"The beauty is concerned, however, the conception of self and the fullness of their own feelings about themselves and the world. In this sense, may indicate the ability to listen to the echoes of his inner world in relation to others and the outside world. " And 'This is one of the most delicate passages and imbued with meaning. Beauty, like Ugo Morelli rightly points out in his fine essay, "has an individual dimension, affects everyone and, consciously or not, all we contribute to the beauty or the disharmony of us and the world. In this contemporary world characterized by the most people from non-time, the concept of beauty as fullness the sense of self and the world is likely to be infected or, better, soaked by lack of time. Not that it connotes beauty as a negative, but certainly it is substantially altered the perspective. As with Duchamp's "Fountain" in 1917 (one of the works that Ugo Morelli singles in the opening essay published by Allemandi) had forced her or the one who looked at what had been a simple urinal, repositioned by the artist, to understand the meaning of an object transplanted from the ordinary world the domain of art, so the human being of the third millennium needs a new paradigm for the concept of beauty and the "feeling of fullness of the self and the world" he writes about Morelli. Although it is true that the world is full of vulgarity, it is also true that they are human beings to "fresco" living and the world. And if, as Ugo Morelli exhaustively argues in his essay, the human being is an "infant symbolic" and yet, if one of the features that distinguishes the human infant from other animal species and different self-autonomy (the puppies animals become very independent, long before human beings), then there is a great need to understand the minds and more mature (not children) of some human beings, develop, create, invent and propose paradigms that recognize themselves and the world for a transfer which becomes recognizable. What changes in the contemporary context is, inevitably, the narrative of self and the world. The provocative work of Duchamp submitted the exposure of Independents in New York was, as might be expected, the Squad subtracted from the organizers of the exhibition. The purpose of Duchamp, cancel any clue traditional narrative, it was not easy to understand. In fact it is not immediately recognizable that the urinal, when, repositioned, it becomes "Fountain" is a subject of "transparent" to its meaning. More: it is triggered by the object recognition but not centered on it. So more does not concern the existence of the time, but even that experience or understanding of the viewer. The readymade "Fountain" transforms the linear flow of time: there is no progression between the eyes on the object and understanding of its meaning. Duchamp gave the experience of art as well as a circular shape in the same way we groped to make us understand ourselves and the world. "The fullness of the feeling of self and the world can not ignore that triggers a circular understanding of ourselves through our relationship with ourselves and ourselves with the world. But this, as beautifully explained in some chapters of "Beauty and the Mind", implies recognition of the human being, not as self-centered, self-report but on the other. Move the meaning of self from a concept centered on 'I', rather than the "we", as Ugo Morelli argues, means re-configuring the human being. Extend your space, the conception of self, in a perspective of relationship also means to create, to conceive of a circularity that perhaps we do not see, we can not under-stand. Why, given that we are not objects, to reposition ourselves in relation to ourselves and ourselves with the world, requires a profound dialogue with our "embodied mind". The mind, giustappunto, is "embodied" in us and its location-position with respect to us and a change of heart on the relationship of ourselves to ourselves and ourselves with the world is no easy matter. But, like installing a readymade arbitrary in the space of a gallery of art forces the viewer, forcing him to consider the strangeness of the aesthetic context itself , so we should look ourselves beyond ourselves, including taking an extension of our space, "myself in relation to me, me same with the other and the world. " And as if there were any need, like another work of Duchamp "slide containing a water mill in nearby metal, a glass bottom. As if our "I", "us" and the "world" could be com-ing in a space between two panes of glass and we could look ahead, see us in a different context from our minds. The transparent background extends beyond us, our space would reject our narrative tradition.
Although it is true as he said Constantin Brancusi, to stay in an artistic context of the early decades of the twentieth century, that "there is a purpose in everything you need to do to catch less than themselves, "then to understand the meaning of ourselves in relationship to ourselves and the world, we must deny ourselves and change, or rather disfigure the design ourselves. Just like he did with his sculptures Brancusi: a deforming ideal geometry and, as with "The Beginning of the World", attributing everything to a matter of positioning. Thus forcing the viewer to recognize the work that the substance has a unique way of entering into the world, and where is the position to "betray" the state of being work.
Part of the charm of the essay "Mind and Beauty" lies in having a debate, a place, even a non-place, a dimension beyond our usual "places", a new perspective on rinconfigurazione ourselves. And because we humans distinguish ourselves from others in the animal world for our aesthetic experience, or at least that we believe the overall vision of the concept of us and the fullness of feeling about ourselves and the world depends on our position. The perspective from which we look at what com-takes? How do we meet? What we want to see and under-stand ourselves? And the others? As we live in the report with ourselves and ourselves in relationship with each other?
are some of the many questions that need answers, or rather, assumption of new perspectives. Because there is no doubt that the vision to innovate ourselves in relation to us and the other from us, the time - not just intended as a measure of the evolution of Homo sapiens sapiens - plays a key role. It is not just deciding to cancel the conventional meaning of time to give us a new direction and pace of the relationship with ourselves and with each other, which ends the search for "self-conception and the fullness of their own feelings about themselves and the world. " Take our time in a perspective that we understand how to report, that - Ugo Morelli writes - "which is a fundamental part of us and that allows us to redefine the idea of \u200b\u200bourselves in relationship with the mind, brain and world" , also means to deal with a simultaneity But from the rhapsodic. The pace of our time is fast, frantic, anxiety and anxiety tormenting our bodies, our minds mess. Spasmodic feelings through us. A schizophrenic rhythm accompanies our action. The search for meaning is moving on a score which is interrupted here and there abruptly. The trend of our time must come to terms with our very survival. To characterize our search for meaning are not the most devastating wars of the twentieth century that led to the avant-garde art of Marcel Duchamp, Kazimir Malevi is or Piet Mondrian. Our aesthetic experience has to deal with the anxiety of the exhaustion of certain natural resources. The exploitation of natural deposits underground exasperated carbon and hydrogen - the oil - black gold of our time, has completely changed our lives by impressing not only a different pace and frantic but diverting our search for meaning to being a consumer and confusing unrestrained. The aesthetic experience compares with the torment of survival, given that the economies of the world revolve almost exclusively around the discovery of Edwin Drake, the American who opened the first profitable oil well in the world. It is no coincidence that the new wars arise for reasons not well defined, are defined war against terrorism and the areas of conflict are the same as large deposits of untapped black gold.
The reconfiguration of ourselves can not avoid social and economic context of the world. The transition from a strongly centered on the unbridled exploitation of resources and material on the enrichment of a few elite, to be a new and different balance in the world involves being human in its entirety. And it is always through art and aesthetic experience that begins the new research direction, especially at a time of historic change, that humanity is about to experience, consciously or not.
