In this paper, I argue that art can help us imagine what it would be like to have experiences we have never had before. I begin by surveying a few of the things we are after when we ask what an ...experience is like. I maintain that it is easy for art to provide some of them. For example, it can relay facts about what the experience involves or what responses the experience might engender. The tricky case is the phenomenal quality of the experience or what it feels like from the inside. Thus, in the main part of the paper, I discuss how art can provide us with this as well. I conclude by situating my view in the context of the broader debate over transformative experiences. I maintain that art can solve some but not all of the problems that arise when deciding whether to undergo a transformation.
Art History and Other Stories Berthoud, Luiza Esper
Ars (São Paulo, Brazil),
04/2020, Letnik:
18, Številka:
38
Journal Article
Odprti dostop
Through the analysis of one erroneous piece of art criticism, an essay by Goethe that re-imagines a lost ancient sculpture, I demonstrate the difficulty that the discipline of art history has with ...conceptualizing the experience of art making and how one ought to respond to it. I re-examine the relationship between art making and art appreciation informed by ideas such as the Aristotelian view of Poiesis, Iris Murdoch’s praise of art in an unreligious age, and Giorgio Agamben’s call for the unity between poetry and philosophy. I also argue that much of modern art criticism has forgotten Arts’ earlier conceptual vocation, and propose methods of appreciating art that are in themselves artistic.
What Is the Object of Art? Benjamin, Andrew
Journal of aesthetics and phenomenology,
01/2022, Letnik:
9, Številka:
1
Journal Article
Recenzirano
The aim of this paper is establish the difference between aesthetics and the philosophy of art. Part of the argument is that only a philosophy of art can give an adequate philosophical account of ...works of art. The argument is advanced drawing on the writings of Immanuel Kant and Gunter Figal.
Several contemporary architects have designed architectural objects that are closely linked to their particular sites. An in-depth study of the relevant relationship holding between those objects and ...their sites is, however, missing. This paper addresses the issue, arguing that those architectural objects are akin to works of site-specific art. In section (1), I introduce the topic of the paper. In section (2), I critically analyse the debate on the categorisation of artworks as site-specific. In section (3), I apply to architecture the lesson learned from the analysis of the art debate.
Boldly developing the central traditions of American modernist abstraction, Lawrence Carroll's paintings engage with a fundamental issue of aesthetic theory, the nature of the medium of painting, in ...highly original, frequently extraordinarily successful ways. Aesthetic Theory, Abstract Art, and Lawrence Carroll explains how he understands the medium of painting; shows what his art says about the identity of painting as an art; discusses the place of his paintings in the development of abstraction; and, finally, offers an interpretation of his art. The first monograph devoted to him, this philosophical commentary employs the resources of analytic aesthetics. Art historians trace the development of art, explaining how what came earlier yields to what comes later. Taking for granted that the artifacts they describe are artworks, art historians place them within the history of art. Philosophical art writers define art, explain why it has a history and identify its meaning. Pursuing that goal, Aesthetic Theory, Abstract Art, and Lawrence Carroll roams freely across art history, focused at some points on the story of old master painting and sometimes on the history of modernism, but looking also to contemporary art, in order to provide the fullest possible philosophical perspective on Carroll's work.
The literary work of Enrique Vila-Matas has a multiplicity of metaliterary resources that will undoubtedly make it transcend to our time. Specifically, his novel París no se acaba nunca is in itself ...a living example of a work that reflects on a wide variety of aspects that concern metafiction, literary theory and philosophy of art. Metafiction is a narrative resource deeply consolidated in universal literature and it is part of a discipline such as literary theory. This work proposes the use of the tools of philosophical materialism to analyze the Vilamatian novel about the aspects that metafiction deals with. This research aims to analyze the novel París no se acaba nunca as a work that addresses the main issues of reflection on literature, metafiction and literary theory. It also develops a critical perspective on everything that affects the writing process. Enrique Vila-Matas invites the reader to deal with classic topics that affect literary production, such as intertextuality, fiction and substantivity in narrative texts.
La obra literaria de Enrique Vila-Matas tiene una multiplicidad de recursos metaliterarios que sin duda la harán trascender a nuestra época. En concreto, su novela París no se acaba nunca supone en sí misma el vivo ejemplo de una obra que reflexiona sobre una gran variedad de aspectos que conciernen a la metaficción, la teoría literaria y la filosofía del arte. La metaficción es un recurso narrativo profundamente consolidado en la literatura universal y forma parte de una disciplina como la teoría literaria. Este trabajo propone el uso de las herramientas del materialismo filosófico para analizar la novela vilamatiana sobre los aspectos que trata la metaficción. Esta investigación tiene como objetivo analizar la novela París no se acaba nunca como una obra que puede explicar los principales problemas de la reflexión sobre la literatura, la metaficción y la teoría literaria. Desarrolla además una perspectiva crítica a todo lo que afecta al proceso de escritura. Enrique Vila-Matas propone al lector tratar temas clásicos que afectan a la producción literaria tales como la intertextualidad, la ficción y la sustantividad en los textos narrativos.
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