By Miguel Beistegui
This publication makes a speciality of a size of paintings which the philosophical culture (from Plato to Hegel or even Adorno) has always ignored, 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 open air the gap that stretches among the practical and the supersensible – the gap of metaphysics itself – because the hypersensible and express how the operation of artwork to which it corresponds is healthier 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 background of aesthetics and the metaphysical discourse on artwork, he argues that the philosophical price 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 exhibit the practical as proto-conceptual, yet to open up a distinct experience of the practical. His goal, then, is to shift the place and role that philosophy attributes to artwork.
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Extra info for Aesthetics After Metaphysics: From Mimesis to Metaphor
I wish to show how metaphor opens up, and at the same time draws on, the space of the hypersensible, which isn’t beyond the sensible, but folded within it, accessible to a kind of vision that is neither noetic nor merely perceptual. It is through metaphor, and through a radical rethinking of the aesthetic operation for which it stands, that art twists free of mimesis, as the examples of Hölderlin and Proust will make clear: it’s through a radicalisation of his early conception of metaphor as “transport” that Hölderlin escapes the problem (and the trap) of the imitation of the Ancients, but also Romanticism as an unsatisfactory response to Neoclassicism, and thus opens up an aesthetics that can be articulated as distinctively modern; and in his own way, Proust uses metaphor as an alternative to the organic or symbolic conception of the work of art, inherited from the 19th century.
The mode in question can only ever be analogical, or symbolic. This is how we are able to represent a monarchical state ruled in accordance with laws internal to the people as an organic body. A state ruled by a single absolute will, on the other hand, might be represented by a mere machine (like a hand mill). ”11 The matter, then, is not one of similarity or resemblance—not one, therefore, of a straightforward imitation—but of a commonality of rule applied to two heterogeneous objects. Let me now turn to Kant’s analysis of art.
6 Imitation will only ever provide a one-sided appearance (Schein) of the reality it depicts. As such, it can never make visible the liveliness (Lebendigkeit) of real life. It will only ever consist of an illusion of reality. ”7 One can wonder the extent to which, despite this condemnation of mimesis, formulated in the strongest possible terms, the metaphysical paradigm that Plato had introduced remains ﬁ rmly in place, thus forcing and reinstating mimesis at a more fundamental level, forcing it even more deeply underground, as it had for the Romantics.
Aesthetics After Metaphysics: From Mimesis to Metaphor by Miguel Beistegui