the BIG machine ART

IGOR BOŠNJAK

                              

A man or machine

 

I’m going to say something to those who despise the body... A soul
is just one word for body. The body is a great wisdom, a cluster with one
meaning, a war and peace, a herd and a shepherd.

 

The Cartesian dualistic theory of dividing the mind and body was criticized from the very beginning, since its first appearance. In his work “Machine Man” (1748.), Julien Offray de la Mettrie explicitly rejected the Cartesian theory and suggested the existence of connection between the material (the material body) and the one signified as esprit (mind, spirit or soul), claiming that the different conditions of soul are always connected to those in the body. The Cartesian logic emphasised the fact that the body needs to be transcendental, i.e. according to Freud’s terminology, it has to be either repressed or neglected. It should be pointed out that, even though the repressions of the body had been successful in the Cartesian theory, the body still had considerable and important repercussions in the discourse of the history of art. In the second half of the 20th century, such discourses are reflected within the mechanisms of binary or opposing relations according to performative basis: body/work of art. (...)

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ČOVJEK I MAŠINA

 

Reći ću nešto onima koji preziru tijelo… Duša je samo
jedna riječ za tijelo. Tijelo je velika mudrost, mnoštvo
sa jednim smislom, rat i mir, stado i pastir.

 

 

Kartezijanska kritika razdvajanja uma i tijela osuđena je još na početku, prilikom svog prvog artikulisanja. U svom traktatu Čovjek mašina iz 1748.godine, Žilijan Ofrej de la Metr eksplicitno kritikuje kartezijanstvo, te špekuliše o postojanju veze između materije (materijalnog tijela) i onoga što označava kao esprit (um, duh ili duša) objašnjavaući da su različita stanja duše uvek u korelaciji sa onima u tijelu. Kartezijanska logika je naglašavala da tijelo mora da bude transcedentno tj. po Frojdovoj terminologiji tijelo je moralo biti potisnuto ili ga se trebalo odreći. Treba naglasiti, da iako su uspješni pokušaji potiskivanja tijela  u kartezijanskoj misli, ono, tijelo je imalo duboke i važne reperkusije u diskursu istorije umjetnosti. Takvi diskursi u drugoj polovini XX vijeka se očituju unutar mehanizama binarnih ili opozitnih relacija po performativnoj osnovi: tijelo/umjetničko djelo. (...)

 

 

 

 
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