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 continuously missed, such was once its dedication – particular or implicit – to mimesis and the metaphysics of fact it presupposes. De Beistegui refers to this measurement, which unfolds outdoors the distance that stretches among the practical and the supersensible – the gap of metaphysics itself – because the hypersensible and exhibit how the operation of paintings to which it corresponds is better defined as metaphorical. The stream 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 artwork, he argues that the philosophical price of paintings doesn’t consist in its skill to bridge the distance among the practical and the supersensible, or the picture and the belief, and exhibit the practical as proto-conceptual, yet to open up a special experience of the practical. His target, then, is to shift the place and role that philosophy attributes to paintings.
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Extra info for Aesthetics After Metaphysics: From Mimesis to Metaphor
Against the Kantian account, I will suggest that metaphor, and the speciﬁc mode of artistic presentation it involves, is neither schematic nor symbolic, neither mimetic nor analogical, but escapes and exceeds the strict metaphysical boundaries within which the question of presentation, and therefore art, has been thought ever since Plato broached the distinction between the sensible and the intelligible. The notion and practice of metaphor, which addresses the presence of the hypersensible in the sensible, requires that we break free from Platonic metaphysics, and think in its place what I call an onto-hetero-logy.
5 Unlike Plato, though, Hegel’s strong condemnation of mimesis goes hand in hand with a revaluation of the role of art in relation to truth: if art were essentially a matter of imitation, it wouldn’t be worth anyone’s time, not even that of the artist, whose initial pleasure at having reproduced the appearance of an object would almost immediately turn into boredom and dissatisfaction. For what is imitation, if not the doomed effort to repeat (wiederholen) and reproduce identically what is already, and more perfectly, given in experience, the superﬂuous (überﬂüssige) and vain attempt to depict the ﬂowers, landscapes, animals, or human events already there before us in our gardens or in the countryside beyond?
This is how §49 of the Critique of Judgement describes those ideas that Kant calls aesthetic, the potential of which he sees fully realised in poetry: One can call such representations of the imagination ideas: on the one hand because they at least strive toward something lying beyond the bounds of experience, and thus seek to approximate a presentation of concepts of reason (of intellectual ideas), which gives them the appearance of an objective reality; on the other hand, and indeed principally, 32 Aesthetics After Metaphysics because no concept can be fully adequate to them, as inner intuitions.
Aesthetics After Metaphysics: From Mimesis to Metaphor by Miguel Beistegui