Schelling e Camus: ecos do inconsciente na atividade estética

Abstract

The present text aims to discuss an alignment of Schelling's postulates regarding an emergent idea of the unconscious within what might be considered aesthetic activity in an existential context. To this end, Schelling's thought on the unconscious as the creative ground of being and reality is articulated with Albert Camus's ethics, which posits a stylization of existence arising from the experience of the absurd. It is observed that the convergence between these authors occurs in how art becomes a bridge between the conscious and the unconscious, allowing the subject to engage with the deeper realities of their subjective experience through aesthetic creation. Albert Camus's stylized being dialogues with Schelling’s conception of the unconscious through the elements that define aesthetic activity as articulated by both authors, i.e., passion, revolt, thought, consciousness, and the absurd in Camus’s thought works analogously to the elements of ground, unconscious, consciousness, and the self in artistic creation according to Schelling. In this sense, both authors converge on the primacy of aesthetic activity. Schelling and Camus advocate for aesthetic activity as a consciously consciousunconscious activity wherein the self-conscious being experiences a contradiction between unconscious and conscious aspects, which, in turn, leads to a sensitivity to contradiction and, from this sensitivity, the intentional and spontaneous production of something new. Thus, in both authors, the activity that leads to fulfillment lies in the equation of the joint activity between the unconscious (passion and the ground/nature) and conscious (reason, thought, the self, revolt), as revolt brings to light what passion longs, just as the self and its qualities bring forth its will from the ground.