Aesthetics philosophy

The second part of the series focuses on questions about understanding works of art and about the nature of art. Lyotard characterises the sublime stake of art as ‘presenting the unpresentable’, because for him the aesthetic event is something which cannot be reduced to a ‘presentation’, understood in the Kantian sense as a ‘good form’ given to a sensation.

Furthermore, unlike many of the sciences for which there has come to be a healthy industry of books, magazines, and television shows meant to popularize science and communicate the technical results of a scientific field to the general populace, works by professional philosophers directed at an audience outside the profession remain rare.

Heidegger expands these theses as follows. These reflections culminated in Adorno’s last book,As a third major point, then, for Adorno, artworks may be understood as ‘monads’ (a concept drawn from Gottfried Leibniz): while they are independent, self-enclosed entities, they are products of the social conditions in which they are created and mirror these social conditions within them. (This is how he interprets Nietzsche’s thesis of nihilism, the negation of meaning and value as such.) Techniques in photography and film such as the close-up and slow motion are not simply reproducing what we previously know of the world but introducing new perceptions and knowledges as they capture things entirely unknown to the naked eye. Freud’s most famous example here comes from Leonardo. For Adorno, modernist experimental art is a privileged site of politics in the contemporary world, as it can both reflect and resist the difficulties and contradictions of contemporary existence better than explicit political discourse.

Moreover, modernism abstracts developments in the arts from other social and cultural forms of collective experience, which, on the contrary, Rancière sees as co-determining them. Adorno agrees with Benjamin that contemporary developments in society and the arts radically challenge modern and romantic aesthetics but has a far more pessimistic view of the mass media ‘culture industry’.

Heidegger contends that the history of philosophy, and of western culture generally, has seen a decline with respect to Being, such that today Being has practically become nothing. This occurs as the child learns language and also learns to attenuate their desires in relation to the law and social custom.

Notoriously difficult to summarise, Derrida’s works may be approached for our purposes through the observation that he develops a quasi-transcendental theory of meaning, which has implications for how meaning is understood to operate in philosophy, literature, and the arts. This takes place in conversation with,Merleau-Ponty’s essay ‘Eye and Mind’ develops many of the themes above in the context of his late ontology of ‘the visible and the invisible’, which attempts to overcome the subject/object division by invoking new concepts such as ‘flesh’. For him, older aesthetic traditions based around the aura can be seen as culpable in their co-optation by fascist regimes, while the transformations wrought in the arts by industrial technologies opens more promising possibilities for the politicization of art through the democratic communication of ideas.While Adorno’s reflections on art and culture developed to some extent from a critical disagreement with Benjamin over the democratizing potentials of radio and film, this developed into a highly productive engagement. Against the transparent lucidity of Cartesian consciousness, flesh invokes the thickness and density of the perceptual field: the ambiguous region of the mutual imbrication of the perceiving self and the perceived world in a space in which both overlap without clear dividing line or boundary, but also without either being able to be reduced to the other. In the view of one prominent recent historian: "Philosophy has become a highly organized discipline, done by specialists primarily for other specialists. Like Heidegger, Gadamer seeks to challenge and overcome what has been called aesthetics in modern philosophy but for different reasons and with a different aim in mind.

Artistic formalism is the view that the artistically relevantproperties of an artwork—the properties in virtue of which it isan artwork and in virtue of which it is a good or bad one—areformal merely, where formal properties are typically regarded asproperties graspable by sight or by hearing merely. He suggests that this creative activity then takes the form of phantasies in adulthood, where phantasies are understood as imaginative fulfilments of desires which remain unfulfilled in reality. This is because they are not most fundamentally historical categories but, rather, ways that art is thought to operate or be significant, which can function in any historical period. ",Wainwright, William J.

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