Read more
How is art both distinct and different from the rest of human life, while also mattering in and for it? This central yet overlooked question in contemporary philosophy of art is at the heart of Georg Bertram's new aesthetic. Drawing on the resources of diverse philosophical traditions - analytic philosophy, French philosophy, and German post-Kantian philosophy - his book offers a systematic account of art as a human practice. One that remains connected to the whole of life.
List of contents
Introduction
Chapter 1: A Critique of the Autonomy Paradigm
Chapter 2: From Kant to Hegel and Beyond
Chapter 3: Autonomy as Self-Referential Constitution: Art as Practical Reflection
Chapter 4: Art as Practice of Freedom
Bibliography
Index
About the author
Georg W. Bertram
Summary
How is art both distinct and different from the rest of human life, while also mattering in and for it? This central yet overlooked question in contemporary philosophy of art is at the heart of Georg Bertram's new aesthetic. Drawing on the resources of diverse philosophical traditions – analytic philosophy, French philosophy, and German post-Kantian philosophy – his book offers a systematic account of art as a human practice. One that remains connected to the whole of life.
Foreword
The first English translation of a new aesthetic theory and introduction to contemporary aesthetics by one of Germany's up and coming philosophers of art and human experience.
Additional text
In his groundbreaking new book, Georg Bertram argues that human beings turn to artistic meaning-making precisely when they are foundering in practice or confused about how to find coherence and value in their practical lives––a recurring phenomenon within the disruptions of modernity. Audiences of artworks in turn participate imaginatively in the work’s sensuous-formal exploration of new possibilities of sense. In this way, Bertram shows how art is neither a matter of entertainment alone nor theoretical insight alone, but instead urgently and intimately part of the ongoing, reciprocal self-constitution of subjects as bearers of stances within and on practices. There is no better account than this of how and why art matters.
