Darko Štrajn, Umetnost v realnosti ... - Pedagoški inštitut

Summaryetry as a vocabulary of his city reading, that he has been censuring urbanityin some of its not so much aesthetic aspects. On the contrary:departing from Benjamin we in the start agree about inherent relationof urbanity and the intellectual habitus, at least from the beginnings ofthe age, which is delineated by the term of modernity. Something musthave been contained in his discourse, what made it a topic of big interestonly long time after it was written, and almost 30 years after the author’stoo early death. In the book we try to explain that this “something” isprecisely the reflexive moment, in which the intellectuality is visible asthe agency of the very notion of space in a city. Of course, already withBenjamin we know that, considering the intellectual habitus – regardlessof the fact that in his times it had not been denoted with this utterance– we have to deal with a mutual relationship. Out of it emerges theindividual, who we find on the spot, where we would like to think theSubject. From this point of view a comprehension of intellectual habituscould be revealed to us as it is visible also through lenses of cameras ofFrancois Truffaut, Woody Allen and Boštjan Hladnik. On the level ofan intellectual within mass culture it is in fact obvious that an intellectualis involved in production, that he/she is in the process of exchanginghis/her labour power for wages, for royalties and the like. Woody Allen’scontribution is not in that it shows only this, but that in the field offunctions of production he reduces intellectual production to its commondenominator. In the film Manhattan (1970) this denominator isliterally staged on the surface, behind which there is nothing hidden.Urban settlement is always organized as a concentrated social space,whose sociality is expressed in the real within the symbolic, which is reflectedin the city maps that are an illustration of intelligibility and cognitivnessof space. Art festivals are an indispensable attribute of the verynotion of a bigger city. In the age of globalisation festivals are – even ifthey represent something totally local – at least potentially an internationalevent for the sake of performers or for the sake of public, or justfor the sake of attention of media, which always go after newness. Obviously,some festivals are on the top of a kind of hierarchy of festivals andit doesn’t look like that they are eager to transfer their privileged positionsto other cities. However, this does not mean that other cities couldnot have quality festivals. But it is more or less clear that in all probabilitythey cannot overtake the primacy of famous renaissance centres.Dada’s efforts, which targeted an awakening of public indignation,has succeeded more and above all gruesomely differently than Dada artiststhemselves expected and imagined. The repression of the art, which125