Art and Embodiment: From Aesthetics to Self-consciousness
In his Critical Aesthetics and Postmodernism, Paul Crowther argued that art and aesthetic experiences have the capacity to humanize. In Art and Embodiment he develops this theme in much greater depth, arguing that art can bridge the gap between philosophy's traditional striving for generality and completeness, and the concreteness and contingency of humanity's basic relation to the world. As the key element in his theory, he proposes an ecological definition of art. His strategy involves first mapping out and analyzing the logical boundaries and ontological structures of the aesthetic domain. He then considers key concepts from this analysis in the light of a tradition in Continental philosophy (notably the work of Kant, Heidegger, Merleau-Ponty, and Hegel) which--by virtue of the philosophical significance that it assigns to art--significantly anticipates the ecological conception. On this basis, Crowther is able to give a full formulation of his ecological definition. Art, in making sensible or imaginative material into symbolic form, harmonizes and conserves what is unique and what is general in human experience. The aesthetic domain answers basic needs intrinsic to self-consciousness itself, and art is the highest realization of such needs. In the creation and reception of art the embodied subject is fully at home with his or her environment.
What people are saying - Write a review
We haven't found any reviews in the usual places.
An Ecological Theory of Art
A Logical Geography
Aesthetic Experience and the Experience of Art
Alienation and Disalienation in Abstract Art
Heidegger and the Question of Aesthetics
Vision and Painting
Other editions - View all
abstract achieved aesthetic experience answer appearance appreciation approach architecture artefact articulate artistic artwork aspects attention aware basis beauty becomes capacities chapter claim complex concept concrete consciousness consider course created creative critical culture define definition dimension direct disinterested distinctive domain elements embodied engage example existence expression fact formal function fundamental given gives grounds Hegel Heidegger Heidegger's historical human idea imagination immediate individual interests involves Kant Kant's kind logical manifold material means medium Merleau-Ponty mode nature necessary needs notion object ontological original painting particular perception philosophical physical pleasure position possibility practical present problem production pure puts qualities question rational reason reciprocity reflective relation representation respect response self-consciousness sense sensible sensuous significance simply specific spirit structure style subject-matter suggest symbolic theory things thought tion truth understanding unique universal visual whilst whole