Guido van der Werve, Nummer Vier. I don't want to get involved in this. I don't want to be part of this. Talk me out of it (2005)
       
     
Guido van der Werve, Nummer Vier. I don't want to get involved in this. I don't want to be part of this. Talk me out of it (2005)
       
     
Guido van der Werve, Nummer Vier. I don't want to get involved in this. I don't want to be part of this. Talk me out of it (2005)

When the intellectual dimension becomes intimate, profound, silent, it sublimates any possibility of seduction of the human senses. ‘I woke up early and watched the sun rise. I felt it came up just for me...but it was not enough’. The alienation is a fine pleasure when it comes from the musical notes of Chopin and Mozart, the contemplative induction of a piano that fluctuates on a mirror-like lake. The more one watches the video and listens to the music, the greater the sensation of accessing to the universal aura blended by the artist within an alchemical space. At the end, the use of an intuitive and contemplative linguistic apparatus is nothing other than the bait to destroy whatever myth of art: the hypnotic phase in interrupted by a coup de théâter, an unexpected event, the artist that falls from the sky in the waters of a river. The irony modifies the visual categories, liberating from the aesthetic in the meaning theorized by Arthur Danto and self-humor remains the experience suggested by the artist. 

Keyword: aura

Whether it’s the notes of Chopin or those of Mozart, at times art can be an experience that puts us into contact with the universal aura, a luminous radiance of each living being comparable to the indestructible energy expressed by the Second Law of Thermodynamic. The late Gherardo Gnoli dedicated to the universal aura a research that lasted all his life, tracing in its way of diffusion from Mesopotamia (melammu) towards India (tejas), in Iran (xvarənah) and ancient Turkish (qut). All these terminologies converge towards a single meaning, metaphor of a luminous vital force, typical of kings and deities, it symbolizes the pure man, physical force, beauty, fertility, the light of the stars, sovereignty, comparable to the light emitted by the gems. The iconography is often a crown of stars that surround the figures of ancient gods. From a philosophical point of view, once this concept reaches Greece it will be re-elaborated from Hellenism, engine of its transmission towards the Roman world before, and the Christian world later: in the traditional Late Antiquity iconography, this will become the halo of the saints and the blessed. In oriental philosophies, the aura is an electromagnetic field produced by the human body, but also by trees, animals and stones. The aura is the invisible energy produced by the human thought and the human action, a ring of Jupiter that wraps us without us feeling its presence, but that we can reawaken through awareness, consciousness and knowledge, a deep emotion that we experience each time we abstract ourselves from the contingent and we recognize our earthly thus cosmic nature. 

Bibliography

Gnoli G., Farr(ah), in Encyclopaedia Iranica http://www.iranicaonline.org/articles/farrah

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