Philosophy must understand the manifestation of ideas through particular things, with the history of art as a series of variously emphasized relations of the real to the ideal. Art is the positive objectification of the spirit of nature that is within human beings, analogous to nature’s own generation of phenomena, a crystalline, symmetrical totality.
“By what power is the soul created together with the body, at once and as if with one breath?” – Friedrich Wilhelm Joseph Schelling
Matter within the mind
For Schelling, an achieved work of art is the embodiment of the ideal within the real, not merely something through which the mind recognizes its own powers of judgment. This position is in response to Kant’s sole aesthetic interest only involving judgment. Kant’s aesthetics is never derived from things in the world, but rather concerned with transcendental faculties of the mind.
“Matter, in our view, is an aggregate of ‘images.’ And by ‘image’ we mean a certain existence which is more than that which the idealist calls a representation, but less than that which the realist calls a thing–an existence placed half-way between the `thing’ and the ‘representation.’.” – Henri Bergson
Many overt messages that quickly pass-by on an urban exploration are value propositions of dubious esteem. Only actions that are freely willed are seen as deserving credit or blame.
“Each day has a color, a smell.” – Chitra Banerjee Divakaruni
Situated in relation
There exists a tension between the conceptual as manifest in art and the incipient foundation of unconscious elements. Within a dispersed finite existence, self-identity provides an indirect conduit to the ineffable.
“All means are sacred when they are dictated by inner necessity.” – Wassily Kandinsky
The reality and ultimacy of nature approached from an idealistic perspective builds upon a model of human freedom. Part of the puzzle centers on the praxis of creative intuition as a function of action. In such productive matters, nature functions as both the ground and antithesis of spirit. Within the empirical objects of perception there exists an inexhaustible reservoir of enigmatic potential.
“An intelligent being bears within himself the means to transcend his own nature.” – Henri Bergson
Real and ideal
Aesthetic idealism and beauty is at the centre of Schelling’s philosophical inquiry. His interrogation functions as an organic view of nature that depends on creative intuition. As such, the conditions of possibility are interrelated by means of unity.
“The forms of art must be the forms of things as they are within the absolute or in themselves.” – Friedrich Wilhelm Joseph Schelling
Contact with existence is oblique and vicarious. The reality of the particular never completely corresponds to the possibility inherent within its absolute existence. All objects are more than their mutual associations and exceed their appearances.
“The philosophy of art is a necessary goal of the philosopher, who in art views the inner essence of his own discipline as if in a magic and symbolic mirror.” – Friedrich Wilhelm Joseph Schelling
Unending subdivisions of both space and time produce ideas of infinitesimal and infinite processes. Aesthetics embraces a view of the universe that includes some uncertainty and mystery, while investing in time wisely.
“Here lies one from a distant star, but the soil is not alien to him, for in death he belongs to the universe.” – Clifford D. Simak
Art seeks the essence of experience indirectly through the unity of subject and object. In beauty, maximum freedom conceives and comprehends itself within operational necessity.
“Art is an absolute synthesis or mutual interpenetration of freedom and necessity.” – Friedrich Wilhelm Joseph Schelling
Empirical consciousness arises merely in time as a function of the succession of presentations. Pure self-consciousness is an act lying outside of time, by which time itself is made manifest.
“Knowledge about life is one thing; effective occupation of a place in life, with its dynamic currents passing through your being, is another.” – William James