Download Aesthetics After Metaphysics: From Mimesis to Metaphor by Miguel Beistegui PDF
By Miguel Beistegui
This publication makes a speciality of a measurement of paintings which the philosophical culture (from Plato to Hegel or even Adorno) has continuously missed, such was once its dedication – particular or implicit – to mimesis and the metaphysics of fact it presupposes. De Beistegui refers to this size, which unfolds outdoor the distance that stretches among the practical and the supersensible – the distance of metaphysics itself – because the hypersensible and convey how the operation of artwork to which it corresponds is healthier defined as metaphorical. The move of the e-book, then, is from the classical or metaphysical aesthetics of mimesis (Part One) to the aesthetics of the hypersensible and metaphor (Part Two). opposed to a lot of the heritage of aesthetics and the metaphysical discourse on artwork, he argues that the philosophical worth of artwork doesn’t consist in its skill to bridge the distance among the practical and the supersensible, or the picture and the assumption, and display the practical as proto-conceptual, yet to open up a special feel of the practical. His objective, then, is to shift the place and role that philosophy attributes to paintings.
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Additional resources for Aesthetics After Metaphysics: From Mimesis to Metaphor
Beyond the philosophy of art, as I will show in the following chapter, Schopenhauer’s Platonic conception of art, revisited and rehabilitated beyond Plato’s own condemnation of mimetic art, corresponds indeed to a certain view and practice of modern and contemporary art, and especially abstract art. There is, I will suggest, a certain form of abstraction that is perfectly compatible with Schopenhauer’s view of art. Yet that conception, against which Nietzsche fought all his life, is precisely not the one that I want to retain, nor that with which Chillida confronts us.
What would such a thing be, and how can we know it? Schopenhauer’s answer to this question is well known: it is the world not as representation, but as will, that constitutes the essence of living as well as brute matter, and it is through our bodily or incarnate experience of the will that we know the world as thing-in-itself. Scientiﬁc knowledge is, like everything else, an expression and an objectiﬁcation of the will. ”25 Music, Schopenhauer goes on to claim in §52, is the artistic medium in which the will is expressed freely, independently of any representation or Ideas, and in a way that would seem to mark a decisive break with mimetic art.
Chillida’s speciﬁc form of abstraction, and the relation to the sensible it makes possible, forces thought outside the metaphysical opposition between the phenomenal and the ideal, becoming and being, time and eternity, and into the hypersensible. Schopenhauer’s discussion of the various ﬁ ne arts, from architecture to poetry and tragedy, ends with music. ”39 In music, then, it is no longer a matter of perceiving or contemplating those Ideas that all other art forms, in one way or another, present.