La dimensión del Tiempo: Teoría Estética y Teoría Política

Abstract

The materialist theory of the philosophy of art, framed by the combination of aesthetics and political theory leads us to question the effects of perception. Rousseau's heritage, literature and art speak differently about the field irreconcilable policy should describe things as they are. Hobbes from his view, argue that describe similarity involves understanding the policy, and therefore reduce it to management. Thus, in the Hobbesian conception, the State holds the fragility of an order that has no foundation myth. A void that rests on a shared history, a sense of representation in the construction of a hegemonic order. The aesthetics and politics as a subordinate to a variable that Nietzsche's "Ecce Homo" would define it as Decadent Tempo: cadence in decline. The time is combined as the fickleness of life in Shakespeare, but also in the Meninas of Velasquez. It is the emergence of time in which so clearly show the power production of meaning, and that connection is not essential or foundational. The multi-dimensionality of time is a pedigree of looks and eager approach to collective knowledge horizons through art. The idea of time is structured as a hinge to reflect on the combination of the fields of aesthetics and politics. The Walter Benjamin irrupt time is not linear and homogeneous. The Angelus Novus by Paul Klee is the term catastrophic chain of events that reveals the angel of history, defining the storm's progress. Among the ruins is the religion to be passed and on which the mythical being wants to return, looking for the old certainty of an order that is imposed on the chaos that lives in the storm.