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Art is one of those human activities that, like all others, is not just an isolated, purely mechanical, but a praxis, ie where man becomes in its transformative nature. This praxis in transformative action, which would concatenate the teo and practice, is that the human being is built. There is no a priori essence, therefore, purely metaphysical and out of these historical and social conditions. That essence is this? Not an essence apart from concrete existence, but an essence sensitive, social, because this sensitivity is a perception that is socially constructed. The human senses (sight and hearing, for example) are not purely natural, they are trained socially. An ear can only perceive the music if he trained for it, if it is a musical ear. And it does in society. So, therefore, in its concrete existence, sensitive man who is held as a human being. The art is inserted, and can only be understood within that historical and social context, according to materialism. Context, moreover, it has become increasingly alien to the man himself as a whole, since the emergence of private property, the division of labor, industrialization and wealth accumulated in the hands of the few proletarian labor exploitation, produced alienation. The alienated man, I mean, not autonomous in their decisions, not the owner of the means of production, only has the strength of his arms and lose identity with what we have to sell the produce that power in exchange for a wage unfair. Objects that manufactures do not belong and he can not acquire them with the compensation they receive. The work does not offer any more pleasure, reduced to a meaningless repetition of gestures. In addition this sale material, also occurs alienation of consciousness itself. The life of the worker, he no longer feels that he belongs. The decisions are no longer his, and he becomes indifferent, trivialized and therefore trivializing his life and that of their peers. If decisions are no longer his, someone who is going to decide it. The sale leaves the worker tied to the interests of the elites who hold economic power. This way of life alienated extends also to other dimensions of social life, as the political dimension, where the decision-making power and effectiveness of participation in political decisions are limited to the working class. Capitalist development has accelerated and intensified class antagonisms. These antagonisms that existed since entered private property in the history of human labor, and now assume more violent forms, broad and camouflaged. In a society divided into classes, each will have their own interests. It is inevitable that there is therefore conflicts between them. It appears, however, that the predominant interest is the interest of the class that dominates almost always at odds with the general interest and collective.
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Umjetnost je jedan od onih ljudskih aktivnosti koje, poput svih ostalih, nije samo izolirani, čisto mehanički, ali praksa, odnosno gdje čovjek postaje u svojoj transformacije prirode. Ova praksa u transformativnog akcije, koje bi se spojite Teo i praksu, jest da ljudsko biće izgrađena. Nema priori suština, dakle, čisto metafizičke i iz tih povijesnih i društvenih uvjeta. To je suština to? Nije bit osim betona postojanja, ali Essence, socijalni, jer je ovo osjetljivost je percepcija da društvena konstrukcija. Ljudskih osjetila (vid i sluh, na primjer) nisu posve prirodno, oni su obučeni socijalno. Uho može percipirati glazbu, ako je obučen za to, ako je glazbeno uho. I to ne u društvu. Tako, dakle, u konkretnom postojanja, osjećajnog čovjeka koji je održan kao ljudsko biće. Umjetnost je umetnuta, a može se shvatiti samo u tom povijesnom i društvenom kontekstu, prema materijalizmu. Kontekst, štoviše, postalo je sve stran čovjeka u cjelini, budući pojavom privatnog vlasništva, podjela rada, industrijalizaciji i bogatstvu akumuliranom u rukama nekolicine proleterskog rada eksploatacije, proizvodi otuđenje. Otuđeni čovjek, mislim, nije samostalna u svojim odlukama, a ne vlasnik sredstava za proizvodnju, ima samo snagu svojih ruku i izgubiti identitet s onim što imamo prodati proizvode koji moć u zamjenu za plaće nepravedne. Objekti koji proizvodi ne pripadaju, a on ih ne može steći uz naknadu koju dobiju. Rad ne nudi bilo više užitka, sveden na besmislenu ponavljanje gesti. Uz to malo materijal, javlja otuđenje same svijesti. Život radnika, on više ne osjeća da pripada. Odluke se više nije njegovo, i on postaje ravnodušan, trivijaliziraju i stoga trivializing njegov život i da od svojih vršnjaka. Ako su odluke više nisu njegova, netko tko će to odlučiti. Prodaja ostavlja radniku vezan za interese elite koja imaju ekonomsku moć. Ovakav način života otuđenog proteže i na druge dimenzije društvenog života, kao i političku dimenziju, gdje je moć odlučivanja i učinkovitost sudjelovanja u političkim odlukama su ograničena na radničke klase. Kapitalistički razvoj je ubrzan, a intenzivirana klasnim suprotnostima. Ovi antagonizmi koji postoji od ušao privatne imovine u povijesti ljudskog rada, a sada preuzima više nasilnih oblika, široka i maskiran. U društvu podijeljenom na klase, svaki će imati svoje vlastite interese. Neminovno je da se stoga sukobi između njih. Čini se, međutim, da prevladava interes je interes u razred koji dominira gotovo uvijek u sukobu s općim interesom i kolektivnog.