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simple daily routine of working-produce-play-consuming. This aesthetic of attractions, showing scenes from different places and paradisiacal expressed the desire to consume the world through images. The pleasure of yelling in front of oncoming locomotive, a car that explodes or a choke in front of his victim indicates "... a spectator whose daily experience lost coherence and immediacy traditionally attributed to reality: it is this lack of experience that creates consumer-hungry emotions " Paul Valéry, philosopher, French poet and writer (1871-1945) at the beginning of the text The work of art at the time of their playing techniques, written in 1935 by Walter Benjamin, is an observation that may be helpful in thinking about the relationship between technological development, art and the way we view reality. According to Valery transformations era technique, besides modifying the production and invention of art, changed the daily access to information, images and sounds in the world: the homes are fed daily, without much effort or our control, with the gas, water, energy, and especially with visual and auditory images. Modern man is fragmented, ie, can not live fully all its dimensions and is reduced to small pleasures, usually associated with the consumption, which never satisfy or fulfill the meaning of their existence. The shock caused by the force of the images shows, by contrast, the smallness and insignificance of modern life. But at the same time, it is a kind of complaint, and invite the body to express themselves, to feel. It is a cry of recognition of the body. "The experience of impact becomes a shock recognition." The world that unfolds in a film is something that we glimpse what is desired or repels, but what it says about the man. Prepares to enter the game of illusion that the film proposes keeping a distance aware of what is happening on screen. Not totally confuses reality with fantasy. But for a moment lets himself consciously enter the illusory game of images, sounds, script. This distance makes room for the unconscious surface and then desires and dreams seem to find its visibility. Art incites, excites and brings out the creativity and the imagination. Even if all this is reduced to the fun, with only value consumption and thereby also reduce its potential magical and expressive art is always in the process of subverting any order and pattern. It man sees, reads, analyzes, reflects itself, it is projected, it is thought, finally, her man is expressed by the man she creates and recreates itself, produces new modes of expression , from which develops new insights. Thus the human recreates new spaces and new worlds in which to which it can dwell in contemplation.
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jednostavna dnevna rutina radnog proizvoditi-play dugotrajan. Ovaj estetski atrakcija, prikazuju prizore iz različitih mjesta i rajskim izrazio želju da konzumiraju svijet kroz slike. Užitak deranja ispred nadolazećeg lokomotivu, automobil koji eksplodira ili gušiti ispred njegove žrtve pokazuje "... gledatelj čiji svakodnevno iskustvo izgubila koherentnost i neposrednost tradicionalno pripisuje stvarnosti: to je to nedostatak iskustva koji stvara potrošača gladne emocije " Paul Valéry, filozof, francuski pjesnik i pisac (1871-1945) na početku teksta umjetničko djelo u vrijeme njihove tehnike sviranja, pisana u 1935 od strane Walter Benjamin, je primjedba da mogu biti od pomoći u razmišljanju o odnosu između tehnološkog razvoja, umjetnost i način na koji smo vidjeli stvarnost. Prema Valery transformacija doba tehnike, osim mijenjanja proizvodnju i izum umjetnosti, promijenio svakodnevni pristup informacijama, slikama i zvukovima u svijetu: u domove se hraniti svakodnevno, bez puno truda i naše kontrole, s plinom, vode, energije, a posebice sa slušnim i vizualnim slikama. Suvremeni je čovjek fragmentiran, tj., ne mogu živjeti u potpunosti sve njegove dimenzije i svodi na malim zadovoljstvima, koje se obično povezuju s potrošnjom, koji se nikada zadovoljiti ili ispuniti smisao svoje egzistencije. Šok uzrokovan snagu slika prikazuje, nasuprot tome, malenost i beznačajnost modernog života. No, u isto vrijeme, to je vrsta tužbi, i pozvati tijelo da se izraze, da se osjećaju. To je izraz prepoznavanja tijela. "Iskustva utjecaj postaje šok priznanje." Svijet koji se odvija u filmu je nešto što vidimo ono što se želi ili odbija, ali ono što govori o čovjeku. Priprema za ulazak u igru u iluziji da film predlaže vođenje udaljenost svjesni onoga što se događa na zaslonu. Nije potpuno zbunjuje stvarnost sa fantazijom. No, na trenutak se dopušta svjesno ući u prividnu igru slika, zvukova, skripte. Ova udaljenost čini boravak za nesvjesnog površini i zatim želje i snove činiti se pronaći svoju vidljivost. Umjetnost potiče, uzbuđuje i donosi kreativnost i maštovitost. Čak i ako se sve to svodi na zabavu, sa samo vrijednosti potrošnje, a time i smanjiti svoju potencijalnu čaroban i izražajna umjetnost je uvijek u procesu izmakla ni jedan nalog i uzorak. To čovjek vidi, čita, analizira, odražava se predviđa, to je misao, konačno, njezin čovjek izražava čovjeka kojeg stvara i ponovno stvara sama, stvara nove oblike izražavanja , iz koje razvija nove uvide. Tako ljudski kreira nove prostore i nove svjetove u kojima kojoj se može živi u kontemplaciji.