http://lattes.cnpq.br/8162237062073092 Menendez, Larissa Lacerda 894.436.751-53 http://lattes.cnpq.br/8070939322802687 |
dc.contributor.author.fl_str_mv |
Faria, Gabriel Pereira |
dc.subject.por.fl_str_mv |
Estética Arte Beleza Des-definição Sensibilidade Decolonialidade CNPQ::LINGUISTICA, LETRAS E ARTES Aesthetics Arts Beauty Dis-definition Sensibility Decoloniality |
topic |
Estética Arte Beleza Des-definição Sensibilidade Decolonialidade CNPQ::LINGUISTICA, LETRAS E ARTES Aesthetics Arts Beauty Dis-definition Sensibility Decoloniality |
description |
This present study aims to articulate ideas from several ancient, modern or contemporary authors who approach aesthetics and arts, in order to verify the meeting between arts and philosophy and, consequently, their running together. However, we see this journey has converted in a laborious relationship, with approximations and distancings. In general the aesthetics, asreflection and discussion about arts, assumesthe task to impose a way to control an individual’s senses and perception in the specific field of the artistical universe. This took place in 18th century, when Baumgarten used the greek term “Aisthesis” to substantiate the aesthetic discipline as a type of sensible knowledge, that is, a free game between reason, sensibility and imagination. Before the systematization of aesthetics, for ancients and medievals it was taken as a philosophy of arts and metaphysics of beauty, both disentangled ofsensibility. Sensibility was not wellseen by rational authors, because it would be the source of mistakes; with aesthetics, sensibility starts conquering space in philosophical reflections about arts. In medieval world, both beauty and arts were submitted to God. Moreover, philosophy in this period was subordinated to theology and used as a support to theological inferences. With Kant and Hegel, arts philosophy enters a new perspective, synonym with aesthetics. Thus, the sensibility gains primacy and the posed question is the judgement of preference and the sublime as a condition and consequence of pleasure. Arts assists to a type of metaphycial value, since the idea of masterpiece from uniqueness, something rare and orientated to contemplation, besides disclosing what is behind it, represents something greater. The modern arts question the aesthetics’ imposition regarding to feeling, that is, the values, norms and narratives conducted to arts, and meanwhile the fine arts academies convert themselves in reserved spaces of artistic experimentation to the public, the studios belong to the artists. The modern vanguards break up with this rational and metaphysical appanage of aesthetics, besidesrupturing with norms in the artistical universe, in other words, with the shape, the matter, the contents and, mainly, the beauty. The contemporary art disconnects itsef from any aesthetic and academic-artistic prescription, proving to be adventurous, modifying the concept of arts, its definitions are fugitive, which means, art disdefines itself, and this dis-definition is to be guided by other ways, not opposite, but different of those established by aesthetics. The crisis in contemporaneity does not belong to arts, art is happening, the crisis belong to aesthetics that is not able to reflect and talk about arts in current times. Trying to solve the problem, Bourriaud presents his relational aesthetics. As a symptom of this flexible and developer moment of all cultural manifestations, in other hand, the decolonial study proposes an aesthetics and decolonial arts, an aesthesia. It is a way to give voice to Latin-American cultures, furthermore, to make visible their thinking, acting and feeling. So, we travel back to aesthetics’ origin, the sensibility totally amplified, but covering the features of local values. |
publishDate |
2021 |
dc.date.none.fl_str_mv |
2021-12-02 2021-09-09 2022-05-31T15:29:25Z 2022-05-31T15:29:25Z |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/doctoralThesis |
format |
doctoralThesis |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
FARIA, Gabriel Pereira. Das definições estéticas à des-definição da arte. 2021. 164 f. Tese (Doutorado em Estudos de Cultura Contemporânea) - Universidade Federal de Mato Grosso, Faculdade de Comunicação e Artes, Cuiabá, 2021. http://ri.ufmt.br/handle/1/3300 |
identifier_str_mv |
FARIA, Gabriel Pereira. Das definições estéticas à des-definição da arte. 2021. 164 f. Tese (Doutorado em Estudos de Cultura Contemporânea) - Universidade Federal de Mato Grosso, Faculdade de Comunicação e Artes, Cuiabá, 2021. |
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http://ri.ufmt.br/handle/1/3300 |
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Universidade Federal de Mato Grosso Brasil Faculdade de Comunicação e Artes (FCA) UFMT CUC - Cuiabá Programa de Pós-Graduação em Estudos de Cultura Contemporânea |
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Universidade Federal de Mato Grosso Brasil Faculdade de Comunicação e Artes (FCA) UFMT CUC - Cuiabá Programa de Pós-Graduação em Estudos de Cultura Contemporânea |
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Repositório Institucional da UFMT - Universidade Federal de Mato Grosso (UFMT) |
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