Author note: Owen Hulatt (Editor)
Whether paintings might be utterly self sustaining has been many times challenged within the glossy heritage of aesthetics. during this number of specially-commissioned chapters, a staff of specialists speak about the level to which artwork could be defined simply when it comes to aesthetic categories.
Covering examples from Philosophy, song and artwork historical past and drawing on continental and analytic assets, this quantity clarifies the connection among artistic endeavors and extra-aesthetic concerns, together with ancient, cultural or fiscal components. It offers a complete evaluate of the query of aesthetic autonomy, exploring its relevance to either philosophy and the comprehension of particular artistic endeavors themselves. through heavily reading how the construction of artistic endeavors, and our decisions of those works of art, relate to society and background, Aesthetic and creative Autonomy presents an insightful and sustained dialogue of a tremendous query in aesthetic philosophy.
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Additional info for Aesthetic and Artistic Autonomy (Bloomsbury Studies in Philosophy)
In it, until the self which we experience in our selves, and the machinelike character of matter we see outside ourselves, can be united in a single We are aware of our own selves. We experience love. Sometimes we experi enceunity. As I have shownin Book i, theseex picture. I believe this. AndI believe thatwe shall periences of selfare profoundly connected with not have a credible view that shows how human the existence of life in buildings and in our surroundings. 3 Indeed, until it is dissolved, we cannot help — at least partially — Within the era of the mechanical world- thinking of ourselves as machines!
Could there be some modi UNIFYING COSMOLOGY gion or spirituality, as practiced or conceived to day, has the powerto change it. Briefly stated, the problem is that the many spiritual suggestions and beliefs which resound in the world today are not coherent with the un derlyingmechanistic picture ofthe substance of the world. They are not on the same playing field. Spiritual overlays on our underlying pic ture are, in my view, insights— hopes, fears, in tuitions, aspirations, a mixture of spiritual truths and wishful thinking — but they are in fication of science by religion, to "combine" (somehow) the materialdescription given bysci ence, with a spiritual description given by religion?
A truly 16. Before the age of enlightenment there was, in most cultures, somegroup of values to which one could humble cottage even, seems beyond the reach of most appeal, and to which people did appeal while building builders today. the parts of their world. The source of these values was 24 OUR PRESENT PICTURE different in different cultures. " Whatever the source, there was no doubt, at that time, that there was indeed a (partially) uniform source of value widely understood throughout the culture, and ofsuch akind thatnearly any act might bejudged against doms which had been so hard won.
Aesthetic and Artistic Autonomy (Bloomsbury Studies in Philosophy)