First
of all, itís necessary to remember that ears cannot be closed. The categories
of tolerance in the arts, or in the forms of expression, are the
ones of social and familiar education of the senses, that depend, in their
turn, on their ability of being used as vehicules of transmission of contents
previously formulated. Seen in this light, any text or image that contains
one-way messages can utilize languages like media: for example, the textural
aspect of sound or its cultural self-reference, that we call music. Letís
take note that in the case of the sense of taste, touch or smell, the standards
of production (of human creation of the sensations) act primarily on its
modification. The greatness of the taste of apples are not propagated,
rather than compote or the cake of such brand; the difference of textures
of human skin are not remarked, rather than its chemic homogenization towards
one sole aim: softness. Thus, the production of aromas strives to cover
the natural scents or its simulation in foreign contexts.. We could find
in daily observation of communicate acts and their format, constructions
that respond to unexpected and unforseeable laws that, nevertheless, are
relentless and inevitable: letís observe how the complex hierarchy trama
of the senses behave: we eat excellent dishes accompanied by delicious
wines while the television set deafens us in the restaurant... we dye our
hair but our voice doesnít change... one cannot make noise eating but it
doesnít matter what one eats... and so on. We accept the nightly thud of
the garbage truck but we canít deal with the neighbour who goes off on
the piano. Architecture and design, which are the arts that focus especially
on making easy use among the multiple uses and perceptions of our lives,
create great failures that usually arenít perceived by anybody.
Space-bound
arts and time-bound arts. The instalation has reached a reasonably unoffensive
position: the specialized thematic everyone donít create conflicts of power;
this refers to the maquette maker tradition. The static art, when it thinks
of true interventions, can only resort to the replacing or criticism of
the mass-media or of any other mechanism of power, and it can be bothered
by them as much as they're replaced by it. The static art reaches ethic
by self sacrifice, such is its use.
The
analysis of art and its current mechanisms don't keep (or keep) in mind
its sensorial categorization, when in reality are precisely those senses
that donít presume "the body of thought" the ones that explain truthfully
our world or offer another "image" of it of which the "criticism" that
practices their "servile" arts opiates us. Thereís simply one "use" and
that use is one of power. Text is technocrat language of thought. Poetry
would be all the contrary.