Imaged concepts : art and the nature of the aesthetic
The two research questions of this thesis are: 'What is the aesthetic' and 'What is the relationship of the aesthetic to art' These questions launch an argument that seeks to challenge and reverse some recent 'deflationary' accounts of the aesthetic. The research uses the foundational aesthetics of Hume, Baumgarten and Kant to counter the arguments of deflationary aesthetics, then, drawing upon evolutionary theory and cognitive neuroscience, it highlights the power of the aesthetic in both nature and art. The 'deflationist' George Dickie called the aesthetic attitude a 'myth' and dismissed the concept of 'disinterestedness'. Gombrich doubted whether shared aesthetic values are possible, while Danto initially argued that aesthetic properties are merely imputed to artworks through context. For Carroll, historical precedence determines the identity of art, with the aesthetic reduced to a contingency. However, Hume and Kant testified to the realism of both disinterestedness and the aesthetic attitude, while Baumgarten proposed a new science of aesthetics to underscore the centrality of the senses to epistemology, rhetoric and art, notably through his postulated 'imaged concepts', the apparent source for Kant's
van Lierop, Bernard
Imaged concepts : art and the nature of the aesthetic. The two research questions of this thesis are: 'What is the aesthetic' and 'What is the relationship of the aesthetic to art' These questions launch an argument that seeks to challenge and reverse some recent 'deflationary' accounts of the aesthetic. The research uses the foundational aesthetics of Hume, Baumgarten and Kant to counter the arguments of deflationary aesthetics, then, drawing upon evolutionary theory and cognitive neuroscience, it highlights the power of the aesthetic in both nature and art. The 'deflationist' George Dickie called the aesthetic attitude a 'myth' and dismissed the concept of 'disinterestedness'. Gombrich doubted whether shared aesthetic values are possible, while Danto initially argued that aesthetic properties are merely imputed to artworks through context. For Carroll, historical precedence determines the identity of art, with the aesthetic reduced to a contingency. However, Hume and Kant testified to the realism of both disinterestedness and the aesthetic attitude, while Baumgarten proposed a new science of aesthetics to underscore the centrality of the senses to epistemology, rhetoric and art, notably through his postulated 'imaged concepts', the apparent source for Kant's
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