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page061from Building IdeasThe target of Geothe’s poem is the reductivist tendency of scientific fact, the loss of the qualitative grasp of things that the work of art is able to provide. We “murder to dissect”, as Wordsworth wrote summing up the prevailing outlook, where the process of anatomical dissection had become the paradigm for all forms of knowledge (see Figure 2). By contrast, the nineteenth century saw a series of reactions to this position, where philosophers attempted to support the claims for the contribution of the creative artist. Arthur Schopenhauer, responding to Hegel, proposed that the world was indeed driven by an energizing force – where this differed from Hegel’s “spirit” was in the manner of its highest expression, which according to Schopenhauer was neither philosophy nor science. He in fact... more ...
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page060from Building Ideasthinking remains most distinct from Hegel, who just a decade or so later developed his alternative views of art. Where Hegel had tried to separate the aesthetic idea from the form of the art-object, as a means of consigning artistic practice to its lowly place in his philosophy, Kant and the Romantics after him had insisted on their inseparable unity and established the alternative view of the continued relevance of “aesthetic knowledge”.
Where Hegel describes the history of philosophy as a continual progress towards “absolute knowing”, he downgrades the role of the artist to that of a redundant supporting actor. Where art once had a useful function in the primitive stages of cultural development, it was then rendered obs... more ...
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page059from Building Ideas
he called “pure” and “practical” reason dealt in turn with the problem of knowledge and then with the question of morality. The aesthetic function according to Kant was part of the general faculty of judgement, which he then described in his third critique as being the mediator between the other two. This third work was itself divided into two distinct sections, with the second half dealing with judgements based on purpose, or “teleology”. The first half, by contrast, dealt with the opposite situation, where aesthetic judgements are made which are independent of purpose. This was one of Kant’s main principles in his definition of the beautiful which he claims consists of a kind of “purposiveness without purpose”.10 Nature again became the model for the judg... more ...
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page058from Building Ideasby the individual’s experience. It is this interest in the psychology of beauty and the process of aesthetic experience that set the pattern for the work on aesthetics within the British Empiricist tradition.
The Empiricists believed that knowledge derived directly from the sense, that ideas were built up out of the sense-data of experience. This contrasts with the view of the European Rationalists, like Descartes who, as described in Chapter 1, thought sense experience unreliable and began with the innate capacities of the disembodied intellect. It was only later in the eighteenth century, in the work of the German philosopher Immanuel Kant, that a resolution of these two positions produced another significant adva... more ...
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page057from Building IdeasMan is all symmetry
Full of Proportions, one Limme to another,
And all to all the world besides:
Each Part may call the furthest, Brother:
For Head with Foot hath private Amitie,
And both with Moones and Tides.8
George Herbert died in 1633, the year that Galileo was tried for heresy by the Church and the same year that Descartes had abandoned his plans for an am... more ...
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