A Kandinsky Perspective, Dissertation on the Social Aesthetics of Georg Simmel

Abstract

Simmel and Kandinsky perspectives, in the light of parallel history, intend to be the starting point of an analysis of creativity and complexity. Social aesthetics cannot be observed alone, in this sense the term seems to be double bound; the social probably cannot operate in a significant way without the aesthetic and vice versa. Aesthetics is a sociological experience as well; therefore, aesthetics seems to be in precarious position because of its own position as a result of the information culture at large. Social change takes the artist towards a more complex life, and left without objective truth, but not without informal form, keeping its sociological form of expression and function. In this way, Simmel's theoretical premises and the complex representation of art in Kandinsky, seems to represent a sort of example to begin with, an historical double-exposure or cross-fertilization.

Don't be afraid of Life
Alyosha, in, The Brothers Karamazov,

Fyodor Dostoyevsky