![]() ![]() ![]() These holistic conceptions were gradually dispelled throughout the century, accompanying the change in tone that resulted from the advance of medicine, and later consigned to common sense with the advent of positivism as a scientific method, which did not include sensitive exercise. In this context, knowledge about moral inclinations was formed, such as the proximity of the eyes revealing character deviation, and also claims coming from astrology, whereby the star sign of cancer was more likely to be associated with big eyes and a fragile stomach. In the 17 th century, physiognomy, for example, sought precise medical diagnoses based on the influences that the bodies of patients underwent in relation to the action of the stars and also their physiognomies. This organic system of knowledge combined feeling, technique, body, art and science in a single holistic confluence. The example is from Jean-Jacques Courtine (2013). Therefore, in the working condition of the expression, since its conception, art was intimately related to science and the technical, and it was not rare for cases such as the connection between painting and the expression of passions through the face, of Le Brun, to have helped in the development of the Cartesian conceptions and in the discovery of the principle of blood circulation 1 1 Beauty reverts to creation based on the sensitive inspiration of the creating artist, being seen as creative expression. Accordingly, the technical responds to the deeds coming from tradition and science and evolves to a form of knowledge of itself, technology. or pertaining to beauty - theater, cinema, literature, and so on. São Paulo: Ática, 2000., techniques were classified as useful to man - medicine, culinary skills etc. According to Chauí (2000) CHAUÍ, Marilena. With the rise of the bourgeoisie, the paradigm was reversed and society began to recognize mechanical techniques as work. ![]() In ancient society, whose social structure was centered on slavery, technical deeds, taken to mean the servile and mechanical arts, were subjugated to the practices of the mind - to the arts of the liberal classes, such as oratory and mathematics, for example. This separation is furthered under the sanction of the theoretical versus practical formulation in Plotinus' Aenead V, which classifies the arts as a collection of techniques whose objective is to assist nature (as in agriculture, the art of handling cultivation), or manufacturing something from it, as craftwork does. This primacy recovers the distinction of art as a technique separated from other sciences, through the Aristotelian postulation on praxis, the set of sciences destined to action, and poiesis, which encompasses the fields geared towards manufacture, where art figures. Thus, the work of the mind is given primacy over any other type of production, manual or sensitive. This split relates feeling to an escape from reality and views it as counterproductive, since it has no objective function that is not centered on itself furthermore, it designates reasoning as the only valid means for obtaining truth and justice. This particularity of artistic production allows us to observe in a more concrete way the split between sensitive experience and reason, which historically marks feeling and thinking as diametrically opposed. As such, the artist, elected as a sensitive being par excellence, was responsible for transfiguring what he/she felt into a work of art, materializing the overflow of emotion in something objectifiable. that sustain the perspective that up until the 17 th century feelings were constituted by changes in states of consciousness, separated from theoretical exercise and alienated from any cause or social function that was not subjugated to the gift (of the artist, holy office or maternal work). ![]() O sentimento de si: história da percepção do corpo. What is the reason why feeling is so present in the arts and, at the same time, so strange and uncomfortable for a traditional conception of science? To answer this question, we may point to various historical references ( Vigarello, 2016) VIGARELLO, Georges. ![]()
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