ABSTRACT
Scotus's distinctio reinvigorates the argument for a different route in the interpretation of meaning, and this comes to contemporary discourse as an alternative to the hermeneutic tradition in which it has been trapped by the hegemony of structuralism. The notion of form as metaphysical objectivity is often regarded as strictly De Chirico's, with Carra 'following' suit in the formal application of this objectivity. De Chirico often condemned intellectualized art as futile cerebralism, arguing that 'nobody has ever understood' his metaphysical works. In the realism of a world where form revalues the world in its individuating principle, beauty emerges as the perlocutionary act of such principle. Carra's demise from activism was mainly indicative of this decision—beauty as an art-form was not equivalent to the 'heroic beauty' of the metallic gesture of aeroplanes flying the skies or trains racing their rails.
