By Miguel Beistegui
This booklet makes a speciality of a measurement of paintings which the philosophical culture (from Plato to Hegel or even Adorno) has always missed, such was once its dedication – particular or implicit – to mimesis and the metaphysics of fact it presupposes. De Beistegui refers to this size, which unfolds outdoor the gap that stretches among the practical and the supersensible – the gap of metaphysics itself – because the hypersensible and express how the operation of paintings to which it corresponds is better defined as metaphorical. The circulate of the e-book, 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 heritage of aesthetics and the metaphysical discourse on paintings, he argues that the philosophical worth of artwork doesn’t consist in its skill to bridge the distance among the practical and the supersensible, or the picture and the belief, and display the practical as proto-conceptual, yet to open up a unique experience of the practical. His objective, then, is to shift the place and role that philosophy attributes to paintings.
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Additional info for Aesthetics After Metaphysics: From Mimesis to Metaphor
55 Through that double move, it’s nature itself that came to be seen as symbolic, that is, as a universal substance and an organic totality made of parts, each working in conjunction with the others and producing a beautiful totality. If art was to imitate nature, it was no longer in the sense of the reality already given to the senses, but in the sense of an autonomous and spontaneous totality, teleologically regulated. Art imitates nature as symbol. ”56 From a conception of mimesis as representation, we move to a concept of mimesis as substitution.
The following passage, in which Hegel defends the truth of art, is worth quoting in full: Truth would not be truth if it did not show itself and appear [schiene und erschiene], if it were not truth for someone and for itself, as well as for spirit in general too. Consequently, not pure appearance [das Scheinen im allgemeinen] in general, but only the special kind of appearance in which art gives reality to what is inherently true can be the subject of Aesthetics and Metaphysics II 41 reproof. , the inner world of sense.
With its emphasis on that “one eye of the world [das eine Weltauge],”38 on the supersensible and the metonymic behind the phenomenal, it leaves no room for the discovery in the sensible of what I shall call the hypersensible, or the conception of art as the double vision of metaphor. Thinking art at the limit of metaphysics, and developing an aesthetics freed from any residual Platonism, means acknowledging a different sense of the sensible, and sensation, as well as a different sense 38 Aesthetics After Metaphysics of vision.
Aesthetics After Metaphysics: From Mimesis to Metaphor by Miguel Beistegui