Politicization of aesthetics, Walter Benjamin and Emilio Gentile. Wicked Waltz NOT.

170px-sanzio_01_plato_aristotleAlternately, the term “the politicization of aesthetics” has been used as a term for an struggleideologically opposing synthesis, sometimes associated with the wherein art is ultimately subordinate to political life and thus a result of it, separate from it, but which is attempted to be incorporated for political use as theory relating to the consequential political nature of art.  In Benjamin’s original formulation the politicization of aesthetics was treated conceptually as the polar opposite of the aestheticization of politics, the former treated as a kind of revolutionary praxis and the latter as fascism.

Aristotle teaching


On the expansiveness of experience, “moral law.” Immanuel Kant. http://www.philosophypages.com/hy/5i.htm.


When Kant speaks about the moral law, he is essentially referring to that sense of obligation to which our will often responds. We all know the experience — we are sometimes pulled in a certain direction, not because we desire to act in that way, but in spite of our desire to act in the opposite way.

This pull is toward that moral sense which Kant believes each of us has, in virtue of being rational and free. It is conscience. Actually, it is deeper than conscience, because our conscience can be mistaken. Conscience arises because of certain structure of human consciousness — it is the structure of human reason and human will.

The Moral Order

Having mastered epistemology and metaphysics, Kant believed that a rigorous application of the same methods of reasoning would yield an equal success in dealing with the problems of moral philosophy. Thus, in the Kritik der practischen Vernunft (Critique of Practical Reason) (1788), he proposed a “Table of the Categories of Freedom in Relation to the Concepts of Good and Evil,” using the familiar logical distinctions as the basis for a catalog of synthetic a priori judgments that have bearing on the evaluation of human action, and declared that only two things inspire genuine awe: “der bestirnte Himmel über mir und das moralische Gesetz in mir” (“the starry sky above and the moral law within”). Kant used ordinary moral notions as the foundation ffor a derivation of this moral law in his Grundlegung zur Metaphysik der Sitten (Grounding for the Metaphysics of Morals) (1785).

From Good Will to Universal Law

We begin with the concept of that which can be conceived to be good without qualification, a good will. Other good features of human nature and the benefits of a good life, Kant pointed out, have value only under appropriate conditions, since they may be used either for good or for evil. But a good will is intrinsically good; its value is wholly self-contained and utterly independent of its external relations. Since our practical reason is better suited to the development and guidance of a good will than to the achievement of happiness, it follows that the value of a good will does not depend even on the results it manages to produce as the consequences of human action.

Kant’s moral theory is, therefore, deontological: actions are morally right in virtue of their motives, which must derive more from duty than from inclination. The clearest examples of morally right action are precisely those in which an individual agent’s determination to act in accordance with duty overcomes her evident self-interest and obvious desire to do otherwise. But in such a case, Kant argues, the moral value of the action can only reside in a formal principle or “maxim,” the general commitment to act in this way because it is one’s duty. So he concludes that “Duty is the necessity to act out of reverence for the law.”

According to Kant, then, the ultimate principle of morality must be a moral law conceived so abstractly that it is capable of guiding us to the right action in application to every possible set of circumstances. So the only relevant feature of the moral law is its generality, the fact that it has the formal property of universalizability, by virtue of which it can be applied at all times to every moral agent. From this chain of reasoning about our ordinary moral concepts, Kant derived as a preliminary statement of moral obligation the notion that right actions are those that practical reason would will as universal law.

Who is the God that dances in my soul? Momo Chitthe Niti Nrithe. Lyrics by Poet Rabindranath Tagore about sensuality’s commands..

Who is the solitary one who makes dance a record of souls?  Momo chitthe nithi nrithye ke je nache, tha tha thoi thoi tha tha thoi thoi tha tha thoi thoi. Thari shonge ki mridhonge, shodha baaje. The dance’s melody ushers in the Eternal One. Hashi kanna heera panna dhole bhale kape chhondhe, bhalo mondho thale thale.  Laughter and tears are like diamonds and emeralds.  Music shivers to the verse of the dance.  Nache jonmo, nache mrithyu, pache pache, life and death are equal in his eyes.  Ki anondho, ki anondho, ki anondho, as he only seeks to reward souls. Dhibarathri nache mukthi nache bondho. During the night, the celestial dance frees salvation and bondage. Shei thoronge, chuthi ronge, pache pache tha tha thoi thoi. Swaying to song waves follow You where ever You are.




Gul Bagicha, In the deceptive garden, gul also means a story. Feroza Begum, vocalist of Bangladesh. Poetry of Kazi Nazrul Islam.

Gulabāgichār bulbuli āmi rogin prēmēr gā’i gazal hai. Onurāgēr lāl śhārāb mōr chokhe chole jholomol (hāẏe).Āmār gānēr modir chōẏāẏ gōlāp kurir ghum ṭuṭē jāẏ,shae gān śhunē prēm dī’vānā kobir āan̐khi cholochol (hāẏ)lāl śhirājer gēlāsh hathē thannī shākī poṛē ḍhulē,āmār gānēr miṭhā pānir lohor bohē nohor phūlē. Phuṭē oṭhē ānārkoli nāchē bhromor roṅg pāgol (hāẏ)

I am that bird of gardens who sings of a young love. A dazzling love which is reflected in the poet’s wine filled eyes. Listening to the music, flower buds awakened. And hearing it the poet’s eyes brightened. Taking his goblet his friends have gathered; their sweetness bathing waters where the lotus blooms. Again the young buds danced like a bee, crazy as the season in which they were born.

Burke and his Rousseauisms. On ritualizing truth as in Satyagraha.

Naturalness has a meaning–a “truth.” Yet to define this artistic truth…is meaningful only in the specific situation of defense; if the situation changes, the idea, if still adhered to, will freeze into ideology.” As Kenneth Burke later stated in connection with a moderate defense of Rousseauism; “Any principles can lead to vast absurdities, if only principles persist and grow in popularity long after they have gained the end for which they were formulated. This admission is not to imply that Burke’s definition of esthetic truth was absurd; it is to assert that changes become necessary. The over-all principle continues to be immanent propriety (“consistency’);the factor of referential, scientific meaning is introduced…by equating “fact” with “belief” based on revelation. Art enters when this revelaton is ritualized, when it can be converted into a symbolic process. This ritualizing of revelation brings about a “kind metaphorical truth.” Or Satyagraha. http://tinyurl.com/lb6obwh.burke1