By Thomas Hilgers
The suggestion of disinterestedness is frequently conceived of as antiquated or ideological. nonetheless, Hilgers argues that one can't reject it if one needs to appreciate the character of artwork. He claims that an art more often than not asks somebody to undertake a disinterested angle in the direction of what it indicates, and that the impression of such an adoption is that it makes the individual quickly 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 building of world-views, yet needs to begin a technique of self-critical pondering, that's a precondition of genuine self-determination. eventually, then, the classy adventure of artwork includes a dynamic means of losing the experience of oneself, whereas gaining a feeling of the other, and of achieving selfhood. In his booklet, Hilgers spells out the character of this method through rethinking Kant’s and Schopenhauer’s aesthetic theories in gentle of more moderen advancements in philosophy–specifically in hermeneutics, severe concept, 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