By Thomas Hilgers
The idea of disinterestedness is usually conceived of as antiquated or ideological. then again, Hilgers argues that one can't reject it if one needs to appreciate the character of paintings. He claims that an paintings commonly asks somebody to undertake a disinterested perspective in the direction of what it exhibits, and that the impact of such an adoption is that it makes the individual quickly lose the feel of herself, whereas permitting her to gain a feeling of the other. because of an artwork’s specific wealth, multiperspectivity, and dialecticity, the engagement with it can't culminate within the building of world-views, yet needs to begin a technique of self-critical pondering, that is a precondition of genuine self-determination. eventually, then, the cultured adventure of paintings involves a dynamic technique of losing the feel of oneself, whereas gaining a feeling of the other, and of achieving selfhood. In his booklet, Hilgers spells out the character of this strategy by way of rethinking Kant’s and Schopenhauer’s aesthetic theories in gentle of more moderen advancements in philosophy–specifically in hermeneutics, serious conception, and analytic philosophy–and in the arts themselves–specifically inside movie and function art.
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Extra resources for Aesthetic Disinterestedness: Art, Experience, and the Self (Routledge Studies in Contemporary Philosophy)
Aesthetic Disinterestedness: Art, Experience, and the Self (Routledge Studies in Contemporary Philosophy) by Thomas Hilgers