Paper - Changes in mindset - Rodolfo MoguillanskyEl "common sense" is a historical variable - Through a review of the Western mind, the author warns that "the notion of singularity, as implied by ideas of the unconscious, always is under threat of being lost and humans are trapped by simplistic images of common sense "(page 12, now) + + + In every society has ruled, throughout history, as José Luis Romero (Study in the mentality Bourgeois, 1987) called a mentality, defined as "the set of habits, specific ways of life, operational ideas that work effectively in a society that has never been set explicitly and systematically, which have not been ordered or have been the subject of a treaty, but but nourish the thought system and governing the system of social group behavior. " The mentality of the time plays a central role in the conditions under which a human subject is subjective. From a similar perspective, Arnold Hauser (Theories of art. Trends and methods of modern criticism, Ediciones Guadarrama, Madrid, 1975) argues that "everything in history is the work of individuals, but individuals are temporally and spatially in a given situation, and their behavior is the result both of their powers and their situation. "In the preface to The Order of Things, Michel Foucault argues that" when we raise a classification thoughtful when we say that the cat and resemble dog less than two greyhounds, even if either in captivity or embalmed, even if both run like crazy and even if you've just broken the water pitcher (Foucault alludes to the text of Borges 'The Analytical Language of John Wilkins') what is the basis on which we can establish with certainty, "from what 'table', depending on which area of \u200b\u200bidentities, similarities, analogies, We have acquired the habit of distributing so much different and similar? What is this consistency? ". Foucault concludes that "no, not even to the most naive of experience, no similarities, no distinction is not the result of a specific transaction and the application of a prior" means a system of elements. This "system of elements" presupposes a space of order. Romero would say, a mentality. We would add: a sense of order común.El space, the mind, common sense they have formed the various human knowledge, had, as developed by Foucault in that book, different responses to throughout history. He argues that in this episteme has been two major discontinuities, which inaugurates the Classical age, the Renaissance, which, in the early nineteenth century, marks the threshold of our modernidad.Imposible to cover part of the nineteenth century, the configuration based similarity permanently change: drop the similarity theory of representation as a general basis of all orders, expires hitherto indispensable link between representation and loved, the historicity penetrates into the heart of things, isolates and identified in its own coherence, imposes those forms of order implied by the continuity of time. With the advent of modernity opens, between representation and thing, an impossible gap cubrir.En this European movement, which begins to shake the idea of \u200b\u200bthe similarity in performance as a general basis of all orders, takes first place what is happening in Vienna in the late nineteenth and early twentieth centuries. In Vienna, at the time, was one of the most attractive and evocative processes in the history of mankind, a time when psychoanalysis was born. William Johnston (The Austrian Mind, An intellectual and social history 1848-1938, University of California Press) linking what happened in Vienna in late nineteenth century the wave of liberal revolutions of the mid-nineteenth century in Europe, believes that this time privileged that took place in Vienna is to some extent a consequence of them, in relation to the relevant political role of the liberal bourgeoisie 1860.Las after liberal revolutions of 1848 in Europe occurred almost simultaneously and all were imbued with an atmosphere very romantic-utopian similar.Esta rhetoric "springtime of peoples"-as they were called, did not last, but the rest left as the consolidation of the bourgeoisie in the Old Continent. Bourgeois revolutions should have been but the bourgeoisie did not participate in them: known to appear as the moderate option, which while stabilizing the system opened the possibility of liberal innovations (Eric Hobsbawm, The Age of Capital, 1848-1875. Grijalbo, Barcelona, \u200b\u200b1998). The political consolidation of the liberal bourgeoisie had one of its strongest expressions in the Vienna urban reform, which broke down the wall that surrounded the town old, which was replaced by a modern street, the Ringstrasse. The buildings that bordered were not dominated by utilitarianism Shorske Carl points out in his monumental fin de siècle Vienna, Grijalbo, Barcelona, \u200b\u200b1998 - but for cultural self-projection of the bourgeoisie, who wanted a city that reflected: "In Overall, the monumental buildings of the Ringstrasse helped forge the link with culture previous imperial tradition, to strengthen the 'second society', where the rising bourgeoisie to the aristocracy were willing to adapt to new forms of social and economic power, a mezzanine where victory and defeat were to become committed social and cultural synthesis. "In the mezzanine, where the advent of a new mentality, developed with Schoenberg's twelve-tone music, modern architecture by the hand of Loos and Otto Wagner, to Wittgenstein, logical positivism, the Zionism of Herzl, the Pan-Germanism of Schönerer and Lueger, inspirational and political models of Hitler, the Civil-subversive movement against tradition art directed by Gustav Klimt, "psychoanalysis with Freud Freud.Con underpins appearance in the twentieth century, a new mentality, in which the humanization process involves a break with the world natural.Liberar to objects" are to liberate the objects of the obligation of similarity, "said Pablo Picasso. In 1907, Picasso produced a strong shift in his work, and throughout the field of art, inventing a new way of representing, when he painted the Demoiselles Avinyó Street (known as Les Demoiselles d'Avignon). This table breaks the cult of female beauty. While it is based on the memory of Picasso from a brothel in the street Avinyó in Barcelona not intended to give him an iconic vision. Picasso made the representation that this memory is one of the most revolting of modern art, while it does destroy the figurative tradition of Greco-Roman art, on which rested the Western conception of the belleza.A the left of the composition , several figures compromise the pace tight space, linked. On the right, the composition is peat, the faces of the last two women are horrible masks. It has been in the best interests of black sculpture by Picasso, and is not a casual encounter, but how the visual representation can exclude the distinction between form and space: large oblique planes which deform the two faces belong both to the figure as the espacio.Con Avinyó Demoiselles, Picasso for the first time the painting does not only represent the appearance of reality and, in reality, feelings but also the intellectual content on the perception of reality itself: thus, the representation is the story. The painting is already trying to express the idea and the emotion that an artist has a thing for a fact, the similarity between the visible reality and the painted images no longer has value. It represented reality of individual experience: the interventions emotional, moral, or social-as conscious and unconscious, "that deforms under the impulse of desire of possession or of furious resentment, through impulses of pity or love, anguish and fear, justice or rebellion, such is the mission entrusted to Picasso fracasaEric the forefront pintura.La Hobsbawm, in a small book called behind. Decline and failure of twentieth century avant-garde (Critical, Barcelona, \u200b\u200b1999), discusses the role of the visual arts during the twentieth century, in the mindset of humanity. His line of thought follows the traces which had marked Walter Benjamin, as contrasted with the unique work that can be played mecánicamente.Muchos Hobsbawm's arguments had already stated in his History of the twentieth century. Hobsbawm points out that, for the avant-garde, the old ways of seeing the world were inadequate and art have a role in production in ways that allow new ways to apprehend him. Hobsbawm believes that the dream of the avant-garde failed and that his failure was that the plastic work was a single work, in an era that has repetition, mass production. This difficulty did not, in his opinion, not literature or the performing arts, which do have the possibility of reproducirse.Hobsbawm states that "the real revolution in the art of the twentieth century was carried out by the avant-garde modernism, but was outside the scope of what is recognized as art. " That revolution was the work "of the logical combination of technology and the mass market, and Hobsbawm writes:" Picasso's Guernica, a work of art, incomparably more impressive than the Wind, of Selznuck, but from a technical standpoint this work is revolutionary, the drawings of Disney, though lower than the austere beauty of Mondrian, was more revolutionary than oil paint and more effective to convey the message they wanted. A camera on rails can better communicate the sense of speed as a futuristic canvas Balla. "We think the Hobsbawm argues that touches a really, levels of sophistication have reached the vanguards have not been accompanied by massive changes in public views, as the notion of singularity, as implied by ideas of the unconscious, always is under threat of being lost, and humans are trapped by simplistic images of common sense .* Critical Text extracted from natural reason. The modern mind, common sense and the unconscious, and Jaime Rodolfo Moguillansky Szpilka, emerging (ed. Biebel).
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