Articles

The aesthetic field is a domain of philosophy: both the eternal beauty and the negative perception are common considerations to a discourse that precedes the artistic field: design is an artifice that contemplates a need. What will be the aesthetic degree possible to produce a social tool based on moral learning; and even more, in punishment?

Even though at first the church reads Pasolini's film politically, after a short time it retraces its steps to cancel it: it considers it immoral; abject The thesis on contemporary sacrifice –the replacement of God by new deities such as consumption, comfort and corruption– simply establishes an intolerant political and theological provocation.

The viewer is unaware that what is real, —what we call reality— is not something necessarily solid since there is no objective truth to address it. Subjectivity, experience and point of view produce a disagreement, an out of focus that makes it almost impossible to coordinate a single perspective.

Aira's stories can be read as plots under logical events—and even caveats—rather than the consummate fantasies of an imaginative writer. It is considered a kind of surrealist: his narrative, supported without juggling by his friendly unconscious, maintains the classical and technical form that pushed that historical period: it is himself that he seeks to expel from reality first.

Evil, as we know it, is the ethical and moral capacity to wickedly cause harm. In his films, Spielberg teaches it in a concerted and animal way, although in the contest of nature, such a thing does not exist as an end. While a shark tears a woman to pieces in the sea, the mayor of the resort forces the episode to be hidden to favor the long-awaited beginning of the season.

The modern city terrifies without measure, the machines, the industrial fluids, the mechanisms that progress presents as irreducible also consider an unknowable space that only the scientific police is in a position to unravel: a precise mind, perhaps logical, but also perverse. The serials collect the experience of crime directly from the street.

It could be thought that the events we observe are current and that there is no representation but reality. The documentary wrapper of the film does not allow elucidating the historical reconstruction except as episodes of a certain nature, such as if we exposed a rabbit in front of a hungry tiger, to reconstruct the attack of a cougar on a defenseless goat.

His first exhibition is in a bookstore – the Galerie Saint Laurent, in Brussels. He shouldn't be surprising. Words are the inescapable matter of art. But the site
shop windows and their books; the place that leaves
exclusivity of the written word as a literary discourse, seems to shelter it from the representations that the artists of the time consecrated as language: pop culture and the new realism.

Hell is a downward spiral made up of nine rings of exemplary punishments. Each one must be considered a painful stay where thoughtlessness acts as a didactic paradigm and suspends redemption. Who accompanies Dante, is Virgilio, a poet. The first ring is a limbo where the pagans are discarded, those who lived meaninglessly as the indifferent.

When he died, Albert Camus got rid of his indifferent dead, the same ones who lived with his clear and hermetic texts; erratic of emotion. Who was driving that afternoon on the road to Villeblerin was not Gallimard but Mersault. It meant a pending talk that was cut short and the continuation of a number of texts that were ultimately incomplete in words, but full of discussion. "A rebel is a man who says no"

Between the tyranny of the idle and bloodthirsty rich and the starving crowds a crack provides an intense light: justice no longer responds to the isolated reflection of an enlightened petty bourgeois but considers the opinion of debased societies, slaves and the wretched: « talent, says Stendhal, is born of necessity»

The ultimate reason why they plan to eliminate them is the looming famine; exchange one pain for another. But Hansel and Gretel are used to shortages and the quantity of food does not consider anything other than what they have always known. For parents, on the other hand, it represents a state of bastard discernment: Children stand in their way and confront them with delayed well-being. Why can't they be happy?

Solaris seems to be before a form, the very sonority of fluids swirling among reeds, the indeterminate thickness in the mist, the strange biology, the afternoon, insects surrounding bubbles of light, the sound of their movements, the mass of a layered forest without end, the stillness of a house in the reflection of the water –an aquatic thickness of singular biology and metaterrestrial details–, a man at last crossing the landscape of the earth; in a way the only way to enter the planet itself, as liquid as covered in madness.

Throughout history, architectural commissions and their clients have been an invariant of power. But the private relationship between design and class did not exist only in the private world. In the public sphere, architects have only built the relevance –sometimes absurd– of the rulers of the day. In an approach to the problems of adjectives as an aesthetic discourse, the designer's disappointment is found primarily in that commission.

Cahun arrested, awaiting execution. She resists brilliantly but in any case, in the Baudelairean way. That is her heritage: the exotic spirit, the innocent pleasures, the self-expulsion of romanticism. Claude Cahun is his own conscience in crisis, his open, brave, multiform and passionate gender identity; the elusive fate of human life on earth.

Life in transit resonates as the simple task of a passenger who is eagerly searching for a final destination without achieving it. The task is completed only with a kind of disposition that is nothing more than an accumulation of absolutely useless apprenticeships and preparations: death will come by itself without taking into account the duration of the trip or the accumulated knowledge.

On his way back to his cell, an unprepossessing chicken soup awaits him; the bread clearly looks rubbery, unpalatable. Controlling the price of wheat grains has allowed nothing other than to dishonor the bread of our France. The cook degrades the seasonings more every day. The agitators who discuss the aspects of culture say they think from the economy and education; even from the arts and sciences believing that they fundamentally express a social discourse about reality, which can be interpreted from a completely improbable freedom and happiness.

Ultimately, communication is about attracting or distracting. Design as a discipline crosses the question of silence as the core from which to grasp the discourse. You can also scream. In the framework of every event, within its bubble, communication seeks to break through the social air and enter its neurotic indifference.

Those who guided the history of Thomas Alva Edison in time and in books - the career of a daring inventor - argued before a man of genius, a man of science. Perhaps they avoided accepting the portrait that Edison himself directed to the world to show himself in society: an advertising film that unambiguously reveals his position in the business of progress.

In Observations on the Feeling of the Beautiful and the Sublime, Immanuel Kant, the last modern philosopher in history, lightly rehearses on public morality while slyly referring to the aesthetic problem. The work will be the genealogy that will allow to develop in his later essays and gathered in the Critique of Judgment, three transcendental questions: What can I know? What should I do? What am I allowed to expect?