93-103

Closed worlds and open systems of thought : adjusting an aesthetic experience

Αισθητική - Φιλοσοφία της Τέχνης - Ιστορία της Τέχνης Aesthetics/Philosophy of Art - History of Art

• Κωσταροπούλου, Μυρτώ

P. A. Michelis speaks of a closed and an open form, referring correspondingly to a regular shape, which seems ordered and perfect, and to a transitional form, which is continuously changing and always surprising by its revelations. Both closed and open forms capture life, i.e. potentiality and change, either inside or outside their being. Therefore, I define the first as a closed “world” and the second as an open “system of thought”, to juxtapose whatever “is” to whatever is in a process of “becoming”.The interaction of the two endeavours achieves a triptych scheme: First, things have to become discernible by overcoming their own contradictions, then they have to be defined “as...”, and, finally, they have to balance on a common ground. Such a procedure describes a path that leads from the aesthetic base of Beauty to the Sublime, motivated by Grace. Beauty, on the one hand, serves an aesthetic role, trying to keep a harmonious balance. The Sublime, on the other hand, presupposes emotion and a subject, and results from contradictions. Causing deficiency, it creates empty spaces and promotes dynamism.Closed and open forms find themselves “bound” in a relationship serving to put the above into practice, and place things in a dynamic perspective. This relationship is accepted in terms of “obligation” and as an effort to exceed the just rule of pure equivalence -“give in order to receive”-, in order to be put on a re-interpreted base of recognizing substantial reason behind the strict principle of a “golden section”.Desirably, open systems will contribute with a systematic approach while closed worlds will encapsulate miniatures of a whole. Thereafter aesthetic experiences are adjusted and reality augments.

• Arts

• Τέχνη
• Αισθητική

αρχιτεκτονική

Περιέχει βιβλιογραφία