On Ugliness, Beauty and Technique مقاله

خلاصه ماشینی:

Even the naive condemnation based on which the bourgeois mentality perceives a landscape destroyed by industry as ugly and condemns it with naivety, can lead to the establishment of a relationship in which the main factor is the manifest dominance of nature, provided that it shows an unconquered face to humans. Beauty is not a pure beginning to the Platonic concept and only takes shape when the subject of ancient fear is rejected and, through this rejection, is considered ugly. The multi-conceptual nature of ugliness arises from the fact that an individual considers everything condemned in art to be part of the abstract and structural concept of ugliness— description, these subjects are beautiful in the sublime sense of the word—for example, considering their function in the composition of a painting, or in the moment of processing psycho-dynamic balance—because based on one of Hegel's axioms, beauty does not depend solely on balance as a result, but is at once and always dependent on a tension that arises from the result. The sense of ugliness resulting from observing the world of arts or seeing the landscape of an industrial factory has not been sufficiently and decisively justified in a satisfying manner; nevertheless, this sense can persist in final forms that are fully consolidated and, in the words of Adolf Loos, are aesthetically pure. In the history of art, the dialectic of ugliness also encompasses beauty. In the concept of ugliness and beauty, art must pay the price of a structuralism that Kantian aesthetics advocates.