By Marcella Tarozzi Goldsmith
Attracts upon a variety of aesthetic theories and artistic endeavors so one can problem the view that artwork is worthless or simply subjective. by means of reading the 3 loci of aesthetics--the subjective, the aim, and the absolute--the writer concludes that in simple terms the elegant demonstrates that artwork is neither subjective nor aim. The one crucial component to paintings is the recent, the only "instrument" that can warrantly art's energy even if faced by means of the nihilistic traits of modernity.
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Extra resources for The Future of Art: An Aesthetics of the New and the Sublime (S U N Y Series in Aesthetics and the Philosophy of Art)
In fact, their presence is prominent also in the modern and postmodern age, to which we now turn to elucidate their inner coherence. These are secular myths that have abandoned the claim to a metaphysical validity. What can still be of use in Schelling's theory of art is, in fact, the need for mythology qua content. However, the notion of content also has been declared outdated by contemporary critics and philosophers, especially structuralists, who detect in it the refutation of their formalistic analyses.
Page_49 Page 51 Chapter 3 Philosophy as the Organon of Art Sic Transit Diametrically opposite to Schelling's understanding of the Absolute is Hegel's. No transition can be given except the admission that one is the reverse of the other. But the consequences for art are remarkable. By categorizing art as actual, Hegel places art in the position of being absorbed by philosophy and so divested of its objective autonomy. Philosophy has often ignored art's autonomy or even presence, Hegel being the case in point when he finally declared art's end.
The new path that will be taken assures the future of art. Instead, we are now witnessing the almost complete absence of myths in the world of art, due to the extreme subjectification of the aesthetic process and to the proliferation of their sociological statements; what predominates is the particular without the intervention of any allegorical process. Literality prevails at the expense of the philosophical dimension of art which, as we have seen, must include, beside the literal image, its objective correlate.
The Future of Art: An Aesthetics of the New and the Sublime (S U N Y Series in Aesthetics and the Philosophy of Art) by Marcella Tarozzi Goldsmith