The Lab's Quarterly, 2008, n. 1

Page 104

Il Trimestrale. The Lab's Quarterly, 1, 2008 104

consists in greatly reducing the tension of the elements in a work of art- carrying out a complex operation of simplifying the creation down to its most basic elements in order to bring about its understanding. In Freud’s opinion the faculty to reduce neuron tension is the only inherent thing present in human nature from birth. This aptitude does not obviously apply only to art but to any existing communicative form. The increase in entropy is due to two different effects: the impulse towards simplicity and disordered dispersion (the construction of new order levels). Both these effects aim to reduce tension. However that which we perceive as disorder now may not appear so to us in the future. We base our interpretation of order on the conception we have of order in a given moment in a given society. Order can move away from these binding elements but needs to adhere to two important characteristics: homogeneity and internal consistency. It is easy to understand that in its consistency the symbolic complex will be incomplete and therefore will present an overly tidy order at a later stage. The situation is like that of “Chinese boxes” in that when you open one hoping to find the object of your desires inside you are invariably disappointed to find not the object





process continues and will do so until man’s

extinction. Up to this point we have concentrated on describing the possible keys to the understanding of this situation, focusing on methodology but we have not yet “framed” with sufficient clarity what art actually is. Defining art today with our cumbersome store of experience seems a titanic and nearly impossible effort. We, as relais have become polluted and continue to pollute our message. A major act of reduction is called for, forgetting the developments in the history of art, in order to reach a less ideologically polluted understanding. We can begin with a statement by Denis from an article on Guèrin written in 1890: “remember that a painting- before becoming a tour de force, a nude or any other anecdote - is essentially a flat surface covered in colours which have been laid out in a certain

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