By Thomas Hilgers
The idea of disinterestedness is frequently conceived of as antiquated or ideological. on the other hand, Hilgers argues that one can't reject it if one needs to appreciate the character of artwork. He claims that an paintings normally asks an individual 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 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 start up a means of self-critical considering, that's a precondition of actual self-determination. eventually, then, the classy event of paintings contains a dynamic strategy of losing the feel of oneself, whereas gaining a feeling of the other, and of achieving selfhood. In his e-book, Hilgers spells out the character of this procedure via rethinking Kant’s and Schopenhauer’s aesthetic theories in gentle of more moderen advancements in philosophy–specifically in hermeneutics, severe idea, and analytic philosophy–and in the arts themselves–specifically inside movie and function art.
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Extra info 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