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Mondo QT Presents

PEEP 5

Carola Von Hoffmannstahl-Solomonoff
Publisher and Editor

ABOUT THE BEAUTY IN ART

by Henning Mittendorf

The opposing strives to unification, out of the different comes into being the most beautiful harmony, and the conflict makes all happen this way. The men don't see that all what contradicts each other thus comes in harmony with each other. The hidden harmony is mightier than the evident one.

Heraklit

If I might give you an advice, it will be more advantageous to you, to search where beauty is, than to ask anxiously what it is. Once and for all it is inexplicable.

Johann Wolfgang Goethe to Hetzler the younger

Art is not the practical application of a beauty's canon, but that what instinct and brain can grasp beyond every canon.

Pablo Picasso

Beauty is not enough.

Advertising slogan from Alfa Romeo

(Man in the following means woman too.)

1. Etymological

The beautiful from the etymological point of view is the successful shiny phenomenon, the graceful, good-looking, well-shaped, orderly apparition that one handles carefully and gently, because it makes oneself blissful.

2. Historical

During long periods of history the men have made out beauty as world reality's concept of order. While doing so it is defined in another way again and again. In prehistoric times it corresponds to the magic of mythology. During the Ancient World and the Middle Ages it converts into the sense of the autonomous perfect complementary objective cosmos or rather divine world order. Its qualities of clarity, order, symmetry as well as complementarity are divine and as such absolutely true, good and beautiful. The man is able to perceive and to depict this totality and its qualities. Originally aisthesis means perception as such, but in the course of time the notion aesthetics increasingly narrows to the theory of beauty only; aesthetics and ethics match each other. Since 1500 the implementation grows of the sense of all-embracing subjectivity. So till the Modern Age the divine absolute world order more and more is deprived of its mystique by the subjective rational thinking, i.e. it is relativized by the Enlightenment. The aesthetics is divided from the ethics and put above it. And now since the beginning of the new paradigm shift of the Post-modern Age the one-sided rational thinking loses its magic. It is enlightened about itself as part of the self, i.e. the human soul as a whole, wherein all functions, inclusive the irrational, are working together on the perception of all the soul's experiences, i.e. the cognitions. Besides the thinking is informed about the reciprocal participation of the own self in all cognitions of the fellow-men by most different forms of interconnection. The aesthetics becomes again the theory of all event-orientated rating sensory perceptions, irritating and causing cognitions, among that the beautiful plays a special role. The connections of aesthetics and ethics are thought over anew.

3. Real

Many things point to the fact that the laws and legalities of world reality are neither behind the phenomena, nor within them, but that they rather are within the spirit of the men, i.e. within the network of their reciprocally participating in each other selfs and their cognitions they are steadily constructing again. With that the whole dynamics reverses. The men create by more or less conscious acts of self organisation of their self's structure of order, i.e. of their structure of perception and participation, themselves and all the other phenomena of the inner and of the outer reality, including the relations between them. They generate in respect to the current developing necessities through at the same time distinction and assignment of meaning diverse cognitions that they coordinate through participation with their fellow-men, namely coming to an agreement by verbal communication or non-verbal interaction. Out of the wickerwork of the self-determined single relations comes into existence the all dominating prevailing global system reacting on the individuals as well as on their relations limiting their freedom from the holistic point of view. All phenomena of the world's reality, inclusive the beauty, insofar in the end are merely unstable pragmatic vague constructs of interconnected dynamic structures of order of the individuals as places of creation of all reality, value and sense. And as to the constructs is not important "what" they are, but rather "how" they are used and work. The self and its structure of order insofar are only organs of the individual for survival, but not ones for understanding and knowledge.

4. Orderly

  • All the time the man's structure of order is searching with the whole continuum from the subconscious to consciousness for stronger aesthetic experiences, more irritating cognitions, i.e. for always better clearer stimuli as well as more intensive more possible experiences of reality, and wants to become stimulated insofar, to construct a life-serving model of reality and to guarantee his survival. If in the single case something viable has been found, then there appears as reward a feeling of satisfaction, of well-being as a touch of an aesthetic sensation. Its roots reach to the animal kingdom. The figure's quality of the human structure of order is decisive for the perception of figures, i.e. man's capability, to be able to perceive, identify, actively the whole figure by single formal and meaningful qualities. Before the consciousness becomes active, at first above all inherent subconscious laws and mechanisms of shaping play their important roles, including preferences of perception, categorizations and in particular schematisings. The basis of the latter is formed by the archetypes, inherent keys of order, preshaped schemes of stimuli and reactions, and their worlds of symbols interpreting reality. The keys of order enable man to grasp forms and colours as well as other qualities — if necessary by replenishment — as event of global shape and at the same time to understand as well as to increase the qualities' detailed and global value of expression. The archetypes belong to a sphere of their own, as Wolfgang Pauli and Carl Gustav Jung speculate. And both think that they answer, if they are impressed by the key's stimuli of a transphenomenal event, through symbols of the common phenomenal world, at the same time having an effect into two directions, namely on the inside and outside, without belonging to one of both spheres. They are emotional mediators between the phenomenal and the transphenomenal world, with that expression of joined perceptions concerning the belonging to it "other side of reality", of the whole, the intact, the magic holy, of incomprehensible complete reality.

  • The painting vision of these inner images according to Wolfgang Pauli is the preliminary stage of thinking. Here for the rest only that person is talented for valuing symbolic shapes who understands the power of their symbolic signs, for whom their lines, colours, expanses, figures etc. have symbolic power; for the discovery, recognising and understanding of the sensuous shape comes into existence only just, if the perceiving man being provided with the fitting inner state and playing experimentally with the materials meets the suitable symbols.

  • The archetype of symmetry and the one of complementarity have special importance for the perception of figures. The human structure of order reacts caused by the genes easily to symmetrical and regular figures, yes it prefers them passionately, as they are nearly always living things that can be food, prey, fellow species, mating partner, enemy or of similar importance. The archetype of complementarity helps to understand tensions and contradictions of world reality to belong to its nature; it is of existential importance for the modern view of world's unity. If one bases on the considerations of Wolfgang Pauli and Carl Gustav Jung concerning the nature of the archetype, then one can say that both are the basis of the principle of beauty being known to all men. At the same time they stir up outer physical symmetry, beauty, perfection, as well as inner mental symmetry, harmony, bliss, if they are addressed. Further archetypes are decisive for leading ahead detailed categorizations, like such for the recognition of men as child, as woman, as man, of animals, plants, of enemies, friends etc. When dealing with archetypes and symbols it can happen that one "looks" through the prototypes to the dark side of reality and recognizes that it is not rational deduction that produces the result, but an event of the symbolic processing of the unconscious, so that one is shocked. This is the spirit, the magic, the wonder of the network of the soul's functions, i.e. of the surplus, that individually dreams, constructs, primordially and always anew reality and sense on the mental level almost out of nothing, i.e. within life experienced as incomprehensibility and absurdity. At the same time, but secondary, the structure of order considers and checks the perceived, if necessary or wanted, on the basis of orders of knowledge and of thinking as well as on the rules of the art of thinking; for the schemes of order are not infallible, they create only models of the first impression. Thinking in principle is necessary, but within the integrated system of all soul's functions; man stands out because of it.

  • It is true that modern research confirms that always the unconscious part of the structure of order decides that and what the individual is doing, i.e. that all conscious imaginations, ideas, already are arranged in a certain way, before they become conscious and one has the conscious "illusion of the free will". But just this illusion possibly is the decisive evolutive human achievement, from that one cannot go backwards, but the future of that is open. For it insofar creates the overview as well as the steering of the conduct, allows perhaps even its manipulation in the longer run and contributes to the fact that world "goes" as to man in a human way, i.e. that he — within the bounds of possibility — can act freely and be a man in the narrower sense.

5. Aesthetic

The striving of the structure of order to fulfil its needs to perceive the good clear shape of reality by aesthetic means, above all through keys of order, is subject to evolution and can be used except for the own survival in a direct and one-sided way also — freeing itself from the only biological — generally for free aesthetic purposes. For it is true that man as all living beings is orientated to survival, but his self organisation consisting of self-consciousness, verbal language, social and theoretical symbolic intelligence as well as imagination, consciousness of value and of time also changes the aim of his life, his life's horizon. He asks and goes on transgressing the essential to survival only, interprets the world as well as himself and creates an own common sphere of life and reality: the culture — as a new form of " heredity extending beyond the generations". In this connection man acquires in addition to his inherent keys of order also cultural and individual ones as expression of his striving for uniqueness and definition of his communities or rather his own person. For this, however, is used the repertoire of the older archetypal layers of the soul and it is formed anew — furthered by human learning disposition — in an unmistakable most varied and most inventive manner. The world's horizon, the circle of possible experiences, is not sealed because of his symbolic intelligence. Values and aims are coming into the field of view that one cannot deduce from genetic disposition; they free from the "struggle for life" and make possible the orientation to an in individual and social respects ethical, i.e. "good life". Aesthetic, eye-opening as well as ethical experiences serve now — extending beyond the survival — the preservation of the human technical world order, namely its biological and social systems, inclusive the promotion of the single persons as place of all creativity, a huge task in respect to the catastrophic situation of the world. Evolution, however, has provided man bio-genetically with no ethics or rather morals; for him there remains only the social-political way, to develop and to impose such a responsibility.

6. Cultural and artistic

  • If philosophy according to Georg Friedrich Wilhelm Hegel "records its time by thoughts", then art belonging to culture, above all the fine arts, makes sensorial, vivid, for instance visible, its time. Art is that part of the social discourse, wherein the artists take part directly or indirectly in the reality's construction by their artistic shapes as visual aesthetical media offers; sometimes it can become in a certain way philosophy and basic research through aesthetical means. Here even little events of art can achieve big effects, if the system is unstable, according to the theory of chaos. Every artistic creation as process and as product is participation art, namely dynamic event-orientated perception of shape by creation of shape. Today artistic work doesn't present itself any more as something finished, final, that one can only ascribe distinctively to a single author, but a common plastic process-like artistic conduct, namely one not only of artists, but of them and of the audience together. Concepts of art are concepts of life, i.e. pragmatic design for living together. Every single artistic work is only a phase in the multi-polar endless-open network of art having an effect in all directions, self organizing multi-dimensionally, varied, being a realisation of life as art from one kind to a new one that necessary is different and insofar can become explained historically.

  • The nature, the actual artistic, of every artistic shape is in its magic subjective uniqueness freed from the one-sided biological, i.e. it is in the way how it fulfils its aesthetic function, task, to express reality in a sensorial way. Insofar it is a complementary, namely at the same time an aesthetic-individual and an aesthetic-social construct organized by the artist. The artistic conduct has an effect on the structure of order of man, to stimulate all sensory perceptions, forms of irritation, feelings and other cognitions, pushing themselves forward for experience and expansion and to set in motion as well as to stage aesthetical processes, among them in fine arts such of visible kind. The artistic shape here especially responds to inherent and to acquired keys of order causing as schemes of interpretation and preferences of perception automatically in a magic way at the same time the procurement of content, i.e. form and meaning, and the desire for an emotional increase of experience. As an individual and a social construct the artistic work is at the same time subjective and intersubjective, unique and comparable, headstrong and coordinated, independent and dependent. The extraordinary artistic shape has by its aesthetic automatically stimulating uniqueness two effects. On the one hand it questions, yes shakens, the conventional models of phenomenal reality and reveals the vagueness of transphenomenal reality lying behind it. And on the other hand it challenges imagination as well as creativity so long, until new viable models of phenomenal reality are found helping to overwhelm or rather endure the vagueness of world better. Some times in this connection it can happen that the original intention of the artist during the creation unconsciously or consciously becomes independent as a truth of art of its own up to indecipherability. Art has the chance to loosen constraints of thinking, to show shapes and contents in a new light, to change previous knowledge as well as expectations of the men and to contribute to an expanded perception — also in the sense of understanding. First-rate aesthetic-artistic events draw all attention inevitably to themselves and to their unique qualities, i.e. to themselves as very special dynamic media offers that have to be "read" in a new way, so that there is little space for a direct reference to an outside from themselves lying content.

  • The particular community can assign to the art besides its "inherent" above mentioned aesthetic function further up-to-date functions. The new paradigm shift of the Post-modern Age insofar gives every artistic work of today as participation art the task, to take part — through its aesthetics — directly or indirectly in the realization of life, of the life-serving action's community of nature and culture as poor in violence self organization, i.e. as organic peace order - without the emotionalism of necessity. In question is, to convince people by all conduct, i.e. by all thinking and acting, to consent to their survival — within the whole. In the light of "enlightened rationality" there is at stake, to enlighten sensorially to the men the disaster of their self-destruction by due to their own fault self-accelerating physical and mental destruction of all life and the extinction of the memory of themselves as well as to show them what danger and what loss is involved with that for them. One has to bring signals of life-serving peace into the discourse, i.e. — according to the prevailing context — signs and symbols of freedom and tension or such of order and balance.

  • The specific artistic work gains its sense, like all human behaviours, solely by its actual effects within the more complex self organising system.

  • Artistic work all in all is a medium by that man is able to use his sensuality, emotionality as well as his intellect in an optimal way, to stimulate as well as to activate them during a "serious play" and by that he causes a sensorial enlightening experience corresponding to the notional understanding, i.e. a "pleasure" of aesthetic nature that equals, yes partly exceeds the notional one.

7. Aesthetic, ethical and beautiful

Since the opinion's implementation of the common construction of the human technical world order by all single men, the assessment of artistic creation as participation art has become a problem. Question is, if it is possible at all, to judge artistic work by general rules (7.1), what is the relation between the aesthetic and the ethical (7.2) as well as what role plays the beautiful in the scope of the aesthetic, in particular in art (7.3). Here the valuation of the artistic work in the single case has to include the strained relationship between intention, imagination and realization, including the structures and mastery of the materials.

7.1
  • At all times the possibility is seen as positive, to judge artistic work by general rules. But there are made, however, different suggestions of valuation's methods, namely such being based more on quantitative measurements or more on qualitative appraisals. Today in the scope of the information's theory new proposals are made for quantitative valuation. Herbert W. Franke has noticed that offers of stimuli evoke pleasure and satisfaction, if they have a recognition's proportion of 16 bit/s, so that they are adapted to the processing mechanisms of the human brain in an optimal way. According to a proposal of Helmar Frank, the founder of the information's aesthetics, the beauty of an artistic work shows itself as relation of the degree concerning complexity, order, to information's content, i.e. to the possibilities of distinction and of selection: B = O : I. The more symmetrical and complex the order of an artistic creation is with it reaching a higher information's content, the more beautiful it is. And the theorists of chaos think that beauty is defined by the number of "attractors", i.e. of points attracting other points and making effective a shape.

  • Klaus Mainzer thinks that there possibly exist new frames of theory within the mathematical structures' theory in connection with geometry of the fractal, the mathematical theory of the catastrophes and with the groups' and set theory, that reveal within the seeming chaotic variety of non-linear systems from the sub-atomic sphere up to the one of artificial intelligence surprising self-similar symmetries. They show a flowing transition between regular and chaotic zones that is relative in respect to the position of the perceiving person.

  • Attempts, to define beauty by quantitative measuring, however, prove themselves a fallacy, like all such efforts since the Ancient World, because they proceed on the assumption that the human brain functions like a passive system of decoding news, i.e. that it processes the mass of informations uniformly without regard to their message and to their importance. But this is not the case. The sequences of letters "hrza" and "Haus", i.e. the German word for house, for instance have the same quantity of informations, but nevertheless they are distinguished by the perceiving person in the decisive way according to comprehensibility in the sense of meaning, as Christa Sütterlin emphasizes. The general evaluation of artistic work on the basis of universal patterns of meaning is the same as the investigation, if and how it fulfils the above mentioned tasks which are its responsibility, i.e. at the same time the aesthetic function as well as with it any other tasks that the community imposes on the art according to the zeitgeist. The aesthetic quality of the artistic work cannot become valued consciously according to universal legalities, for its uniqueness as automatic event's quality, by that the artist expresses himself very personally in a direct guessing, emotional and sensitive way using all kinds of keys of order, has its roots within the unconscious dealing with the prevailing underlying stimuli activating transphenomenal event. And both, the transphenomenal event as well as the unconscious, evade the consciousness. Merely subjective unconscious experience can help restrictedly in the valuation of this side of the artistic work. The fulfilment of any other functions of the artistic work that concerns the more or less conscious handling of the aesthetic uniqueness, in particular its social integration, its social relations and evaluations — inclusive that in the scope of orders of thinking — in contrast can become reviewed to a certain degree. Today's task is — as mentioned — above all the participation in the realization of life, in particular of human life, within the action's community of nature and culture. Thus artistic work primary is a social context-orientated problem and only secondary an individual one.

7.2
  • The notion of participation art corresponding to the new paradigm shift reverses the previous way, to reach ethics coming from the art, like from the aesthetics of the fine arts: Artistic work has to become harmonized with life, the good life, and not life with art. It is neither possible, to reduce all questions of justice to questions of well-organized striving for happiness, nor the latter can provide a sufficient analysis for a good life. The men judge from the point of view of the individual ethics, if values and norms for the single person are lucrative easily "for the sake of their own", are convenient. And they deal with them from the perspective of the bound to rules, i.e. normative, social ethics, if they match a humane society, i.e. if they are just with regard to all. The aesthetic conduct, i.e. the striving for subjective pleasant sensation as well as for individual bliss, however, neither is able, to provide a sufficient analysis of good life, nor it can solve all questions of justice. The aesthetics with that never can be an example for, nor a clean part of the ethics.

  • One rather has to ask for the value of aesthetic practice, of its effects, within the whole. Aesthetic practice on the one hand is an intensification of existence that opens possibilities of a presence steered by the senses and becoming conscious of them as participation in the reality's construction. This intensification, however, on the other hand at the same time encloses a — more or less — radical distancing: Aesthetic practice refrains in different kind, namely from functional conduct as well as from sense handed down. It goes through a variety of attitudes towards vivid world reality, namely of participation and of distance, for the sake of the by this opening leeway. Artistic-aesthetic autonomy insofar means different point of views in respect to the same or similar phenomena. The aesthetics becomes as mundane conscious handling of the perception's keys of order, that doesn't any longer glorify and transfigure life's reality, but rather penetrates, questions and shakes it, an internal corrective of the ethics, a constructive part of a "widely understood ethics". It insofar has to be perceptible as a differentiating part of an own kind. Otherwise both, the ethics and the aesthetics, will be destroyed in this compound.

  • The relationship of the ethics with the aesthetics is complementary, namely at the same time positive and negative: It is positive, as the aesthetic has to be ethical in a vague extensive way in the end, namely a conduct that is good for the man. It is negative, because the aesthetic under no circumstances is allowed to be ethical in a congruent way, so that the demand is not valid for it, to be responsible in the narrow exact sense of the conventions. The ethical good of the aesthetic is not the ethical in the narrow sense ethical, i.e. the conventional responsible. It doesn't aim at giving the traditional ethical values a new aesthetic shape, but it intends, to procure freedom from the binding conventional ethical values. The good of the aesthetic only is in this difference, i.e. in the negative freedom of the aesthetic towards the merely traditional good.

  • The critics are right, if they point to the dangers that threaten the ethical order of responsibility on account of the unfolding of the artistic creativity within this freedom. But they are wrong, if they think that the acceptance or rejection of this aesthetic freedom only depends on a decision. For there isn't possible a decision between ethical responsibility and aesthetic "irresponsibility", as in the scope of the whole only together the ethical attitude of responsibility and the aesthetical one of distance and play make up human freedom. Its task doesn't aim finally and functionally to the ethical responsibility, but it is creative within the frame of the growing self organisation, i.e. it is borders transgressing and expanding, with it throwing off conventional chains. Insofar it aims at a brighter more extensive point of view, not least to give man a suitable life-serving relation to the ethical responsibility. All growing happens at borders.

  • The aesthetics always embodies the true too, because it stems from the deep broad sensitivity and introspection of the artist, yes, of the man, from the spectrum of all his soul's functions and soul's experiences, in particular also of the keys of order, and their mechanisms, forcing him to creation. It is a special capability of perception as to reality, an "objectivity of the subjective, a rationality of the irrational, said more exactly a reason of an emotion, wherein something subjective shows itself, precisely in its subjectivity, as objective, as insight, understanding", as Carl Friedrich von Weizsäcker expresses himself. The aesthetic breaks into pieces the appearance of objective truth as well as the claim to absoluteness that conventional ethics claims for itself without alternative from the inside of its system. Only by the aesthetic freedom man gains a perspective on the ethical attitude within the scope of life's self organisation, wherein it still appears to be one perspective among others. The man needs the aesthetic freedom from the ethical attitude, i.e. the possibility to be able to stand outside it, namely as leeway, freedom, for the incomprehensible life, for the spontaneous magic events of the self organizing reality, inclusive for such ones of artistic and scientific kind, and to hinder in this way his isolation from creativity. "Finally it therefore is another conduct in the ethical world that is gained by the aesthetically opened other relationship to the ethical world", Christoph Menke summarizes.

  • This freedom of the aesthetic towards the ethical restriction is at the same time risk as well as chance: It is the danger of insensitive indifference towards the ethical-political responsibility and the favourable possibility, to transgress and to expand this responsibility coming from a richer point of view, but with that not to cross the border to dangerous chaotic freedom, to chaos. Therefore only that person is able to seize the opportunity of the aesthetic freedom who neither denies its risk, nor avoids it. Only then reality and life happen in the scope of the double-strategy of freedom in order. The actual width of this freedom depends on, how liberal the organisation of the prevailing community really is.

7.3
  • The question about the role of the beautiful within aesthetics, namely in special within art, is the one about its prevailing effect and meaning. The archetypes of symmetry and complementarity have — as already mentioned — an existential importance for the survival of the men that will lead to responding very strongly to symmetrical and complementary phenomena. And as the roots of beauty reach to the collective unconscious, therefore it is an archaic concept being tough from the temporal point of view as well as generally accessible and with that in principle well suited to be also the basis of culture and art, today expressing in particular in their borders crossing varieties. Probably such phenomena are valued as beautiful that come as to their importance and sense nearest to the prototype, ideal, of beauty stored in the brains, whether they face it within supra-cultural, in cultural and respective or whether in individual shapings. The aesthetic in the sense of symmetry and complementarity on the whole develops into beauty as ideal and reflection of a good life and of all-embracing perfect order — in freedom, as reflection of life-serving self organisation. By the beauty of an event, above all of an artistic work, is perceived joined with it as well at the same time, as Carl Friedrich von Weizsäcker says: "the mysterious reality of the beautiful", the sense of beauty. And he continues: "Beauty is a joined perception of the essential to life, but indirectly, without the emotionalism of necessity". It is among all aesthetic states of irritation a special experience, namely the experience of the reflection of the true and good of the aesthetic being the ideal of the prevailing greater and richer within the creative whole, of the ethical in the wider sense in respect to the single case.

  • The artist as well as — by understanding — the recipient using the aesthetic perceptions causing artistic work steadily search for experiences being good for the individual from the point of view of the individual ethics. The unique irritating aesthetic shape is used, to symbolize the existential relationship between the world and man in an event-orientated and up-to-date way, i.e. at the same time to encode the event and — as far as possible — to provide the key for the decoding. Here always is at stake too the individual sensorial joined perception of a concept of order concerning world reality, inclusive the own self each time, to gain an exemplary orientation for the living together of the creatures, and even also the insight that there doesn't exist anyone from the beginning. They search for a lasting and reliable sense assigning to them a firm place within world reality where they can develop by their living self-confidence, love of life and drive, swing, power of judgement as well as power of solving problems and can unfold an optimal life-serving participation in reality, in reality construction. The sense for beauty is inherent in man and it occurs always suddenly and unconsciously. The human spirit blows where, when and how it will, in all areas of life, like for instance in the spheres of art and of science. If one follows the opinion of Wolfgang Pauli and Carl Gustav Jung, then incomprehensible transphenomenal events irritate the archetypes of symmetry and of complementarity that at the same time produce outer physical symmetry, beauty, perfection, as well as inner mental symmetry, harmony, bliss. If according to this opinion in the single case the suitable unique artistic work appears to a perceiving man with an appropriate mood and stimulates within him the archetypes of symmetry and complementarity waiting for experience, then within himself get sorted out subjectively, spontaneously and directly the sensory impressions of the artistic work being collected by the senses forming a bright and clear sensory symbolic beauty, namely an outer symmetrical complementarity and an inner tensional harmony. Then in the given case exists for the perceiving man a beautiful artistic creation standing as well for the perception of the essential for life in the wider sense, regardless of whether the event forming the basis of the artistic work actually takes into consideration the essential.

  • If the beautiful art work fulfils its promise, the community judges, i.e. men value the creation from the point of view of the social ethics. From its point of view the beauty of an artistic work consists in the fact, that and so long it succeeds to attract attention by its aesthetic uniqueness within the common self organising living together as well as discourse and to have — orientated at an event — an ethical effect, namely — as said above — in the wider sense. Above all it is about that the artistic work as aestheticic medium offer and regulation's tool fulfils also its functions assigned to it by the zeitgeist and produces — if necessary — life-serving processes in the perceiving person and within the community. It shall not impose an ideology, attest a not binding aesthetisation of the world, express senseless curiosities or it shall not serve the laziness of the perceiving person. Carl Friedrich von Weizsäcker writes: "It (the beautiful) redeems from the blindness of the notion, but it is not allowed to play it off against the reason that learns to see by it. The deep rift between ethics and aesthetics shall not be reconciled. Still during the festival we shall be accompanied by the awareness that the subject is: Bread for the world. Still when being working on the bread the painful bliss of a melody shall be with us."

  • The inner measurement's system of beauty of a person as well as that of a community changes gradually by the received impressions and through the made experiences. Also here the way leads from the more simple to the more complicated. Commitments of the aesthetic, in particular also of art, to an ideal of beauty according to any systems of rules, like traditional instructions of symmetry and complementarity, are always problematic, yes, wrong, as man's structure of order — as already mentioned above — includes a fullness of sensory perceptions and kinds of irritations striving to experience and extension that want to become stimulated, activated and crossed, i.e. intensified and widened - for life's sake. One rather has as to the aesthetic in principle to start from the broad spectrum of all unconscious soul's experiences and keys of order of man that together with the consciousness altogether play their roles in the growing of life and creation through perception. The horizon of perception will — granting more freedom — become expanded. As to the aesthetics, inclusive the beauty of art, is meant the above mentioned freedom from the binding conventional ethic values. Within its frame artistic work can reach through all phenomena distorting or covering up reality. It can contain the information of the breaking into of unruly natural powers in a very shrill way and up to the denial of the being, i.e. of powers existing side by side and possibly expressing themselves in the artistic work by a very own bulky language's character not being subject to a reconciling design.

  • The double-strategy of self organisation being valid for the world reality and for all of its systems has to form as decisive significant strategy of symmetry and complementarity the basis of today's beauty, however bizarre it may be in the single case, i.e. the dynamic strategy of freedom in order, namely that of variety and richness in unity and balance. This active model serves the perceiving person as pattern of discerning and of orientation, all soul's functions as means of order and of understanding, the acting, inclusive the participating, as principle of usefulness as well as of designing and it serves the whole as main thread for perfection, be it as expression of absolute power, as depiction of mental harmony, as a symbol of divine omnipresence and omnipotence up to the symbol for emptiness with regard to content. The beauty of art is the reflection of the action's and creation's community of nature and technical culture as organic peace order by self organization.

  • Every "egoistical" process of independence by single tendencies means an inappropriate behaviour disturbing the mechanisms of the self organisation, as above all for instance man's striving of dominance over nature. Every order as end in itself produces stiffness. Klaus Mainzer insofar writes for example: "The idea that symmetrical structures are of absolute evenness and of cold regularity and with that fascinating, but also unnatural and having an effect being hostile to life, possibly is a very old intuition of men." And: "The attraction that the beauty of really living women is holding for us isn't based only on the fact that they are out of flesh and blood. Also here the little differences and breakings of symmetry opposite to the idealizing expectations of proportion play a not inconsiderable role. The boredom coming from the 'ideal' measures of some modern 'beauty queens' as well as 'pin-up girls' may be a proof of that. Only breakings of symmetry create individuality and, if one likes so, 'personality'. This attraction of the exceptional, however, is felt within reality only, because it is related to general proportions." One-sided egoistic freedom is manipulation, arbitrariness and leads to chaos, to chaotic immoral "freedom". Insofar should be pointed out that fascism and communism abused the aesthetic. Artistic freedom for the rest enable tendencies to reverse, where Hans Sedlmayr points to: "It is easy, however, for one to overlook that here and there out of non-art and anti-art comes into being art contrary to their programmes — perhaps an 'absurd', a 'magical', a 'black' art, but yet art. This flaring up of art out of its ashes is a fascinating spectacle

  • Here still has to be made the note that every beautiful shape always only can become experienced where differences, breakings of the system, have already occurred. It is itself expression of incomplete symmetry and complementarity and has in a certain kind an "ugly" side too. But it can stay combined or rather combine anew with in principle equal in rank differing partial systems by balancing out and reciprocal stabilizing. With that it happens that it is subject to the rules of the essential for life not only as to the own system, but also concerning the ones of the "higher", i.e. of the more complex, richer, common system. The principle of beauty and perfection of the world reality's self organisation subjects all existing conduct, inclusive the — perceived superficially — ugly one in the interest of the growing whole to a claim of harmony and causes all to head for the "successful shape", always anew. And all conduct, the breaking too, of every self organisation, inclusive the world, only is understandable before this background, before the ideal of symmetry and complementarity, i.e. of beauty.

  • Today succeeding actual beauty in reality is the self-generating and self-maintaining self organisation of world reality. Within the beauty of world reality symmetry, chaos and evolution are related to each other and form an unity: All is interconnected with all and the chaos is not absolute, but only relative, just in respect to the position of the perceiving person. If one takes the viable position, applies the fitting sight, then there is always dynamic symmetry within the fractal, the breakings, the chaos, the grey of the future and within the little things of the ordinary weekday.

  • And successful artistic beauty is its reflection by that it points to these connections. Sometimes the post-modern artist succeeds in creating a shaking expression precisely matching the actual zeitgeist: the nothingness or all that what man is going to lose through his irresponsible conduct today. It is artistic beauty as shining, better: irritating, form and formula borne out of the essential for life — without the emotionalism of necessity, of the direct handed down responsibility. Human spirit becoming the fitting form, shape, is mastering the incomprehensible actual reality and becoming mastered existence itself — as construct. Artistic work then becomes the joint perception as well as the ideal of the sensorial worth to be looked at expression of deep knowledge teaching amazement, admiration, awe, love and ordering protection and maintenance as to the vulnerable life, always anew.

8. Enigmatic

This sight of the things is actual in a time in which many men are sceptical in respect to technical efforts, in particular to the use of electronic media, in which the faith in the beauty vanishes and the fear of chaos as well as of stiffness grows. In the end again should be pointed out that the beautiful artistic work doesn't solve the enigma of beauty what has no importance. Decisive is rather that the artistic work opens doors into the world and into life, although without knowing absolute rules of conduct, inclusive such concerning the making of art. The artist only can steadily ask new questions, find out new doors and point to them

(HeMi13.08.03/4E).

Reproduction of this text - complete or in parts - is allowed provided that the text is not changed, source is mentioned and a copy of the writing, publication etc., where the text or the extraction of it is included in, is sent to: HeMi / Postfach 500365 / D-60393 Frankfurt am Main / Germany

email Henning Mittendorf: HeMiSpheres@t-online.de

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updated 9/21/2003