non-space or aesthetic of autonomy
Autonomy and authenticity are based on the primordial aspiration to be a complete being through consciousness and to have the possibility of self-expression or self-manifestation.
Different ideas and ambitions are laced back to that aim, and beauty is the most immediate and material approach, because, among other things, beauty is perceived through senses.
This vision of completeness and infinity of the being – the sublime – finds an affinity in artistic works as an expression of the human ideals and of the awareness of human’s conflicts with the condition of life. There are different definitions of autonomy and authenticity, but we could say that autonomy and authenticity are active if awareness goes beyond the limits of used mental structures, reality and judgments in a continuous process and therefore come to conditions of taking responsibilities and decisions as individual and collective being.
In artistic operation is expressed autonomy and authenticity, which is the definition, the auto-definition, of art. Consequently in art-works lays a moment of reflexion; alternative processes can be initiated as the artistic operation continues and will be constituted in the mind and being of the viewer.
I call this moment of reflexion and inner dimension non-space, which lays beyond the limits of consciousness and thinking, limits, which create space and reality.
As beauty is part of the sublime, aesthetical research can lead to critical analysis and to new strategies to gain autonomy. Visualizing intangible structures can push the question to the surface of the accepted reality structures, conducting to ”openness” for new possibilities. This “openness” is a non-space in which potentially awareness is produced and as a result, the possibility of development of an alternative reality can take place.
Artistic operations are based on visions or utopian views. The utopian view is focused on essential qualities inherent in all human beings.
In an artistic production, the materials and elements of a given context and their relations between them are assimilated through the individual process of self-reflection. By this way, materials and elements are transformed and can be translated in other contexts of relations through the artistic language or expression: the art form or poesis.
If the form of expressions corresponds with the condition of truth and authenticity of the subject, then an artwork offers spaces. This space is for the viewer a situation of participation and continuation of the process. The participation and continuation can be mental as well as physical, but in any case, they conduct a transformation of reality. The artwork gets to be a condition of possibility of transformation. The forms or manifestation of artistic expressions will be shared that means to communicate in order to offer mental and/or physical participation and to continue the process despite position and context of the audience. Communication gets back the sense of “creating community”. The more space and possibility of communication exists the more possibility for culture can transpire.
A change in society through the model of mental activity and communication by artistic operations is possible. That is the reason why different forms of capitalistic interests undermine the aesthetical approach for awareness of autonomy and authenticity: the beauty as aesthetical apperception is influencing immediately and ideas and vision are transported to the viewers.
There is always a reaction either in acceptance or in rejection, but it happens IN the viewer and can continue with an unforeseen multitude of possibilities. The sedimentation of artistic operation can be found in different cultural and social outcomes as taste, as interests, as ideas and so on and so forth. The expected outcome is an access to the non-space for reflection, in which is stimulated transformation processes, collaborations, discourse and strategies for intervention in the different social strata.