By Miguel Beistegui
This booklet makes a speciality of a measurement of paintings which the philosophical culture (from Plato to Hegel or even Adorno) has continually missed, such used to be its dedication – specific or implicit – to mimesis and the metaphysics of fact it presupposes. De Beistegui refers to this measurement, which unfolds open air the gap 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 publication, 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 historical past 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 gap among the practical and the supersensible, or the picture and the assumption, and demonstrate the practical as proto-conceptual, yet to open up a unique feel of the practical. His target, then, is to shift the place and role that philosophy attributes to artwork.
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Extra info for Aesthetics After Metaphysics: From Mimesis to Metaphor
There is a noble N. Poussin at the Academy, a solemn, deep, still summer’s noon, with large umbrageous trees, and a man washing his feet at a fountain near them. Through the breaks in the trees are mountains, and the clouds collecting about them with the most enchanting effects possible. 46 Rejecting the differences and strict hierarchy that Neoclassicism had introduced within nature, and between nature and history, Romanticism adopted an organic conception of nature, and saw the divine at work in every one of its corners, no matter how obscure and modest.
Art is the “the world of ideas entirely open” (V, 631), whereas Nature lacks a voice. We ﬁnd something very similar in Schopenhauer, for whom the artist, “by recognising in the individual thing its Idea . . understands nature’s half-spoken words. 3 Let me add, in passing, that whereas for Schopenhauer the genius is driven by Ideas, which are a matter of pure perception, imitators and mannerists are driven by concepts, which, as abstractions generated by our faculty of reason, belong not in art, but in science.
The truth of art itself consists in its own self-overcoming in a higher, unlimited expression of the absolute. The truth of art lies in art’s ability to transform itself into non-sensuous truth. 4 ADORNO Reversing further the Platonic exclusion of art from truth, extending and radicalising the Hegelian connection between art and truth, Adorno’s aesthetics seems to unfold at the very limit of metaphysics, and broach a space for art outside the Platonic-Aristotelian schema. Speciﬁcally, by suspending the classical subordination of artistic images to philosophical truth, by rehabilitating the sensuous and the material in art against conceptual abstraction—the very abstraction that, according to the authors of The Dialectic of Enlightenment, led to the domination of “instrumental reason” in modernity—and by asserting art’s autonomy from bourgeois society, Adorno’s aesthetic theory seems to signal a radical departure from the idealist framework and the hierarchy in which, up until then, metaphysics had inscribed the work of art.
Aesthetics After Metaphysics: From Mimesis to Metaphor by Miguel Beistegui