The report, "du faire au savoir et au modèle de l'œuvre" (C., 1952, p. 172) is the main subject of "Reflexions sur la création artistique selon Alain", appeared in an essay of 1952 number of Revue de métaphysique et de morale.
In these pages, C. (cf. ibid, p. 171) takes to write that the comparison between what man perceives and what man builds creates a twofold problem: the problem of creation (which already, what has already been created) and the problem of human creation (what man creates, what he produces with his own hands). The classical concept of the operation aesthetics (cf. ibid, p. 174) includes three different rigid rules of interpretation as regards the production of a work of art: 1) the inspiration, 2) fees and 3) the model. The inspiration pertains to contemplation, the fee pertains to the archetype, the model is to establish demiurgic.
If God is an example of Cartesian unusual in the pantheon of gods (see above, pp. 20-23), the demiurge of Plato has always puzzled scholars of the time. It is not clear, if in fact the creation of the world, in Plato, poses "a problem of origin et de dépendance, ou de destination et d'organization '(C., 1952, p. 171).
Here is an extract from the Timaeus demiurgic on the act of creation. In it, we understand, Plato suggests the indispensability of a model building (in front of a becoming ever-changing) under which the Demiurge works for the creation of the world:
"Everything that is born is necessarily caused by a cause of anything, in fact, it is impossible to be born without a cause. Everything, therefore, the Demiurge which carries out the form and power by looking at what remains always identical to itself and serve as a model, can necessarily all fair On the contrary, what he achieved and looking to become a model using a transition can not nice [...]. So we must again consider on its behalf as a model the author was inspired to make it: if what remains identical to itself or the one generated. But if this world is beautiful and the Demiurge is good, obviously he has looked to the eternal pattern, otherwise - but it is not permissible to say - to the one generated. But it is clear to anyone who has watched the Demiurge Jehovah, the world is in fact the most beautiful creature and he is the noblest of the artisans (Timaeus, 28 b-29, trans. Com. 1994).
In fact, says C. (see 1952, pp. 171-172), the problem of creating demiurgic joins in Plato and the production of artifacts. The dialogues of Socrates criticizes the artisans and poets who act in the heat of artistic inspiration and are not able to provide an explanation of the effects of the unfolding of its modus operandi. On the other hand, the production activities of man, like that of the Demiurge, proceeds by imitation or imitation of an imitation of the Idea of \u200b\u200bthe Idea. Of these two activities, the former is more noble than the second, since draws directly to the idea. What has been learned, Canguilhem writes, in a passage of the Sophist (235 d-236 c).
noted that even in The Republic, Plato mentions the same issue:
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These then are three beds: one, that exists in nature, what shall we say, I think, God has done, or who else?
-No, I think.
-Another, the one made by the carpenter.
Yes.
-E a, by the painter. No?
-Sia.
-The painter, the manufacturer of beds, God, these three are responsible for three different kinds of beds.
Yes, three.
-Or, God [...] did, however, only what "is" really the bed and two or more of such as these are neither born nor ever will be born by God [...]. Would you call him now that the "natural creator 'of this, or something like that?
-That's right, he said, because by nature he did this and everything else.
-and how to call a carpenter? Did not "craftsman" of the bed?
Yes.
-E may also call the painter maker and creator of such an object?
-Not at all.
-And you say then that he is, on the bed?
-This said, I think the more appropriate designation of "imitation" of what those are authors (La Repubblica, 597 BE, trad. Com. 1997).
Some modern philosophers, however, according to C. (see 1952, pp. 172-174), prove not to believe the existence of a role model when you are about to forge a work of 'art, or when you want to perform a task poietic manufacturing of any kind of artifact: Pascal, Thoughts, writes that when you start to produce a work you never know where to start, in Beyond Good and Evil (§ 277), Nietzsche notes that after building a house, "you realize you have learned something in that job unexpectedly, that should absolutely know before you start building "(1886, tr. com. 1977, p. 196). If, however, for Pascal - as we learn from De l'esprit géométrique - the authentic creative act is the exclusive prerogative of the deity, for only God, after creating, recognizing his work in an ideal of perfection that does not require adjustments and 'human imagination, as power as possible is a source of error that violates the existence of a geometric order transcendent and fixed, according to Baudelaire - as we learn from the Salon de 1859, II and III - the imagination can be regarded as the real decision maker in the world, because the truth resides only in the imagination and effort is an extension of true. In light of these considerations, it is reasonable to assume that the activity of creation does not involve any aspect of preliminary or anticipation. The activity of creation is not a faithful imitation of an external model and absolute. "On a supçonné Plusieurs fois que si de création the notion [...] descendue est du ciel sur la terre, c'est qu'elle était d'abord Montée de la terre au ciel" (C., 1955, p. 174). The fact that the man considered to have been created in the image and likeness of God means in fact that man has made God in his own image and likeness. This means that the human being, constantly prey to the eternal illusion of creating something from time to time conforming to a higher model, extra-human, as he puts in that model. The unraveling of the art is thus linked to a psychology of technology, a process of thought in action free from any prior knowledge and any kind of representation:
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