By Thomas Hilgers
The concept of disinterestedness is usually conceived of as antiquated or ideological. then again, Hilgers argues that one can't reject it if one needs to appreciate the character of paintings. He claims that an art often asks an individual 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 experience 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 begin a strategy of self-critical pondering, that's a precondition of genuine self-determination. finally, then, the cultured event of artwork includes a dynamic means of losing the experience of oneself, whereas gaining a feeling of the other, and of achieving selfhood. In his e-book, Hilgers spells out the character of this technique through rethinking Kant’s and Schopenhauer’s aesthetic theories in mild of newer 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 info 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