Art and Embodiment: From Aesthetics to Self-consciousnessClarendon Press, 1993 - 210 páginas In his Critical Aesthetics and Postmodernism, Paul Crowther argued that art and aesthetic experiences have the capacity to humanize. In Art and Embodiment he develops this theme in much greater depth, arguing that art can bridge the gap between philosophy's traditional striving for generality and completeness, and the concreteness and contingency of humanity's basic relation to the world. As the key element in his theory, he proposes an ecological definition of art. His strategy involves first mapping out and analyzing the logical boundaries and ontological structures of the aesthetic domain. He then considers key concepts from this analysis in the light of a tradition in Continental philosophy (notably the work of Kant, Heidegger, Merleau-Ponty, and Hegel) which--by virtue of the philosophical significance that it assigns to art--significantly anticipates the ecological conception. On this basis, Crowther is able to give a full formulation of his ecological definition. Art, in making sensible or imaginative material into symbolic form, harmonizes and conserves what is unique and what is general in human experience. The aesthetic domain answers basic needs intrinsic to self-consciousness itself, and art is the highest realization of such needs. In the creation and reception of art the embodied subject is fully at home with his or her environment. |
Contenido
An Ecological Theory of | 1 |
A Logical Geography | 17 |
Aesthetic Experience and the Experience of Art | 31 |
Alienation and Disalienation in Abstract Art | 48 |
Heidegger and the Question of Aesthetics | 85 |
Vision and Painting | 102 |
An Exploration | 119 |
From Aesthetic | 149 |
Art and the Needs of SelfConsciousness | 169 |
Questions of Creativity and Originality | 180 |
Appendix | 201 |
207 | |
Otras ediciones - Ver todas
Art and Embodiment: From Aesthetics to Self-consciousness Paul Crowther,Professor of Philosophy and the Visual Arts Paul Crowther Sin vista previa disponible - 1993 |
Términos y frases comunes
Absolute abstract abstract art achieved aesthetic attitude aesthetic domain aesthetic experience aesthetic idea aesthetic responses appreciation architecture art's artefact articulate artifice artistic artwork aspects aware basis capacities chapter claim classical architecture Clive Bell cognitive complex concept conceptual art concrete configuration consciousness course creative culture definition of art dimension disinterested distinctive embodied subject emotion engage enjoyment example existence expression fact formal qualities free beauty function fundamental ontology G. W. F. Hegel Gadamer Gadamer's George Dickie Harold Osborne Hegel Heidegger Heidegger's historical Ibid imagination individual involves judgement Kant logical Martin Heidegger Marxism material Maurice Merleau-Ponty means medium Merleau-Ponty mode nature needs of self-consciousness notion ontological reciprocity original painting particular perception phenomenal phenomenological philosophical position possibility presuppose pure aesthetic rational reflective relation representation representational art sense sensuous simply specific spirit structure style subject-matter symbolic art theory of art things tion trans transcendent truth unique unity visual whilst
Referencias a este libro
The Senses of Touch: Haptics, Affects and Technologies Mark Paterson Sin vista previa disponible - 2007 |
The Transhistorical Image: Philosophizing Art and Its History Paul Crowther Sin vista previa disponible - 2002 |