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      "body": "@@ -10158,16 +10158,17 @@\n zation.%0A\n+%0A\n There is\n",
      "json_metadata": "{\"tags\":[\"psychology\",\"philosophy\",\"life\",\"story\",\"writing\"],\"image\":[\"https://cdn.steemitimages.com/DQmemwsXtdsZcte4FmDAXyVYRCzy616rsUCw6G6TjoKmgUU/Expressive-SQ.jpg\",\"https://cdn.steemitimages.com/DQmNXHeMBMipcenEeaAeEeCuUJzxmVKagksTSZWjLahv46E/jn-depth-psychology-666w.jpg\"],\"links\":[\"https://www.google.bg/url?sa=i&source=images&cd=&ved=2ahUKEwjA5KTI7K_cAhVKyKQKHRo4DDwQjhx6BAgBEAM&url=https%3A%2F%2Fwww.yogagardensf.com%2Fevent%2Fyoga-psychology-expressive-arts%2F&psig=AOvVaw3ge5RpmWFr_93hYJf5BoHa&ust=1532250214305201\",\"https://www.videoblocks.com/video/psychology-of-mental-illness-concept-cartoon-art-animation-blfokw9dliyhlnpzw\"],\"app\":\"steemit/0.1\",\"format\":\"markdown\"}",
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      "title": "What do we call a life living in a bubble"
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      "body": "440 397 215 views. That is the statistics under the YouTube video of one of the most popular pop hits for 2017 - the song Chained To The Rhythm by Katie Perry. In it the characters live in Oblivia amusement park, in their own \"bubble\", away from difficulties and misfortunes. They dance with pink glasses in a ironic \"idyll\". Katie Perry sing about living in a bubble- one of the most interesting and discussed global themes, which relates to closing down with a similar world in a narrow world of similar values, opportunities, tastes, and even political views. The phrase is not new at all, but we began to hear it often at the end of last year after the election victory of Donald Trump - a shock not only for the liberal Americans but also for many journalists whose judgments were completely wrong. Trump's campaign has made the most of social networking, and seems to fulfill the prophecies of the 2011 The Bubble Book of Elai Parriser. In general, a \"bubble\" has become a concept used in many areas and laden with many meanings, the common being that it always relates to a problem.\n\n![Expressive-SQ.jpg](https://cdn.steemitimages.com/DQmemwsXtdsZcte4FmDAXyVYRCzy616rsUCw6G6TjoKmgUU/Expressive-SQ.jpg)\n\n# What do we call bubble?\n\nProfessionals clinging to their work as their only identity. Their relationships with others are based on professional interests or hobbies, for which there is very little free time left. Fixed to their homes with the big debts they need to work for all their lives. But this is probably the whole white middle class in America. In sociology, the term reference groups of the individual have long been used - friendly, professional, interest, political, etc., which each person to some extent selects and in which they feel free, \"on the ground\". The way we look at data from sociological studies, for example, illustrates the \"collision\" of the individual with this multitude of worlds. In reviews under such articles or in life talks, many people respond to the pattern of \"where did sociologists see these people listening to this music, no one listens to it from my friends?\" How did those people who enjoy their work ask about me, no one is satisfied; etc. These reactions are nothing more than a verbal translation of cultural shock from the collision of the individual's own world with the anonymous majority of \"the rest\" that the individual doesn’t see, or with which their paths do not intersect. The expression \"living in a balloon\" describes the metaphorical distancing from what we can call the mass world. It has two dimensions - both internally and externally. The inside characterizes the subject who retired in the balloon. It can be a single individual, a small group or a larger social community that builds its own rules, norms, lifestyle. The external dimension describes the distance from larger social communities. Life in a balloon can be just a distancing, but it can be isolation, and in its ultimate form - hostility to the rest of the world. The balloon is a natural state of affairs. Few people are easily jumping from one group to another. The limitless ease of communication is a myth. Balloon we call the intolerance, snobbery and herb instinct. It's hard to avoid, because it's a security mechanism, a security system.\n\n\n\n# How technology heals the balloon\n\nThe elections in the United States gave rise to another balloon: the filter. One of the first to analyze the so- filter bubbles, is the political activist, co-founder of MoveOn.org and creator of the Upworthy Ily Pariser website for \"meaningful\" virus content. In 2011, in his book The Filter Bubble: What Internet is Hiding From You, he makes a connection with the algorithms on Facebook, Google, Amazon, Netflix, etc. that sifted search results and news by measure for each user according to his profile, creating separate \"customized\" content bubbles - \"parallel but divided universes,\" the personalization algorithms create a social division that prevents the existence of a truly informed audience. Besides, the convenience of a flow of information that in no way provokes us and offers us the same as our version of things suppresses the impulse to reflection and creativity. The bubble thus formed is a problem for democracy because it prevents people from receiving neutral background information that they have the opportunity to analyze and comment on. It restricts it because it provides us information filtered out of our own views and interests without a variety of points of view. Currently, traditional media is much more important to most Americans than social networks. \"The most affected by the effect of the bubble are the most devoted Facebook users, for whom the network is a major source, and it’s a curious and intricate fact that most journalists are such, and that is a problem. Marc Zuckerberg himself at the Tehonomy conference at Half Moon Bay, just the day after Trump's victory, denies the theory that Facebook has somehow influenced the election as crazy. In the same conversation, he also says he doesn’t believe in the filter bubble, and that in-depth research shows that everyone has friends from another party or other religion. Different content exists, one just passes by when he sees it, says Zuckerberg.\n\n![jn-depth-psychology-666w.jpg](https://cdn.steemitimages.com/DQmNXHeMBMipcenEeaAeEeCuUJzxmVKagksTSZWjLahv46E/jn-depth-psychology-666w.jpg)\n\n# The problem of credibility\n\nWhile some authors like Erin Griffin argue on the basis of previous political examples that Facebook can completely regulate its algorithms, others such as Dana Boyd, Microsoft researcher and founder of Data & Society, deny such a one-sided statement . According to her, the problems are the vague definition of false news and the constant evolution of abusive methods. According to Boyd, the discussion of fake news is still wrongly focused on the technological solution to the problem: if companies such as Facebook and Google are forced to do something, everything will come in place. If we see technology companies as the sole culprit, then we do not notice the cultural problem that is at the root and we overwhelm our own responsibility, \"said Boyd. In 2016, The Guardian is making an experiment - creating new Facebook profiles for 10 voters at both ends of the political spectrum, giving the Liberals a \"conservative\" profile and vice versa. The participants from both camps agree that the news \"on the other side\" is false and \"brainwashes\", and one part directly recognizes hate directed towards them.\n\n# Reality vs. virtuality\n\nSocial media and algorithms facilitate the partitioning and closing of different groups in consumer or value balloons. On the basis of our closed communication, we have decided that the whole society is similar to what we see in our bubble. The problem is that offline slowly we lose a whole palette of emotions that make us human and help us co-operate to survive as humans. Instead, we have Facebook today, where emotions are expressed - safe and without the heavy tax of communication. If you don’t like the status - you are being beaten. The online bubble is not a cause but a symptom of the problems. If you're in a real-life bubble, you'll be in a bubble and in the virtual. And as we know, changes in real life are making difficult, especially conscious changes. Getting organic or going for a year in South America will not take you out of the bubble. Online we are simply transferring traditional phenomena to communicating live. The reality is ballooning and, according to the writer and libertarian Charles Murray, who is developing a test for Americans in 2012 (included in his book Coming Apart) to show if they live in a balloon. Subsequently, PBS NewsHour uses questions in an online poll that receives hundreds of thousands of responses. The test causes respondents to think about their attitude to poverty, lack of education, life in a small town, and even Avon products. It helps one realize how easy it is, even inevitable, to get into a balloon - this is determined by the value system, the religious and political views, the standard of living, the tastes, the choice of places to visit, the friends of similar interests. The point is that the more back in history we come back, the more homogeneous the societies and the more \"similar\" the individuals of a social class.\n \nModernization and globalization, supported by the Internet and Facebook, have led to an unknown level of social differentiation, an explosion of small communities, an opportunity to participate in numerous groups of ever-increasing interests. This process is a double. On the one hand, one has a greater chance of finding people like him to be in a group, a boat or a balloon On the other hand, the complication of the world, the professions, the life styles, the life biographies leads to an increasing a sense of difference, a misunderstanding, a mismatch with a large part of the world surrounding the individual. That is why, in recent years, this or similar expressions have been increasingly used, each of which describes a different degree of differentiation - lives in one's own world, lives in a balloon, lives in a soap bubble. Balloons in thinking are also due to a psychological response to the complicated world we live in. Complicated - because we have access to all sorts of inexhaustible information amid ever more fragmented and poor education. The differences between cultures and countries, the diversity we see on the internet is so unimaginable that it looks like we are scary. So we close our shells and balloons with the fear of others. Aggression rises. Psychologists say that when we look at each other, aggression is considerably smaller, \"she explains.\" At the same time, more and more physical space is privatized from our urban environment. There are fewer places (parks, gardens, public areas) where, without consuming, we can meet other people different from us - to have real physical access. Not accidentally, the struggle for parks (both in America and in Europe) in recent years has become one of the strongest political trusts for social mobilization.\nThere is another erosion of \"human\". The tendency is to become less dependent on other people around us and their \"services\". Why load up with unnecessary emotions and keep in touch with a neighbor who can be very different from us and not like it now that we can now buy the service he has ever provided. What in the past was accessible only through the physical help of others around us - for example, someone can help you repair your stove, car, someone else looking at your child, relationships worked through empathy, mutual support or \"barter\" today are being bought as a service. You just have money. There is no need to immerse ourselves in human relationships and emotions that accompany communication. Facebook balloons move away from other balloons and we lose not only our perception of the society as a whole but also the receptors of empathy and inequality.\n\n\n\nImage source: [1](https://www.google.bg/url?sa=i&source=images&cd=&ved=2ahUKEwjA5KTI7K_cAhVKyKQKHRo4DDwQjhx6BAgBEAM&url=https%3A%2F%2Fwww.yogagardensf.com%2Fevent%2Fyoga-psychology-expressive-arts%2F&psig=AOvVaw3ge5RpmWFr_93hYJf5BoHa&ust=1532250214305201), [2](https://www.videoblocks.com/video/psychology-of-mental-illness-concept-cartoon-art-animation-blfokw9dliyhlnpzw)",
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      "body": "Vincent Van Gogh, as well as Rembrandt, is a Dutchman. This is the first external factor, mischief in biography, which is not always accidental and gives us the key to human life. Even Hippolyt Tenn and other sociologists have discovered the causal relationship between art and the surrounding environment. But here perhaps a small correction must be made - sometimes the connection between the human spirit and the environment has the opposite effect. There are brilliant artists whose work is a kind of reaction to a rebellion against the injustices of the time they live in. Similarly, Van Gogh's life and creativity is a kind of protest against the Dutch. From a small age he was a \"strange man\" against the backdrop of the \"normal\" life that surrounds him and he feels it. In 1886, Vincent moved to Paris and never returned to his homeland ..... Becoming a passionate supporter of the plexiglass, he traversed the streets of the city and feels like a true Frenchman. He becomes an ally of Impressionists and encourages their success.\n\n![1280px-Van_Gogh_-_Starry_Night_-_Google_Art_Project.jpg](https://steemitimages.com/DQmW7C5Q6ijNdFR4LfsmsBBshLr7XmCHeMc36jeZTHVHV4D/1280px-Van_Gogh_-_Starry_Night_-_Google_Art_Project.jpg)\n**\"Starry Night\" by Vincent van Gogh**\n\n\nBut Van Gog's fiery nature is extraneous to the environment in which he lives. In everything he engages, he wants to bring it to the end. Seeking light and air, he leaves gray Paris and goes south. The first impression does not lie. Provence is wonderful and the only thing Van Gog is sorry about is that he didnчt come here in his youth. The technique of painting plays a much larger role than before. When we look at paintings of old masters, we forget about technique, manners - so balanced in their form and content.  Modern man is so far away from all this, from this classical balance of mind, and that is why we first of all notice the artist's subjective approach to this or that object. There are realistic artists who, with such submissive passivity, accept the world that we just forget about their human personality that we just exclaim \"It's painted like it's alive....\" But there are other artists with an irresistible and rebellious soul who can not hide behind objects depicted. Looking at their paintings, we see not only the depiction of them, but we see beyond, we see the artist's feelings and experience in them. In such artists, the technique of individualism occupies a central place and at some point even ceases to be a technique in the sense of the word, but becomes a way of life. This is Van Gogh. He is indeed an impressionist in the deepest sense of the word, more impressionist than any other we are used to calling such, because he changes his technique sometimes. Each subject impresses in a different way, and each time it vibrates the strings of his soul differently, and his hand tries to record these inner notes. He uses a brush, then a knife, thin and dense paint, throws stains... He makes them guilty at first impression, as if in an ecstasy moment, as if the picture comes out from under his hand like a cry of enthusiasm for the majesty of nature and man's worthlessness . Vincent himself is forever unstoppable and vigorous, his world is in a ruthless circle. He perceives objects not as bodies, but as phenomena. This does not mean that he seals the flashing momentarily. He draws him in his dynamic development. He is an artist of world rhythms. He does not paint how the sun just sets, but how it sinks throwing its rays like a golden fog from the hills.\n\n![Vincent_van_Gogh_-_Wheatfield_with_crows_-_Google_Art_Project.jpg](https://steemitimages.com/DQmfYGZyCVvLG9QV4tFDyvNg2NURHyh94SELGXcn6XazheB/Vincent_van_Gogh_-_Wheatfield_with_crows_-_Google_Art_Project.jpg)\n**\"Wheatfield With Crows Painting\" by Vincent van Gogh**   \n\nVan Gog's dynamic manner is even more noticeable in his paintings painted with a reed feather, drawing with Japanese virtuosity. There is no known contemporary who has such a certainty on the lines, such a strong suggestion. Tree running in the heights with curly lines forming spirals, grass growing vertically or turbulent here and there ... This is the portrait of the postman from Arles. The virtuosity colors in this painting are so virtually scattered. Van Gogh himself describes the postman happy and proud because he has just become a father.  Even in the self-portraits of the artist, from behind the depicted faces, we are able to peer into the soul and its essence. The main thing in Van Gogh's work is the choice of colorful color. The power of color is its creativity. In a letter to his brother Theo, Vincent writes that he wants to portray a friend while dreaming a beautiful dream. He wants to invest in his portrait all his love for his boyfriend and chooses rather arbitrarily the paint. Exaggerating with gold for the color of his hair, he stains with the deepest blue background wall. This creates the illusion of a golden star on the blue sky. This is Van Gogh. In the same way he does it with a peasant portrait, imagining this man under the fiery sun at the height of the harvest. He painted the background with the color of fired iron. There is the difference between Van Gogh and all the other portraits who think that everything is exhausted. The colors in the background of Vincent are not a random decoration. One of his arches, probably a provincial splinter, is painted in blue-black like a wingspan, and thus more like a murmuring spider. Every color, viewed from Van Gogh's point of view, had its own laconic meaning. He not only loved multicolor, but it also gave him a secret sense. But of all the colors he was most enchanted by the blue and the yellow. The yellow range - from the delicate-lemon to the bell-orange - was a symbol of it, but the sun, rye, Christian love. That he loves the most. The blue range - from the sky - the blue to the raven - the black - was for him a symbol of the impassive eternity, the cool necessity, the night sky, the death. He himself gravitated to it, but he was also afraid.\n\n\n![31055.jpg](https://steemitimages.com/DQmREvx6P1Ar2aqY7KfXZbzKbTh6Z5h4d2fcYLsnEx8agre/31055.jpg)\n**\"Cafe Terrace at Night\" by Vincent van Gogh**\n\n\nVan Gogh says, \"I prefer to draw people's eyes instead of cathedrals. The human soul, even the soul of an ungodly beggar or a poor boy, is much more interesting. Whoever describes the peasant's life will best endure the test of time. I will remain myself and even in the raw works I will speak strictly, roughly but only the truth. \" Can a person who, in these and thousands of similar speeches, can explain the meaning of life and art, rely on success among the \"strong of the day\"? The bourgeois audience does not forgive innovation, and Van Gogh is an innovator, in the direct and transportable sense of this notion. His reading of the beautiful passes through extreme contradictions - ranging from tiny shoes to devastating cosmic ragans. At the beginning of the 20th century, opposed to Van Gogh's art, a new term emerges - \"post-impressionism\". In Impressionism this reaches the peak of its development, reflected in the amazing naturalness and diversity of artistic techniques. In the amazing diversity of nature, Impressionists have managed to capture her beautiful face and its endless renewal.  Van Gogh offers a fundamentally innovative method, a method for synthesizing observations and knowledge, an analysis of the inner essence of things and phenomena, and all this expands the cognitive abilities of art. \"I see everything in nature, for example in the trees - the soul.\" These words of Van Gogh are the key to his interpretation of the artistic image. At its core is the merger of two principles, one of which concerns the work with nature, and the second determines the creative impulse of the artist, allowing him to see reality in a much brighter and transformed form.  Once Van Gogh compares the academic painting with a prodigious mistress who \"frizes you, drinks your blood and turns your heart into a stone ... Send this mistress to hell and fall in love with your true love - Lady Nature or Reality\" . This lady loved him all her life. No force was able to tear Van Gogh away from his art. But his love for Lady Reality was far from blind. In Van Gogh's eyes, working with nature was tantamount to \"tame the shrewd\" Each component of nature turns Van Gogh into a chamber of emotions and feelings. Nature gives him not only motives, but also becomes a moral support for him, a source of moral strength. Van Gogh's main creed is to be in love with mankind. He stands above the prejudices. Without thinking, he would turn his last shirt into a wound dressing for a wounded miner's wound, break up bread and shelter with both poor children and a prostitute. \"There is nothing more artistic than to love children!\"\n    \n![Vincent_Willem_van_Gogh_127.jpg](https://steemitimages.com/DQmPsWVzVWGp4fYHn8LP1QHTMY2xg9z5P7yM9fEtV1FMtJH/Vincent_Willem_van_Gogh_127.jpg)\n**\"Sunflowers\" by Vincent Van Gogh**\n\n\n\nVan Gog's aesthetics is the result of imagination from another world. His \"wonderful\" smell of the earth, the ripe grains, the farmer's labor, the wind, the winds spread. In everything he sees beauty. It takes beauty and the greatest grotesque. His see beauty as a woman.  Questions about the life of nature would never have been resolved if Impressionists had not gone out into the street, in the nature, on the riverbank ... Vincent said, \"I wish the beauty came not from the material, but from myself.\"  Dreaming for a brotherhood of artists and collective work, he forgot that he was an irreversible individualist. But that was precisely his power. You need to have trained eyes to distinguish Monet's picture from that of Sisley. But once he saw Van Gogh's \"Red Vines\", one would never mistake Vincent Van Gogh for a picture. Each line and stroke are an expression of his soul.  In the painting, in the manner of Van Gogh, everything is equal and merged into a perfect ensemble - rhythm, color, line, shape. As in the music there is a major and minor arrangement, the same way in Van Gogh's art, the palettes are divided into two poles - cold and warm. Like life and death. In Van Gogh's mind, the two colors - yellow and blue - have deep symbolism. In the yellow he sees the bright beginning - the sun, the ripe corn. For him it is the color of the light beginning, of love and life. And blue, from blue to almost lead gray, is a symbol of grief, grief, despair, and ultimately of death. In Van Gogh's life, life is the ability to think, feelings of affection. The paintings of Van Gogh - strokes thrown on the canvas with a quick hand. Like a \"dash, dot, comma\" - This is the basis of Vanghogov's art. Expressive without much explanation and detail. In every painting is the fight between man and nature. Beautiful and endless struggle. Color Fighting.\n\n\n![view.jpg](https://steemitimages.com/DQmagGKD3NLMQ94L4nTnuybKJa3kq1vtXAbaeaWEneohskX/view.jpg)\n**\"Landscape at Auvers in the Rain\"  Vincent Van Gogh**\n\n\n\nIt is often said that in Van Gogh's painting there is some unbridled, unmanageable emotional element. But that's what makes it so original. Van Gogh was extremely gifted in his work. This talent is at the expense of his personal life - mutilated physically and spiritually. He died at thirty-seven years. Van Gogh says \"I paid my life for my art, but it took half my brain.\" His last picture provokes contradictory feelings. A mixture of despair, coldness, chill, but more often grief and touching pain. \"Landscape at Auvers in the Rain\" suggests peace and goodness, dictated precisely by the artist's state of art. The brightness of the green color, the horses harnessed in a wagon on the wet road. Smoke from the train running down the rail. All this would be almost idyllic if it was not the rhythm of strokes and colors, suggesting some vague tension. Just a moment, and all this world seems to blow out of some sort of shattering, unclear power.  \"Thousands of torment ... I'm in torture! But there I see the sun, and even when I do not see it - I know it is there. And knowing that there is the sun, I know it is life! \" These Dostoevsky words could also be attributed to Van Gogh. Life is grief and suffering. And art always wants sacrifices.\n\n----------- \n\nImage source: [1](https://en.wikipedia.org/wiki/Vincent_van_Gogh), [2](https://en.wikipedia.org/wiki/Vincent_van_Gogh), [3](https://www.posters.bg/%D0%BF%D0%BB%D0%B0%D0%BA%D0%B0%D1%82/vincent-van-gogh-cafe-terrace-v14424), [4](https://www.posters.bg/%D0%BF%D0%BB%D0%B0%D0%BA%D0%B0%D1%82/vincent-van-gogh-cafe-terrace-v14424), [5](https://www.posters.bg/%D0%BF%D0%BB%D0%B0%D0%BA%D0%B0%D1%82/vincent-van-gogh-cafe-terrace-v14424)",
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      "body": "Vincent Van Gogh, as well as Rembrandt, is a Dutchman. This is the first external factor, mischief in biography, which is not always accidental and gives us the key to human life. Even Hippolyt Tenn and other sociologists have discovered the causal relationship between art and the surrounding environment. But here perhaps a small correction must be made - sometimes the connection between the human spirit and the environment has the opposite effect. There are brilliant artists whose work is a kind of reaction to a rebellion against the injustices of the time they live in. Similarly, Van Gogh's life and creativity is a kind of protest against the Dutch. From a small age he was a \"strange man\" against the backdrop of the \"normal\" life that surrounds him and he feels it. In 1886, Vincent moved to Paris and never returned to his homeland ..... Becoming a passionate supporter of the plexiglass, he traversed the streets of the city and feels like a true Frenchman. He becomes an ally of Impressionists and encourages their success.\n\n![1280px-Van_Gogh_-_Starry_Night_-_Google_Art_Project.jpg](https://steemitimages.com/DQmW7C5Q6ijNdFR4LfsmsBBshLr7XmCHeMc36jeZTHVHV4D/1280px-Van_Gogh_-_Starry_Night_-_Google_Art_Project.jpg)\n**\"Starry Night\" by Vincent van Gogh**\n\n\nBut Van Gog's fiery nature is alien to the environment in which he lives. In everything he engages, he wants to bring it to the end. Seeking light and air, he leaves gray Paris and goes south. The first impression does not lie. Provence is wonderful and the only thing Van Gog is sorry about is that he did not come here in his youth. The technique of painting plays a much larger role today than before. When we look at paintings of old masters, we forget about technique, manners - so balanced in their form and content. But, alas! Modern man is so far away from all this, from this classical balance of mind, and that is why we first of all notice the artist's subjective approach to this or that object. There are realistic artists who, with such submissive passivity, accept the world that we just forget about their human personality that we just exclaim \"It's painted like living ....\" But there are other artists with an irresistible and rebellious soul who can not hide behind objects depicted. Looking at their paintings, we see not only the depiction of them, but we see beyond, we see the artist's feelings and experience in them. In such artists, the technique of individualism occupies a central place and at some point even ceases to be a technique in the sense of the word, but becomes a way of life. This is Van Gogh. He is indeed an impressionist in the deepest sense of the word, more impressionist than any other we are used to calling such, because he changes his technique some times, even in the same way. Each subject impresses in a different way, and each time it vibrates the strings of his soul differently, and his hand tries to record these inner notes. He uses a brush, then a knife, thin and dense paint, throws stains ... He makes them guilty at first impression, as if in an ecstasy moment, as if the picture comes out from under his hand like a cry of enthusiasm for the majesty of nature and man's worthlessness . Vincent himself is forever unstoppable and vigorous, his world is in a ruthless circle. He perceives objects not as bodies, but as phenomena. This does not mean that he seals the flashing momentarily. He draws him in his dynamic development. He is an artist of world rhythms. He does not paint how the sun just sets, but how it sinks throwing its rays like a golden fog from the hills.\n\n![Vincent_van_Gogh_-_Wheatfield_with_crows_-_Google_Art_Project.jpg](https://steemitimages.com/DQmfYGZyCVvLG9QV4tFDyvNg2NURHyh94SELGXcn6XazheB/Vincent_van_Gogh_-_Wheatfield_with_crows_-_Google_Art_Project.jpg)\n**\"Wheatfield With Crows Painting\" by Vincent van Gogh**   \n\nVan Gog's dynamic manner is even more noticeable in his paintings painted with a reed feather, drawing with Japanese virtuosity. There is no known contemporary who has such a certainty on the lines, such a strong suggestion. Tree running in the heights with curly lines forming spirals, grass growing vertically or turbulent here and there ... This is the portrait of the postman from Arles. The virtuosity colors in this painting are so virtually scattered. Van Gogh himself describes the postman happy and proud because he has just become a father.  Even in the self-portraits of the artist, from behind the depicted faces, we are able to peer into the soul and its essence. The main thing in Van Gogh's work is the choice of colorful color. The power of colors is the power of its creativity. In a letter to his brother Theo, Vincent writes that he wants to portray a friend of his artist while dreaming of his beautiful dreams. He wants to invest in his portrait all his love for his boyfriend and chooses rather arbitrarily the paint. Exaggerating with gold for the color of his hair, he stains with the deepest blue background wall. This creates the illusion of a golden star on the blue sky. This is Van Gogh. In the same way he does it with a peasant portrait, imagining this man under the fiery sun at the height of the harvest. He painted the background with the color of fired iron. There is the difference between Van Gogh and all the other portraits who think that everything is exhausted. The colors in the background of Vincent are not a random decoration. One of his arches, probably a provincial splinter, is painted in blue-black like a wingspan, and thus more like a murmuring spider. Every color, viewed from Van Gogh's point of view, had its own laconic meaning. He not only loved multicolor, but it also gave him a secret sense. But of all the colors he was most enchanted by the blue and the yellow. The yellow range - from the delicate-lemon to the bell-orange - was a symbol of it, but the sun, rye, Christian love. That he loves the most. The blue range - from the sky - the blue to the raven - the black - was for him a symbol of the impassive eternity, the cool necessity, the night sky, the death. He himself gravitated to it, but he was also afraid.\n\n\n![31055.jpg](https://steemitimages.com/DQmREvx6P1Ar2aqY7KfXZbzKbTh6Z5h4d2fcYLsnEx8agre/31055.jpg)\n**\"Cafe Terrace at Night\" by Vincent van Gogh**\n\n\nVan Gogh says, \"I prefer to draw people's eyes instead of cathedrals. The human soul, even the soul of an ungodly beggar or a poor boy, is much more interesting. Whoever describes the peasant's life will best endure the test of time. I will remain myself and even in the raw works I will speak strictly, roughly but only the truth. \" Can a person who, in these and thousands of similar speeches, can explain the meaning of life and art, rely on success among the \"strong of the day\"? The bourgeois audience does not forgive innovation, and Van Gogh is an innovator, in the direct and transportable sense of this notion. His reading of the beautiful and beautiful passes through extreme contradictions - ranging from tiny shoes to devastating cosmic ragans. At the beginning of the 20th century, opposed to Van Gogh's art, a new term emerges - \"post-impressionism\". The painting is based on the \"I see-depict\" basis. In Impressionism this reaches the peak of its development, reflected in the amazing naturalness and diversity of artistic techniques. In the amazing diversity of nature, Impressionists have managed to capture her beautiful face and its endless renewal.  Van Gogh offers a fundamentally innovative method, a method for synthesizing observations and knowledge, an analysis of the inner essence of things and phenomena, and all this expands the cognitive abilities of art. \"I see everything in nature, for example in the trees - the soul.\" These words of Van Gogh are the key to his interpretation of the artistic image. At its core is the merger of two principles, one of which concerns the work with nature, and the second determines the creative impulse of the artist, allowing him to see reality in a much brighter and transformed form.  Once Van Gogh compares the academic painting with a prodigious mistress who \"frizes you, drinks your blood and turns your heart into a stone ... Send this mistress to hell and fall in love with your true love - Lady Nature or Reality\" . This lady loved him all his life. No force was able to tear Van Gogh away from his art. But his love for Lady Reality was far from blind. In Van Gogh's eyes, working with nature was tantamount to \"tame the shrewd\" Each component of nature turns Van Gogh into a chamber of emotions and feelings. Nature gives him not only motives, but also becomes a moral support for him, a source of moral strength. Van Gogh's main creed is to be in love with mankind. He stands above the prejudices. Without thinking, he would turn his last shirt into a wound dressing for a wounded miner's wound, break up bread and shelter with both poor children and a prostitute. \"There is nothing more artistic than to love children!\"\n    \n![Vincent_Willem_van_Gogh_127.jpg](https://steemitimages.com/DQmPsWVzVWGp4fYHn8LP1QHTMY2xg9z5P7yM9fEtV1FMtJH/Vincent_Willem_van_Gogh_127.jpg)\n**\"Sunflowers\" by Vincent Van Gogh**\n\n\n\nVan Gog's aesthetics is the result of imagination from another world. His \"wonderful\" smell of the earth, the ripe grains, the farmer's labor, the wind, the winds spread. In everything he sees beauty. It takes beauty and the greatest grotesque. His beauty is seen as a woman.  Questions about the life of nature would never have been resolved if Impressionists had not gone out into the street, in the nature, on the riverbank ... Vincent said, \"I wish the beauty came not from the material, but from myself.\" Van Gogh is fighting breasts in the chest with things in nature. Dreaming for a brotherhood of artists and collective work, he forgot that he was an irreversible individualist. But that was precisely his power. You need to have trained eyes to distinguish Monet's picture from that of Sisley. But once he saw Van Gogh's \"Red Vines\", one would never mistake Vincent Van Gogh for a picture. Each line and stroke are an expression of his soul.  In the painting, in the manner of Van Gogh, everything is equal and merged into a perfect ensemble - rhythm, color, line, shape. As in the music there is a major and minor arrangement, the same way in Van Gogh's art, the palettes are divided into two poles - cold and warm. Like life and death. In Van Gogh's mind, the two colors - yellow and blue - have deep symbolism. In the yellow he sees the bright beginning - the sun, the ripe corn. For him it is the color of the light beginning, of love and life. And blue, from blue to almost lead gray, is a symbol of grief, grief, despair, and ultimately of death. In Van Gogh's life, life is the ability to think, feelings of affection. The paintings of Van Gogh - strokes thrown on the canvas with a quick hand. Like a \"dash, dot, comma\" - This is the basis of Vanghogov's art. Expressive without much explanation and detail. In every painting is the fight between man and nature. Beautiful and endless struggle. Color Fighting.\n\n\n![view.jpg](https://steemitimages.com/DQmagGKD3NLMQ94L4nTnuybKJa3kq1vtXAbaeaWEneohskX/view.jpg)\n**\"Landscape at Auvers in the Rain\"  Vincent Van Gogh**\n\n\n\nIt is often said that in Van Gogh's painting there is some unbridled, unmanageable emotional element. But that's what makes it so original. Van Gogh was extremely gifted in his work. This talent is at the expense of his personal life - mutilated physically and spiritually. He died at thirty-seven years. Van Gogh says \"I paid my life for my art, but it took half my brain.\" His last picture provokes contradictory feelings. A mixture of despair, coldness, chill, but more often grief and touching pain. \"Landscape at Auvers in the Rain\" suggests peace and goodness, dictated precisely by the artist's state of art. The brightness of the green color, the horses harnessed in a wagon on the wet road. Smoke from the train running down the rail. All this would be almost idyllic if it was not the rhythm of strokes and colors, suggesting some vague tension. Just a moment, and all this world seems to blow out of some sort of shattering, unclear power.  \"Thousands of torment ... I'm in torture! But there I see the sun, and even when I do not see it - I know it is there. And knowing that there is the sun, I know it is life! \" These Dostoevsky words could also be attributed to Van Gogh. Life is grief and suffering. And art always wants sacrifices.\n\n----------- \n\nImage source: [1](https://en.wikipedia.org/wiki/Vincent_van_Gogh), [2](https://en.wikipedia.org/wiki/Vincent_van_Gogh), [3](https://www.posters.bg/%D0%BF%D0%BB%D0%B0%D0%BA%D0%B0%D1%82/vincent-van-gogh-cafe-terrace-v14424), [4](https://www.posters.bg/%D0%BF%D0%BB%D0%B0%D0%BA%D0%B0%D1%82/vincent-van-gogh-cafe-terrace-v14424), [5](https://www.posters.bg/%D0%BF%D0%BB%D0%B0%D0%BA%D0%B0%D1%82/vincent-van-gogh-cafe-terrace-v14424)",
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      "body": "The conflict between reality and ideal, which leads to the defeat of the ideal, can be conceived - both in life and in art - differently. The tragic fate of the German people in this dramatic epoch reveals the work of Remark (from his first novel \"On the West Front nothing new\" to the \"Arc de Triomphe\" and \"Life Loan\"). In addition, every Remark book brings to the reader a heavy sense of implacability and hopelessness, a feeling of overpowering, the universe of evil, and the unviability of the good, the bright and the noble. In other words, in the irreconcilable conflict between real social life and the humanistic ideal in the books of Remark, defeat not only his heroes, the bearers of ideal qualities and aspirations, but the ideal itself and its defeat is neither accidental nor temporary but profoundly lawful, inevitably and definitively. Such a solution to the tragic collision, such a worldview, such a philosophy of life are called pessimistic.The \"terrible\" is not an aesthetic category, but as far as the pessimistic worldview is concerned, it has historically evolved in certain historical epochs - in break-away eras, when the collapse of a certain way of life and the ideals it has created has been perceived by many as proof of the impossibility of the ideal, the noble and the bright to defeat the dark and low reality. One of the most shocking artistic expressions of such a worldview in the era of the Renaissance culture crisis is the painting by Pieter Brögel's \"Slepitsi\": the row of blinded ones who go to the abyss is perceived as a symbol of the historical path of all mankind ... Especially deep roots put pessimism in the early nineteenth century in the era of Romanticism. In the aesthetics of Romanticism, this is reflected in the absolute opposition of the ideal and reality, the exalted dream and the ugly reality, the wonderful and poetic aspirations and the invisible, vulgar prose of life, in which the antagonists seem to be overwhelming.\n\n\n<div class=\"pull-right\">https://steemitimages.com/DQmWgyBnACJqDKZXE4h4F61cSV8JGrYvhZLfmemVaa2kBVx/positive-negative.jpg</div>\n Such an attitude to reality is the result of the disappointment with the results of the bourgeois revolution, and is expressed in the belief that the ideals of the enlighteners can not be realized at all, that they are judged to remain a dream, an unsatisfied desire, and this gives birth to many representatives of the romantic movement is a pessimistic-pessimistic attitude to life. \"There is nothing worthy of our desires, aspirations and struggle in the world,\" Schopenhauer's words are a key to understanding the pessimism of Romanticism. In the age of imperialism, when all the ugly aspects of the life of the exploitative society develop most consistently, when the incompatibility between this type of social apparatus and the humanistic ideals begins to feel marginal, the pessimistic interpretation of the tragic collisions spreads more widely implements the bourgeois intelligentsia more vigorously than ever before. Therefore, the aesthetic tone of Remark's creativity is no exception, but a deeply characteristic phenomenon in the culture of bourgeois society of the twentieth century. After World War I, in the bourgeois literature, the Lermontov theme of the \"lost generation\" re-emerged, releasing unheard-of healthy roots in the minds of the intelligentsia of Europe and America. And after the Second World War a pessimistic understanding of the fates of the new generations bore the bourgeois culture with a force that was unknown in the entire history of civilization. German artist Hermann Bar writes, explaining some important aesthetic features of Expressionism: \"There has never been a time filled with such horror, with such mortal fear ...\", and the famous French writer and critic André Moreau calls the \"orgy of despair\" the ideological pathos of the bourgeois literature, which draws a \"sinister picture of the world,\" and tries to prove that \"life is absurd,\" and that \"man does not understand why he is thrown into this world.\"\n\n\n\n\n\n\n\n\n\n\n\n\n\nThe philosophy of existentialism is so popular in the broad circles of the bourgeois intelligentsia, because the latter finds in this doctrine the theoretical justification of its worldview. Indeed, if, as Heidegger claims, the goal of human existence is \"nothingness,\" if life, as Jaspers says, is \"a movement from a darkness in which I have not been, to a darkness in which I will not be,\" the pessimistic instinct becomes the only legitimate, \"science-based\" worldview of modern man ...\n\n\n\n\n<div class=\"pull-left\">https://steemitimages.com/DQmXgmv5cSF2fUhquMTZJVhirXKapDMyPw28i8kJ9iTcdWh/15892665569_372318f1a2_b.jpg</div>  This ideological and sociopsychological \"climate\" explains, for example, such a major artistic phenomenon in the twentieth century culture as Kafka's work. It is not just that the individual physiological and psychological features of this person or the unhappiness of his personal life have generated his pessimistic worldview; people of a similar nature and similar destiny meet all the time, and among them can be found a lot of writers and artists. The essence of the problem is that for the first time such an infinite, insubstantial and hopelessness of the pessimistic perception of life becomes a fact in the history of culture that for the first time such a worldview receives such a stunning artistic incarnation and that for the first time it causes such a wide and sustainable public resonance.\nHowever, it turns out that Kafka has said far not the last word on this apocalyptic road to bourgeois art of the twentieth century. Its principles of artistic understanding of life have been developed with unusual, fearless and threatening consistency, giving rise to some of the most characteristic of decadence artistic movements - the so-called \"absurdity\". Even the elements of real life logic that still existed in Kafka's remarkable nightmare fantasy dreams, disappear here. In the works of \"classics\" at the theater of absurdity S. Beckett - for example, in the famous play \"In anticipation of Godo\" - absurdity is no longer a generalizing meaning of the image of life but a prerequisite of this image. Absurd here are not only social relations, as was inherent in Kafka's philosophy, but even the material conditions of human existence, its spatial and temporal coordinates. What is happening on the scene can not even be called a movement from one darkness to another, according to the definition of Jaspers, rather it is a trench in a place in darkness, devoid of any active beginning, living in darkness ...\n\n-----------\n\n\nThe analysis of human psychology, as well as the whole history of world culture, shows that the understanding of tragic collisions in life can not only be pessimistic. Too dangerous for art are the notions of people who identify pessimism with tragedy and therefore have a stupid fear of tragic works. In fact, the fear of tragedy is one of the so-called \"conflict-free theory.\" Indeed, alongside the pessimistic tragedy in the history of art, there has always been another type of tragedy - \"Optimistic Tragedy\". Optimistic worldview is rooted in the deep foundations of human consciousness: people's activity would have no meaning if they did not believe in the ability to subdue their hostile natural powers and defeat the evil of society, if they did not believe in the better future of the human race. In the early stages of the development of public consciousness, this elemental optimism takes the fantastic forms of myth that convey the solution to all the vital contradictions in the afterlife. Still, despite his religious mystic form, the legend of the hero's rebirth after his death (any such hero, Osiris, Dionysus, or Christ) is the first optimistic tragedy in the history of artistic understanding of the laws of human life. When public consciousness and art are freed from the captivity of mythological fantasies and embark on a sober understanding of real human history, religious utopias have been replaced by an optimistic view of the development of society and an optimistic solution to the tragic conflicts arising in the course of this development. \n\n\n\n\nIn Shakespeare's work we find the first classical examples of the optimistic tragedy, free of mythological mystifications. The aesthetic sense of Romeo and Juliet, Hamlet, and Othello is that the death of the wonderful man who embodies or fights for the ideal is not a doom of the ideal. On the contrary, Shakespeare's tragedies flashed the passionate faith in the inevitable celebration of reason, justice, the beauty of free feeling, human trust:\n\n> Death will stop in front of your liveliness,\ndeath is corrupt, and you, soul, do not rejoice.\n\nThese remarkable words, ending one of Shakespeare's sonnets, can be placed as the motto of all his tragedies.\nBut in the Revival period, not only Shakespeare thinks. The immortality of Raphael's \"Sistine Madonna\" consists in the fact that the painter frees the traditional theme of the Madonna with the infant and the religious mysticism that is so characteristic of the Middle Ages and the idyllic chanting of motherly happiness, not least of Renaissance art. Raphael transforms this subject into a highly optimistic tragedy: the mother carries her son to mankind by anticipating with him his tragic fate and at the same time realizing the necessity and justification of the victim ... The optimism of the Titans of the Revival was inherited by the enlighteners of the 17th and 19th centuries. Their outlook is \"historic optimism,\" and opposes romantic \"historical pessimism,\" because enlighteners believed in the possibility of solving basic social contradictions, believed in the ultimate celebration of reason, justice and beauty. That's why Lesing's drama and Schiller's tragedies are new variants of optimistic tragedy. In the democratic culture of the twentieth century, bright examples of such a type of tragedy are \"The Charming Soul\" by Romain Roland or \"Glass Beads\" by Hermann Hesse. Pessimistic tragedy invalidates man's will, cultivates obedience and passivity. And the optimistic tragedy \"cleanses\", awakens the will to fight, the readiness for feats, calls for sacrifice and a fearless struggle with everything that stands on the road to the ideal, nurturing heroes, fighters, revolutionaries.\n\n> Solving your death is not difficult.\nTo live, there is the difficulty!\n\n\nImage source: [1](http://pictures-and-images.com/content/comedy-tragedy-masks-wallpaper.html), [2](https://cincivox.wordpress.com/2017/03/06/ce-douloureux-sentiment-dimposture/)",
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