By Thomas Hilgers
The idea of disinterestedness is usually conceived of as antiquated or ideological. however, Hilgers argues that one can't reject it if one needs to appreciate the character of paintings. He claims that an art more often than not asks somebody to undertake a disinterested perspective in the direction of what it indicates, and that the impact of such an adoption is that it makes the individual briefly lose the experience of herself, whereas allowing her to gain a feeling of the other. as a result of an artwork’s specific wealth, multiperspectivity, and dialecticity, the engagement with it can't culminate within the development of world-views, yet needs to begin a technique of self-critical pondering, that's a precondition of actual self-determination. finally, then, the cultured event of artwork contains a dynamic strategy of losing the experience of oneself, whereas gaining a feeling of the other, and of achieving selfhood. In his e-book, Hilgers spells out the character of this method via rethinking Kant’s and Schopenhauer’s aesthetic theories in mild of more moderen advancements in philosophy–specifically in hermeneutics, severe concept, and analytic philosophy–and in the arts themselves–specifically inside of 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