By Thomas Hilgers
The idea of disinterestedness is usually conceived of as antiquated or ideological. nonetheless, Hilgers argues that one can't reject it if one needs to appreciate the character of artwork. He claims that an paintings ordinarily asks an individual to undertake a disinterested angle in the direction of what it indicates, and that the impression of such an adoption is that it makes the individual quickly lose the experience of herself, whereas permitting her to gain a feeling of the other. as a result 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 start up a strategy of self-critical pondering, that's a precondition of genuine self-determination. eventually, then, the classy event of paintings contains a dynamic technique of losing the feel of oneself, whereas gaining a feeling of the other, and of achieving selfhood. In his booklet, Hilgers spells out the character of this strategy via rethinking Kant’s and Schopenhauer’s aesthetic theories in mild of newer advancements in philosophy–specifically in hermeneutics, serious conception, and analytic philosophy–and in the arts themselves–specifically inside of movie and function art.
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Aesthetic Disinterestedness: Art, Experience, and the Self (Routledge Studies in Contemporary Philosophy) by Thomas Hilgers