SCHELLING apsolutni idealist, transcedentalni idealist (slino Kantu) ljepota graa originalne esencije realnosti povezuje prirodu i njene zakone, moralnost i njene zahtjeve za slobodnom Filozofija umjetnosti - sistematski pokuaj artikulacije umjetnosti koja formira kljuno polje post-Kantovskog idealizma i igra veliku ulogu u pojavi estetike kakva informira modernizam

System der gesamten Philosophie und der Naturphilosophie insbesondere (the Wurzburg Lectures of 1804). jedina mogua pretpostavka za filozofiju jest da je znalac identian znanju: bog ili razum jedina je potvrda da su sve stvari Jedno tri uvjeta za filozofiju umjetnosti - u biljekama (Wurzburg Lectures), 1) to filozofija konstuira u domeni idealnog, umjetnost proizvodi u domeni stvarnog. Thus artistic activity is the highest human vocation (Bestimmung) because practical philosophy can only approximate its object, which is the moral law. 2) dok prirodni organizam i umjetniki rad otjelovljuju isti identitet realnog i idealnog, nunosti i slobode, umjetniki rad nadilazi te opozicije preko identiteta svjesnih i nesvjesne produkcije, pri emu je aktivnost organizma nesvjesna 3) proizvodnja umjetnosti ima socijalno-politiku ulogu: cilja nadilaziti fragmentalno stanje modernog preko nove mitologije i umjetnike obnove A majority of the literature on Schellings philosophy of art overlooks the fact that there is a philosophy of art in this text despite the fact that it completes the system of theWurzburg Lectures.By completion, I mean that artistic creation is the realization of the ideas of philosophy in the real world. Art expresses the highest stage of freedom and the highest stage of social life. First, artistic production is the synthesis of freedom and necessity in the work of art, but second, and more importantly, art aims to create a new mythology to unify a people under a common set of ideas. Finally, art is the intuition of beauty, which completes the system because the highest bliss of humanity lies in the intellectual intuition of beauty (324). Beauty in art is therealizationof the divine idea of the absolute.

In theWrzburg Lectures, Schelling presents the state as the ultimate realization of science, religion and art. His remarks on art are brief, and are oriented toward his conception of a public sphere. As Schelling states, the modern world lacks a properSymbolik(6: 571), which, in German usage, is not only a system of symbolism but also a coherent doctrine of faith.*** As mentioned in thePhilosophy of Art, the modern condition has only created partial and fragmentary mythologies, such as in the work of Dante, Shakespeare, Cervantes and Goethe (6: 572). The diagnosis, according to Schelling, is that a truly public sphere can bring about a truly organic state:

Where all public life collapses into the particulars and dullness of private life, poetry more or less sinks into this same sphereBut even mythology is not possible in the particular; it can only be born in the totality of a nation that as such acts as identity [or] an individual. In dramatic poetry, tragedy grounds itself in the public law, in virtue, religion, heroism in a word in the holiness of the nation. A nation that is not holy, or which was robbed of its holy places, cannot have true tragedythe question of the possibility of a universal content ofpoesie, just as the question of the objective existence of science and religion, impels us to the highest itself. Only in the spiritual unity of a people, in a truly public life, can the true and generally validpoesiearise as only in the spiritual and political unity of a people can science and religion find its objectivity (6: 572-573). The political unity of a people arises organically in the nation-state, not in the private pursuit of individual right within a state. Instead, the state develops organically, through the development of religion, science and art, into their highest expression. As Schelling recognizes, this state has never existed, but he is here giving a prescriptive account of a future state. Although he gives very little indication of how this state is to come about, he claims that the relationship of reason to the universe is analogous to that of philosophy to the state: just as reason realizes itself in the universe, philosophy realizes itself through the public life of the state. As Schelling concludes, Philosophy, which is no longer science, but rather becomes life, is that which Plato called thepoliteia, life with and in an ethical totality.

As we will see, later philosophers will directly challenge the idea that the state is like an organic totality. As Marx will argue, a position like Schellings obscures, or mystifies, relationships of domination and inequality by normalizing or de-politicizinghuman relationshipsby thinking them like natural relationships (so the state is like an organism). While I think it is correct to dismiss the idea of the 'organic state' or community, I dont think it is a reason to dismiss artistic production as an important aspect of human life or politics.SUSTAV TRANSCEDENTALNOG IDEALIZMA (1880) umjetnost je organ filozofije jer moe vidjeti ono to filozofski koncepti ne mogu apsolutno umjetnost sredstvo dolaska do istine jedina razlika izmeu svijeta i umjetnikog djela: umjetnika aktivnost je isprva nesvjesna, a kasnije svjesna (?)The only difference between the world and the work of art is that in the former the creative activity is unconscious whereas in the latter it is conscious. As Schelling put it: the objective world is only the original, still unconscious poetry of the spirit. realnost je umjetnika filozofija kulminira u umjetnosti samo umjetnost moe objektivizirati filozofovu reprezentaciju u mislima filozof se, kad reprezentira misao, mora vratiti univerzalnom oceanu poezije iz koje je zapoeoDVOSTRUKI IVOT POJEDINCA (nisam ziher je li to u FILOZOFIJI PRIRODE) spona beskonanog i konanog je ivot budui da je u nekim djelima rekao da je prvi princip filozofije identitet Jednoga, postavlja se pitanje kako konane stvari egzistiraju Schelling e u razl. djelima dati razl. odgovore, a ovdje e to biti neka vrsta ivotne sile u svemiru u kojoj svako pojedinano bie participira ta ivotna sila nije mistina opozicija razumu, ak tovie, bog je razum zapravo Shelling produhovljuje tvar ( idealist s mistinim tendencijama), ali i reducira ideju boanstva na materijalno objanjenje ( materijalist) Schelling je uvijek u neizvjesnosti izmeu idealizma, realizma i ak materijalizma pojedino bie je negaciija svoje Ideje ili arhitepa, a ivot je srednja toka izmeu bivanja i nebivanja evo prikaza argumenta: Schelling eli pokazati da svemir, jer sadri sve forme, nije nijedna od tih pojedinanih formi te da jer sadri sve njih, nije nijedna od njih (str. 170/6: 181) Apsolut je sve, ali nije jedan od njih tj. bie nije u sebi, ve samo u apsolutu1) Apsolut je sve. 2) Pojedine stvari nisu apsolut. 3) Nebie ne moe biti van apsoluta (inae bi POSTOJAO izvan njega), stoga nebie jedino moe biti relativno. 4) Relativno nebie implicira relativno bie. _________________________________________5) Pojedinane stvari mjeavina su realnosti i negacije. kako individue egzistiraju izmeu bia i nebia? ivotom. preko apsoluta, pojedinane stvari svemira zajamene su dvostrukim ivotom : 1) ivotom u apsolutu (ivotom ideje) koji je istodobno karakteriziran a) otputanjem (engl. dissolution) konanog u beskonano i b) otputanjem (engl. dissolution) pojedinanog u beskonano i c) ivotom po sebi, . (str. 174-175/6: 187) pojedinanosti impliciraju mnotvo apsolut je jedan, a sva ogranienja ukljuuju pluralitet bia** apsolut je jedan, a pojedinani ivot jedan od mnogo individualci se jedino mogu sagledavati kao multiplicitet, a svaki pojedinac izraava dio cjeline npr. pojedini ovjek je pojedini ne zbog ideje, ve zbog toga to odstupa od ideje kao njena negacija. FILOZOFIJA UMJETNOSTI openito (nije sadraj knjige, ve ovak kaj Schelling misli) jedno od tumaenja: umjetnost je za Shellinga najvii izraz (eng. expression) ljudske slobode kako ovjeanstvo ivi teorijski, praktiko, i kreativno?

LITERATURA: 1. http://www2.hawaii.edu/~freeman/courses/phil330/13.%20SCHELLING.pdf 2. http://notes-taken.blogspot.com/2009/10/schelling-absolute-idealism-and-art.html 3.