THEORY AND PSYCHOLOGY OF COLOR AND FORM
Introduction
Since culture is all that is remember, after you have forgotten what you learn in school, will provide my care to cure amnesia teaching by using the simple "let's pretend that no one has said anything and start over." I always hated those who say "As you know" and, therefore, this will be one of the few mistakes that I'll to do. I would also add that it always peeled with laziness vocabulary, seems excessive to me that others should do for my sake. I will be quite easy to be simple. What makes me happy is that I bet will cost no fatica.La of these pages is basically a bet lost at the start because it will be like trying to get a pool table in a box of chocolates. Topics that will try to find a place in these few lines have the characteristic of being rather bulky and somewhat complex. At the risk of trivializing it, I'll try to explain "with potatoes and onions" that would normally require more time and many other instruments. I taught in a school without the bell, where the register has never had any power, because the Academy of Fine Arts, at least as regards the additional courses, work a little 'as the jukebox once: if the music sounds is not of appreciation, those who should be listening to get up and go away. This means abdicating immediately to any form of power that is not formed by word and by the arguments that must be interesting and digestible, if you do not want to see the boys walking in the hallway. We move, in essence, the idea of \u200b\u200bjudging, the awareness of being judged. The boundaries that were put there to divide the history of art, science and new disciplines knowledge, do not make much sense, except to allow individual teachers to cultivate in peace the little gardens of specific skills. We forgive the lightness of those who have always thought that the culture without communication is an unnecessary locked room full of paintings that nobody will ever see. Appetites become satiety when the angle of incidence of hunger and table set complement each other. Fiorenzo Mascagna
At one point in prehistory, a full moon night, early man found himself on the sea shore. Picked up from the ground a stick brought to shore by the waves, and, with that stick, drew a circular sign on the sand, then turning towards what was presumably his girlfriend, he pointed to the circle of the moon. This anecdote, for the requirements of the script, I think as romantic, is the cornerstone of this great building made from language, through which he could develop the history of man. Found that the first documented attempts to describe the paintings were real and not verbal, to better understand the human journey that leads to this day, it becomes necessary in some way going into the anxieties that had to be rooted in an individual who, when he was night, did not know whether he returned the day. At a time when the man drew the sign on the sand, he found himself immersed in a world not only of nature that knew no fear and in fact, found himself immersed in a world of language. The objects for us are the words that express them, the thoughts are the words through which to think. Over time we have given meaning to these things and meanings are returned to us and speak to us in the light of what we have settled on. The man who runs the exciting road of progress tends to appropriate the language of the world. It 's so that the first hostile nature has become a nature that speaks to us. Our existence is different from that of our fellow man when he met an animal did not know if it was herbivorous or carnivorous, or when faced with a natural phenomenon not know whether to rejoice or feel terror. Since those days many things have changed and many of the uncertainties that paved the way for man have found a solution. We have been refining the techniques that made possible the definition of an evolutionary line, and yet we went horseback riding at the time of the pharaohs and moved on horseback until the end of the nineteenth century. The progress of which we are beneficiaries recent thing. The real momentum for a large constant revolution we do usually go back to the Renaissance, as the date has come handy to coincide with the discovery of America (1492). The path of man is more complex than a assumed linearity of history can give us imagine. Not everyone was able to set out the path opened by the master and not a few of the tribes of this world at present are within the age of full ferro.Quando modernistic attitude Picasso said that all past ages are consigned to history, while the primitive breathes within us, it will raise an assertion of value that is reflected in what has been said about the common denominator of all civilizations in the world, whether developed or anchored at early stages. We all need to eat, drink, make love, raise our children to believe in someone or something. From this point of view, and is not a marginal point of view, between us and the primitive man there is no difference. The umbilical cord that binds us to the origins saves constantly through their basic needs. It 'just that constant return to the past that allows us to identify key points made by real crossroads, for convenience, we call epochal revolutions. Primacy of language. The real revolution came when the man through several attempts, he found he can rely on agriculture. Contain a territory is not just making a social operation of an economic nature. E 'in the first place, giving rise to a linguistic dimension. The tree encountered while hunting is not the same tree grown in of a designated area. The tree grown from a small becomes large: first tiny leaves appear light, then the tree grows and branches thicken, widen the leaves and fruits grow in size up to complete the growth cycle. The tree loses its leaves finally falls into hibernation and wakes up in the spring. The "significant" tree, in this case, it generates many meanings, whereas the tree encountered during the exercise of hunting, not known in its development, equates to a "significant" the significance of the moment. After all, the real big difference between humans and other animals is that man has the ability to match the "significant" at its disposal "meaning" different. The difference between a musician who composes music and a bird that sings, it is not in the notes that are put in harmony or you get. The bird that sings, and then issue an appeal to a "significant" does correspond to a single "meaning" a musician who composes music, with seven notes, is much more, if the animal remains at the level of the signal. The language is valid because it exists, does not require any foundation. Levels analyze and understand how it works, it's useful to those who must make a conscious use, but for millions of people of different cultural backgrounds and who use it to communicate with each other, it's just essential that you use. On the other hand, so we just need to be born within a community. Saying that diachrony is perfected in the synchrony is having to do with linguistic forms that evolve in adapting to the use of social communities. The levels of language. The language consists of "signifier and signified." The child says "mama": the word "mother" is the signifier, that runs from the child when the mother is called, is the meaning. The composition of the language is given by three levels: grammar, semantics and pragmatics. Simplify. The child says "mama" and her mother runs. The word "mother" is grammatical level as their language spoken by the child and mother. The child can call his mother to countless reasons, from a grammatical point of view the child says "Mom" (because it's happy or because they fear) are the same thing, as the child says "mama" means the level semantics. The pragmatic level is given by what the child wants to achieve by saying the word "mother". These levels are typical of all linguistic forms are usable and the structure of language, whether spoken rather than anything else. Let's see if it goes better with another example. The painter paints a picture all red. The color red is the grammatical level as is recognized as red by the viewer the picture. The artist decides to draw the color in a non-uniform: the painter as he paints the canvas is semantic, to get what they want with the color red and how to use it on the framework and functions of language level pragmatico.Le . It's not over, because in addition to three levels, the language also consists of two functions that correspond to the communicative and the expressive. The communication function refers to an intention clear and unambiguous: it may be the language of flags, the stop signal, that of danger, the lights on the street corner. The expression is purely a bit 'our language clean when we talk to ourselves without being understood by others, is often the language of art and poetry, is the signifier that lends itself to many meanings, unlike the purely communicative language that equates to a significant one meaning. Imagine if the lights lend itself to a free interpretation by the driver, or if the warning sign was painted pink, which disastro.l language with which we communicate in different areas of daily life is never quite ordinary or all expressive. If it were flat it would be quite common, if only expressive be incomprehensible to others. The two linguistic functions are fundamental because they represent the extent to which all language moves. We make use of both alternative functions more effective. Just like the white and black are included clarity and obscurity, so the two functions is the shore within which runs the river of language. Communication and expression are polar concepts, such as polar concepts are high and low, good and bad, day and night. To understand how our survival depends on this shift in functions limit, just remember that for us a thought that has its opposite does not exist. When we do not know the meaning of a word is because we do not know its opposite. We have awareness of what is beautiful because we know ugly, let's say a person who is intelligent knowing what the stupidity in people, we say happy because just once in life we \u200b\u200bwere sad. The linguistic tendency is to use both functions simultaneously so that one does not disable the other. Our aspiration is an equilibrium, it is a bit 'the plow this hypothetical river holding each equidistant from the banks, except for having a capacity of movement that allows us to quickly restore any imbalances.
primitive art from the Renaissance
Although the man in the world is always with the same arsenal of eyes, heart, arms and legs, has become aware of symmetry rather late, at least compared to its origins. Beauty is not born as an ideal of humanity, but as a form of representation studied, located in the Neolithic, with the advent of pottery, its development. The transition from the Paleolithic to the Neolithic has often been described as incomprehensible and inconsistent. The man opened a hunting way of life more prone to agriculture and cattle breeding. What we have, no doubt about what we would call social progress. Eight thousand years ago in Jericho, was not only known the wheel, but there was already a social organization of the territory. The organic images that correspond to representations of animals, which had marked the Paleolithic, in the next step (Neolithic), better known as the Iron Age, give way to haunting and repetitive geometric representations. The figure that, in the time before, had confirmed the close link between vital needs and aesthetic manifestation of the ritual, inexplicably loses its primary function of evocative instrument. The history has accustomed us to match eras of social welfare an external image, through art, the same being. The problem is not necessarily the art to travel on an evolutionary line, because we know that art is not evolution, is If anything, one of the ways in which man sees the world. The problem is of a different nature. The geometric representations that have enacted full awareness of symmetry and the birth of mathematics as a reflection against the aesthetic results, would probably lead to radical change of view and mondo.Magia religione.Ricerche carried out at aboriginal tribes of New Guinea that the figures tell us geometry are closely related to a feeling of fear, anxiety, cosmic, and that through the geometry, you try to establish some kind of contact with the afterlife. It 's like the existence in the Neolithic man had found a new beginning. The aesthetic manifestations related to the magic that had represented man's will to carry on their own to determine the fate, give way to attitudes of geometric figures. From a linguistic point of view the meaning "wounded animal", which, in the time before, had an evocative meaning clear, gives witness to a period based on religious presuppositions. The transition from magic to religion revealed by a different expressive language, raises the question of bankruptcy in which the man found himself after he realized that not being able, by practicing magic, to change events to his detriment. This sort of admission of impotence, led to a different language attitude. The magic that was a prosthetic his will proved ineffective for the purpose of achieving its social welfare and individual, therefore, the natural choice was to delegate to the spirits of the most powerful direct action against the event. The geometric abstraction and the language best suited to this type of communication to the immaterial. The change indicated is therefore likely to be generated deep anxiety that cosmic incertezze.Astrazione.Con the discovery of ceramic heralded a new era revolutionary than the man had previously produced. Awareness of gestural symmetry, spurred by the construction of circular objects, also involves another kind of reflection refers to the object constructed that, while it became a container, on the other hand showed the characteristic surface adapted to receive decorative motifs. In essence, the man was found to shift his thinking from the figurative to the vessel wall of the cave. Such an exercise requires considerable capacity for abstraction, because of course, what could be done on a wall, could not be contained in the ceramic. When it is said that mathematics was born as a reflection on the artistic results, we refer to this power of abstraction that found fertile ground in Neolithic times as a result the need to reduce the figure to a symbol. Among the mathematical formula and the reduction of the figure as a symbol not There is no difference. In both cases, the concept is not deleted but dominated. The man reported signs and symbols to real situations, these signs and symbols could be read and produced by those who held the key to that form of language. And 'what could happen to us entering into a classroom where he teaches physics. We would find, written on the blackboard, incomprehensible signs. Those signs would be incomprehensible for us, for students that faculty are formulas from which to produce a thought and matematico.Bello vitale.Vitalità and beauty are the distinctive elements of art, it is natural to assimilate the two limit functions of language (communication and expression). We can say that are the backbone of any aesthetic production. If viability had marked the Paleolithic, resulting in art, with indissoluble bonds of the basic needs of life on earth, the Neolithic through the geometric emphasis on mathematical control of the aesthetic object. The subsequent return to figuration that we find in organic phase "syncretic" was a take account of previous experience. He reappeared the figure contained within a consistent pattern and the wild imagination of man, by means of geometry was finally tamed. Increasing capacity modulation between vitality and beauty allowed the creation of the "classic" that is present the work of these two functions to the same extent. What I admire in classical Greek is to achieve a difficult balance to achieve and even harder to maintain. From this moment you know the "conscience" of the role of these functions of art which, from a purely aesthetic or life, it becomes political. While we are witnessing the gradual loss of naturalness that had characterized earlier periods, where the man was born an artist necessarily, on the other we go towards the construction of an aesthetic language of syncretistic nature, able to speak a language addressed to the spirits and man. The construction of the temple, the sculpture depicts The gods are the prime example. If Greece was able to develop an art that would not hesitate to define as beautiful and vital, this has been possible primarily thanks to the need to depict the gods. The divine image included in a consistent pattern is the construction of the body as a house that must accommodate a perfect spirit and superhuman. The housing data from the body, must be as perfect as the spirit houses. What the "pagan" highlighted is the idea of \u200b\u200bperfect fusion between material and immaterial. The classic is to achieve this balance in its maximum expression of vitality and beauty. Decadence and beauty. The decay art does not match the loss of function of aesthetic beauty, but to his own exasperation virtuoso that tends to clear the form, by depriving it of its contents. The difference between the original copy of Greek sculpture and Roman is not in play clothes, and non-reproducibility of the spirit that animated the work. The decline of each historical period is characterized by powerful external manifestations. The classicism that had reached with Fidia this wonderful balance between beauty and vitality, dissolves in the Hellenistic era virtuosity of the drapery. More or less a summary of art, from the standpoint of the psychology of form, can be understood between the Palaeolithic and the Hellenistic season, at least for what concerns the relationship between beauty and vitality. Built above the rest is the modulation of factors that have determined the essence. It 's like saying that from this moment on, greatly simplifying the issue of art becomes a matter of "long skirts and short skirts." If the aesthetics of Roman copy produced an inevitable gap between art and philosophy, it certainly has opened, through the technique, a season characterized by the strong link between art and urban planning, including portraiture and politics. Story and the political use of art. The Roman villa, embellished the city, urban planning, are to a political use of art, called to correspond to the specific needs of aesthetic image of power. Back into play the relationship between communication and expression. If the classical Greek art could be as expressive and communicative, Roman art, most outrageous, shifts attention to that element of communication that tends to look like the commercials, then, is nothing but self-assertion product visible and view. This type of functional shift the opulence of a society devoted to manifestations of power, uses the communicative power of art and makes it an indispensable tool to the story. The art that is less than pay for itself to a precise external will is in fact incomplete, apparently strong but essentially fragile, because they supported a core vital. After all, if it is true, and it is true that ideas are not deep at all common and common ideas that are not deep, it is clear that the mechanism can make art an instrument of propaganda. Sidelined the contemplation that is the main condition that art has to keep itself remains the art as a narrative event, to decide where is the event itself. The subsequent barbarian rule and the consequent reduction in the chaos of an established order that has produced natural return to the origin point of what, where power could not be represented as such by man, but man the service of a divine power, preferably a single element (in cosmogonic theory of perception would say). It is not that divine consciousness was invented on purpose, we simply say that at some point in history is back and utile.Simbolo religione.E 'so that Christianity has become not only a clear point of reference, but also an essential moment of purification. The new religion could not have luck "political" if they had not submitted the appropriate conditions for its roots. In this speech has little relationship between people and faith. This is not to question whether or not the authenticity of theological thought. The reasoning concerning the taking of power by a new political status. How were the true believers from Constantine onwards, only God knows this evidence suggests analysis and other considerations that revolve around the question that probably without the "sponsor" of political power, Christianity would certainly winding roads to go. The Christian era opens zeroing in fact not only the timing but also multi-functional consciousness that had allowed contamination of various kinds. The place of philosophy in theology back to the zero point speculative experience. It takes more and more as a God-centered vision the center of the world where there is no God and everything else is thought of in terms of keeping it that way. In this long period that reaches the threshold of the fifteenth century, there is a new construction company that is not asked to take account of the past, but it itself is past, the idea that everything begins and ends with God This sort of waterproofing to history, however, has had its progressive, at least initially, when Christianity was supposed to be used, changing the meaning, iconology Hellenistic and Roman periods. Only later purification against the pagan beauty will be brought to completion. Within this hypothetical cauldron we will end up a bit 'of everything, but in some historical periods, given also the need of the hour, it gets complicated to go for sottile.Ai our eyes this time is rather obscure. The image is that of a man who seems to have forgotten that previous civilizations had left as a dowry. The art that, in Roman times, through the story, he had spoken to the individual, the Christian is transformed into a symbol, in fact taking a position opposite to the previous year. The cross as a symbol of Christianity takes on a structural value. The language spoken is the faith lived by the faithful through the croce.L 'real miracle was the transversality of the new social religion. Inside the party of faith, each could carve out a role for centuries and it seemed that every role was the right one. The resets, if they have an advantage, they have to be able to serve as a statute that is in place, represents past and present. We fly over the different interpretations that people have been able to do the same thing. Gradually the new art based on theological assumptions, develop its own language that is primarily collective needs. If Roman art had exalted the deeds of the winner with an emphasis on the glorification of human existence, the Christian project reverses this trend. The image through the allegory tends to become a symbol, uses made of the expressive function of language, as it is moving toward abstraction, but at the same time imposing the new requirement that the summary should be obtained easily and quickly. From this point of view the cross as a symbol performs the given function, where it is not possible to determine the symbols easy to read one turns to allegory. Here's how the shepherd who grazes his sheep became the Christ with his followers. It 'important that the figure can be recognized for what it rappresenta.Vitalità Medioevo.E and' vitality and beauty characteristic of medieval art, because intimately linked to the theological thought. It is the technique of the mosaic that determining even the bond of faith towards emphasizing the mystical character of representation. The mosaic simplifies the story, it humanizes the technical point of view but let in the light of the important role of completing the object. The mosaic art is midway between painting and sculpture, between figuration and abstraction of the figure. The image it offers is stylized and elusive, anecdotal and mystical at the same time. The mosaic is accomplished through the purification of art that was in the program of Christianity. The new cultural landscape aesthetic, even if divided into microcosms consisting mainly of cathedrals and monasteries is bound to the underlying unity supported by the theological principle that governs the behavior parameters. Collectivism, sobriety, the close link with the territory in that ideal blend with the Romanesque architecture that will result in the birth of Commons. And 'round the Mille substantial homogeneity that is made manifest and visible. The walled city is in fact an enlargement of the boundaries of the monastery will take place in community life. In the Middle Ages, more than in other historical periods, art is conceived as a functional society, which does not provide the prevalence "of genius." The great sign of unity that we find in medieval towns on the use of local stone, is the result of a desire that tends to homogenize the work of man in favor of the primacy of religion. The Romanesque is another crucial step closer towards humanism. You begin to feel the need of the bourgeoisie, a need for someone to hurry to invent it. E 'with the Romanesque that flows into the theological thought the idea that after God created man, he can not deny him the opportunity to determine their own destiny. Appear less blasphemous many things, especially the wealth that could be useful as a contribution to the same faith. If man has not yet woken up from the night medieval begins to turn over in bed and runs precise signals to the story that is about to welcome its risveglio.La perspective is somehow a symbol of this new season and match the gaping windows of the world, synonymous with awakening. The prospect of an era as the need arises and not as a need of the individual. Art as a metaphorical activity turns into a mirror, in which the new civilization admires herself pleased. Flower shops, inaugurates an unprecedented race that has the sole purpose of magnificence. The results to be obtained through various creative and technical devices become the yardstick by previous civilizations. The move is the symbol that leads to the representation understood as material and spiritual exaltation of beauty. It 's the presence of communication and expression, vitality and beauty that makes the Renaissance era classic par excellence. What is to be determined is a dimension of fertile metaphorical activity that has its roots in the past to build the new. All that, for reasons of historical contingency, can not flourish in this era, becomes the seed for a later time. The Renaissance, through the prevalence of genius, it is the laboratory of evolution. The story is never the whole story as possible, is to translate into words the gesture, the event, which replaces the work time, becoming time of narration. The path that leads from prehistory to the Renaissance is the construction of a linguistic dimension that mere tool of survival becomes an exercise of power. If the Renaissance through Michelangelo had established a new parameter of the relationship between society and art, to the late eighteenth century critical role will be to solidify and extend the treaty of independence of the artist. If the Renaissance perspective has made aware the meeting place between mathematics and art, the great architecture of our time have built in this report within their fortunes, following the de facto program of genius and logical perspective. The big difference between this time and those that preceded it in setting up a project related to the future. Leonardo probably knew already that he could not fly, but he had knowledge that someone would have done after him. It 's like two big hands in the Renaissance had taken the golden age moving from past to future. Created a container, all that ends up in is somehow relative of a will. To think that an era may be only good or only the beautiful is pure madness, it is fair to say that every segment of history ends up being represented by the dominant trend. As this is not a history book, but simply to trace a voice high issues that relate primarily to man's relationship with his time, is easy to ask questions and hazard responses. Since the world began is the point of view that creates the object. The viewpoint from which to observe this unwind time, has the piece of land that would not hesitate to define historical curiosity. Who has had the opportunity to attend different viewpoints about the same issues, knows the predicament of eyes fixed on what you're told and stop the mind on what you had said previously. In short, many times the opinion has been handed to us like a box to open when we wanted someone who had open us, telling us exactly what you are inside. If it is convenient to rely on the authority of others, in fact, this approach limits the critical capacity in the presence of objective facts that should make the difference between a man and a parrot. History is not a repository of unchanging facts, is the critical ability that man has read the past. The route path that has so far proceeded on the basis of a hypothetical beach in a world far away to land on the banks of the Renaissance, is a journey that marked the main stages of the journey of man from prehistoric to modern times. The less accustomed to questions of history have made a start to read that 1492 is the date of commencement of modernity. Obviously this is a convention that indicates that date the opening of a new world. If you put a problem has already set about solving the sixteenth century with Leonardo has laid the groundwork for the discoveries of which we today are the beneficiaries. Although many issues that we would not hesitate to call on science are mature later with Galileo and Newton. All 'era that we know as the Renaissance, we can recognize the merit of having dealt with today in terms of solutions to the many issues that we now take to be resolved. The attitude of an age inclined to seek new solutions, produced through the guise of art, a quality research not found in other historical periods. If through the construction of the Brunelleschi dome of St. Maria del Fiore was able to demonstrate that art and science of construction can offer solutions that are still looking up to heaven, it means that the path taken by these men of genius was the right one. The more the validity of these attitudes stand up over time, the more it solidifies and becomes great. If a sculptor like Michelangelo who has never set painter could paint the Last Judgement and the ceiling of the Sistine Chapel, it means that the eclectic artist has been able to find in this time its right to exist by virtue of the extraordinary blend of art and knowledge, between feeling and do, knowing the object of feeling. The line traces a need for this publication is to never take separated art and knowledge of the thing. This is not to return to the past because what has been consigned to history still lives within each individual that traces new paths, it is rather not to lose sight of that project of integration between the cognitive experiences of the man who can make a difference against the carelessness of our age which is soaked. Live this time without the knowledge of the processes that have accompanied the progress in which we find ourselves, is to stay out of the game of "why." We are dealing with a world far more complex than that received the deeds of Lorenzo the Magnificent. Pascal said: "If we lose sight of the science we risk becoming strangers in our time." E 'in some way what happens when we turn on the TV and do not know why that box of plastic and glass enables us to see images of reality. An artist who now wants to share his time can not create art from older editions, but think seriously about the role of art in the world in which they live. These complexities are the result of an enlargement of the languages \u200b\u200band the emergence of new ontological disciplines who have given so far of all becoming, is it related to the operation of the human body to that of natural phenomena unknown to man. The theories give way to fantastic in science are stripped of mystery, but what still remains. The
Visiones so used to seeing, we do not realize that our power depends on the complex and mysterious part in operations. The vision is an active process, one must look to see. The formation of the retinal image produced by light from the outside world is a physical process that occurs in the eye because I live in the dead, and of course, even within an inanimate object like a camera. A simple list of body parts that make up our eye does not explain anything. Its task is not to take photographs but to inform the brain by a code of nerve signals. The world we observe is much larger than 2.5 mm pupil can hold. Contrary to what would be normal to believe, the active process of vision resides in the brain, although there appears to be outside the unit that feeling brain. The retina of our eye images are projected shrunken, distorted and inverted, the miracle is that we can see them in their actual size. The eye does not have enough space nor the tools that would be required to perform cumbersome operations as if it were sent to the brain such a large number of frames in fractions of a second. Already at the time of Plato were formulated several theories on the problem of vision and some terms that we use today come to us directly from the Greek philosophers. The means of which the then available to scientists are not certain which of the highly refined, we now have, however, they deserve credit for having set the problem. Although Plato thought that the vision of objects depended on the issuance of particles present in the eye, we can say that his contribution was great, like that of Euclid which must be traced back to the first treatise on mink. From then until 1600, centuries have passed without significant progress on how and why see. Although Leonardo had guessed that the process of vision was linked to the principle of camera obscura, Kepler was the first to realize that the light coming from external objects on the retina causes a reverse image of the same objects.
