The Genesis of Homo Aestheticus: Body, Senses, and Art
The Emergence of the “Aesthetic Reason” in Humanity: The Genesis of Homo Aestheticus
The emergence of the “aesthetic reason” in humanity: the genesis of Homo aestheticus from the emergency body, phylogenetic, sentient, and mover. The body is the most remarkable creation of the sensitive and delicate, which has the power to unfold visibly in the flesh and concrete world, and the flesh of my body and sentient. It is, therefore, an important natural body. It is light because we can see the world, and the human being is the only aesthetic animal. It streamlines aesthetic pleasure (a characteristic of other animals) by creating aesthetic values. In fact, animals also enjoy the world through pure perception, without any biological or practical purpose. Animals prepared the way for Homo aestheticus (aesthetic or artistic man), characterized by being the recognizer and creator of aesthetic values. Since the world began for man when he is the custodian of aesthetic values, until you look beautiful. He is not a man until his reason grows and is not as aesthetic reason. The human being has the ability to separate pleasure from need satisfaction. The pleasure you have is aesthetic pleasure in man (human nature) and is a pleasure in patience, not conscience. It is a liability and physical pleasure. Man is not good for survival, but survival. The feeling is put into a body that is libidinal and spiritual. One speaks of the body as something external to the individual, something that one has, not one is, but that changes when the body is sick because it is the body which is the subject. What happens to the body, it passes to the subject body, and its destiny is the destiny of the subject.
Anthropological, Social, and Historical Genesis of Consciousness
Genesis: anthropological, social, and historical attitudes of conscience. The motive power of the body is the starting point for the development of understanding, imagination, memory, or language. Life only makes sense through the body, as their motor skills mature, and following these, the intellectuals. The arrest is the first form of aptic knowledge of human beings. The world begins to make sense from introducing the body into it. Therefore, the body is the tomb of the gods (Alain), and the human body mundanizes, so if the body is the tomb of the gods, for me, it is Olympus.
The Passage to Aesthetic Attitude, Philosophy, and Religion
El paso or as a source of wonder: aesthetic attitude, philosophy, and religion. The world is the space that the body has to feel and act. My body is the partner of the world, not me. I have none, nor do I have if my body does not even have her own. To appreciate life will be for man to appreciate the world. It will no longer be just a stage of struggle for survival, but a place where there are beautiful objects with shapes and beautiful colors. Admiration is what keeps us from animals. Therefore, the ability to admire aesthetically makes us human and is the cause of culture, art, and religion. The presence of the holy (the numinous) is present through the godlike in the world: the world is sacred, glorious, and wonderful through the great events that man looks at and loves, which awakens their religious and aesthetic impulse.
Aesthetic Reason in Primitive Man: “Knowing How to See”
Aesthetic reason in primitive man: “knowing how to see” and a “know-how.” Primitive man was sensitive to beauty thanks to those few objects built (bone and horn carvings, decorated pottery, animal and human figures, painted rings, earrings). For thousands of years, he built graves, kneaded pitchers, and so on, with a pragmatic purpose, able to respond to a vital need. But primitive man also showed a cosmetic concern. Therefore, the works of men respond to a vital but always a cosmetic concern. Thus, Homo faber was and remains a Homo aestheticus. He has created useful objects that always tried to be beautiful objects. Creating an object requires giving a shape to a matter, which allows the function of this object to be demanded. The word “beautiful” is directly linked to the word “form”; it comes from the Latin word formosus, i.e., “beautiful in form.” However, utility always prevails over beauty. Sacrifice the reason for casting because of the beauty, the aesthetic benefit of practical value or use. He always performs a function that gets a benefit (the arrow for hunting, a knife for cutting, etc.).
Aesthetic Attitude and Belonging to the “House” and Libidinal
Aesthetic attitude and belonging to the field of “house” and libidinal: proposal of a beauty of the five senses. The creation of beauty is a luxury in the animal; the work and time to create it does not count (it is never later if the work is good). Art comes into the economy and playfulness. The only utility that will demand the artwork is to like. This is going “to the things themselves.” In aesthetic experience, it must be retaken immediately, the reunited original, making it an experience that appeals to the senses, to enjoy the work in the whole body. It is the entire body which is involved in the operation of each sense, the aesthetic sense of the object that is perceived not only from a bodily sense. Demand an aesthetic experience is installed on the five senses and a priority of the visual (which makes the aesthetic experience proper aseptic experience). The recipient of the artwork was before and remains waived all rights to your body when you enter an exhibition hall or museum; there only seems to be the guest view.
Therefore, this art should be condemned on distance, cool art, art for observers, onlookers who only promotes aesthetic coolness, disability, or inability to enjoy, to enjoy the work, to enjoy it. An art that invites us to look and not to act, to keep a distance so as not to contact the work. Modernity has fostered a dispassionate and detached spectator, believing that the objectivity of perceptual experience and understanding was achieved from an objectifying look. The aesthetic experience also fell under the evil effects of a relationship to the world that created and spread this abstractive and objector culture, which invites a deal with works of art based more on the trial (the hermeneutics) than in the pleasure (catharsis). Therefore, the aesthetic feeling is an erotic feeling in which all five senses must engage. The artwork is currently a player that makes the viewer, inviting participation. When you go to a museum, you have to go with the work, since it must be tasted in its fullness of body and spirit. Since ancient times, the senses that operate in the distance, sight, and hearing have had a hegemonic reign. The rest, just the contact, have been considered inferior by our culture and thus expelled from the aesthetic experience.
The footprint of the three epidermal senses resulted in the excommunication logic of desire, repression of libidinal pleasure, physical and sexual, from the exercise of these tactile senses. The cultural supremacy of the senses of distance, and arts related thereto, is linked to the power exercised by dominant social groups and the ideology they convey. The body has been stripped of any ability to know. Something changed in the consideration of our body we have. The body is at the forefront when it comes to answering Kant’s question, “What is man?” And Nietzsche is no more reason in our body, in our wisdom.
Demand an Aesthetic Attitude to Look Innocent
Demand an aesthetic attitude to look innocent. The wisdom of the body should enable us to overcome the idea that aesthetic experience has been introduced in human life for the enjoyment and dedication of the wise. Aesthetic experience is not meant to be intelligible (bounded by the wise) but to be sensitive (universal). A sensible way, apprehended by the senses, opposed the intelligible form, the Idea, apprehended by the intellect. Not to perceive the work of art is to give understanding, nor intelligible is to leave the body and the powers that are alien to most: sensitivity, feeling, affection. Perceptions and judgments are two separate acts of self and noticeably different. Husserl points out that what the artwork is an expression reveals a world of expression. It is the expressive object par excellence; this expression is being fought primarily for sensitivity. A sense of expression that is experienced in the heart of perception does not necessarily have to be widely cultivated and enlightened, but a naive perception or wild can empathize with the sensible. The aim is to retrieve a blank look at the world. We insert our body into the body of things to make them a profit. They try to make things just pristine objects. Just look at the world only a disinterested look when we are mere spectators exercised. The viewer is happy to see; it is the sole and exclusive interest. For him, the whole world is a show. The eye recovers its natural one: enjoy watching; in the animal body, it is a pleasure to feel the birth of the world.
The animals enjoy the world through pure perception, a feeling without any practical purpose. We do what we feel. The feeling in need of a practice or exercise of art, a workout, a purification to remove the unhealthy attachments to the perceiving consciousness, so you can take possession of the things themselves. Perception needs to be cleaned, removing those old opinions we have about things and we hide them. Art and phenomenology are looking at schools in which we learn to see the world. Becoming an artist is to become increasingly sensitive to the sensible. Our consciousness is, first of all, leather, a place of encounter with the sensible and real, which has the paradoxical potentiality of being alive and sentient body, natural light.
Poiesis as Art: Creative Activity and Its Relationship with Nature
Poiesis as art: creative activity and its relationship with Natura naturans. Art recreates an encounter between the body and the world. It is a carnal encounter which establishes the sublime event of phenomenality, which makes it possible something is that something phenomena before us is in us and for us. The artist does not reproduce what is seen, but it gives to see, does not re-create the world, but creates a world not yet seen. He creates what is visible because of the phenomenal shape of your style, that bodily and personal way that each artist has to order as sensitive as the meaning. It is here, the Natura (physis) which places the ultimate foundation of all artistic creation. This is not to propose a metaphysical reality, but it is the cosmos itself as a foundational instance that has space, time, and movement as one of its original powers, and the secularization of entities, the emergence of new forms, such as sensitive expression of his poietic power. Phenomenological aesthetics would be open to a constructive phenomenology to speculate rationally about the roots of everything human in this primordial nature and immemorial, a nature that it should not have direct experience or intuitive and perhaps can only be sensed by the human through phenomena in which power is expressed as poietic origin. There are events which express the presence of the original, the strength, and life are the epiphanies of ultimate reality, added a third, death. Nature is not only Natura naturans, naturans strength or life-giving power, but power and strength denaturing, destroying. Nature gives everything and everything removed; she too belongs: life and death are his. The primary energy in man not only creates but also destroys. Thus, life and death alternate in the world.