By Miguel Beistegui
This e-book makes a speciality of a measurement of artwork which the philosophical culture (from Plato to Hegel or even Adorno) has constantly ignored, 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 distance that stretches among the practical and the supersensible – the distance of metaphysics itself – because the hypersensible and exhibit how the operation of paintings to which it corresponds is better defined as metaphorical. The stream of the ebook, 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 paintings, he argues that the philosophical price of paintings doesn’t consist in its skill to bridge the distance among the practical and the supersensible, or the picture and the belief, and show the practical as proto-conceptual, yet to open up a unique experience of the practical. His goal, 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
What would such a thing be, and how can we know it? Schopenhauer’s answer to this question is well known: it is the world not as representation, but as will, that constitutes the essence of living as well as brute matter, and it is through our bodily or incarnate experience of the will that we know the world as thing-in-itself. Scientiﬁc knowledge is, like everything else, an expression and an objectiﬁcation of the will. ”25 Music, Schopenhauer goes on to claim in §52, is the artistic medium in which the will is expressed freely, independently of any representation or Ideas, and in a way that would seem to mark a decisive break with mimetic art.
47 Where the visual and poetic arts operate metonymically, by showing the universal through the particular, and sometimes allegorically,48 music seems to operate metaphorically. The most faithful imitation, the most likely copy, is that which, bypassing the world of Ideas, recreates the world analogously. Music is the artistic medium analogous to the will’s expression, the pre-representational medium in which the world is intimated in its essence. ”50 Music, then, is not oriented towards speciﬁc archetypes, or objectiﬁcations, of the will, but towards the world in its unity and consistency, its self-generation and self-objectiﬁcation, from its brute, inorganic state, to its highest expression in the human intellect: Further, in the whole of the ripienos that produce the harmony, between the bass and the leading voice singing the melody, I recognize the whole gradation of the Ideas in which the will objectiﬁes itself.
It will become a question of showing how, when no longer subordinated to the distinction between the sensible and the supersensible, or the phenomenal world and the true world, art breaks with mimesis, and opens up, and onto, the true world of the hypersensible. 3 HEGEL Unlike Plato, and even Aristotle, for whom art is essentially and irreducibly imitative, Hegel, like Schopenhauer, sees the meaning and value of art in its ability to present an image of the beautiful itself, that is, of its idea.