"After Modernism demonstrated that there could no longer be a clearly defined class of objects that count as art, it is no longer necessary to differentiate art as being either an objects that produces special experiences (as in Kantian and phenomenological aesthetics), or as a particular system of symbolic representations (as in Hegel, Cassirer, and Goodman.)"
Demonstrated how, when and for whom? I hope you mean fine art. Boris Shoshensky ---------- Original Message ---------- From: Saul Ostrow <[email protected]> To: "[email protected]" <[email protected]> Subject: What if we took this view Date: Tue, 13 Apr 2010 10:18:26 -0400 The logic that leads to the conclusion that art is now is a socio-cultural laboratory and a mode of engagement and means of reformation, depends on our abandoning a taxonomy premised on the need to privilege one term within a dichotomy over another, and instead adopt one in which we embrace the Derridean notion of deference (differentiation and deferral).it is no longer necessary to assert that works of art are received in a purely subjective After Modernism demonstrated that there could no longer be a clearly defined class of objects that count as art, it is no longer necessary to differentiate art as being either an objects that produces special experiences (as in Kantian and phenomenological aesthetics), or as a particular system of symbolic representations (as in Hegel, Cassirer, and Goodman.) Likewise manner (as Hume suggests), as opposed to providing an objective content because the ontological status of an artwork tends to be bound to the particular way it is interpreted (Danto). Primarily this notion of the work art as a conflicted self is a result of art's thematization of art itself in modernity in which the link between art as signifier and signified came to reconciled in the act of critical analysis and interpretation. Must This resolution was a consequence of an ongoing attempt to determine what role art may play in a secular culture committed to abandoning metaphysics and ideology. Within this post Modern project increasingly there have been attempts to employ art as a means to provide a corrective to instrumentality (as Merleau-Ponty and Adorno argue), by reflecting upon and transforming our logics and as such is thought to be essential for the education of sensibility and judgment ( as advanced by Dewey.) As such artworks are a primarily playful character (Gadamer) while supplying a basis for historical and cultural identities (in Hegel's sense.) Thought of in this manner art comes to have a genuinely political dimension (Benjamin, Rancihre) be it is somewhat in effable and emergent in its forms and content representing and open-ended process that cannot be contained (Derrida) within our increasingly instrumental society art preserves just enough autonomous so that it by it very nature may be thought of defacto politically engaged and at times a tool of subversive. Premised on this conclusion and the fairly general hypothesis concerning the development of an integrative, and indexical vision of art and its attendant discourses, we return to our initial subject that the underlying assumption which is that this ill-defined territory called art can be used to to intervene in the established inter-change of embodiment/awareness/knowledge and produce within the context of our becoming human a new range of experiences, thoughts and reflections upon.
