By Thomas Hilgers
The thought of disinterestedness is frequently conceived of as antiquated or ideological. even so, Hilgers argues that one can't reject it if one needs to appreciate the character of paintings. He claims that an art commonly asks somebody to undertake a disinterested angle in the direction of what it indicates, and that the influence of such an adoption is that it makes the individual briefly lose the feel of herself, whereas allowing 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 development of world-views, yet needs to start up a strategy of self-critical considering, that's a precondition of genuine self-determination. finally, then, the cultured event of paintings involves a dynamic means of losing the feel of oneself, whereas gaining a feeling of the other, and of achieving selfhood. In his ebook, Hilgers spells out the character of this technique by way of rethinking Kant’s and Schopenhauer’s aesthetic theories in gentle of more moderen advancements in philosophy–specifically in hermeneutics, severe conception, and analytic philosophy–and in the arts themselves–specifically inside movie and function art.
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Additional 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