<p>In this book, the founder of object-oriented ontology develops his view that aesthetics is the central discipline of philosophy. Whereas science must attempt to grasp an object in terms of its observable qualities, philosophy and art cannot proceed in this way because they don''t have direct access to their objects. Hence philosophy shares the same fate as art in being compelled to communicate indirectly, allusively, or elliptically, rather than in the clear propositional terms that are often taken ¿ wrongly ¿ to be the sole stuff of genuine philosophy.</p><p>Conceiving of philosophy and art in this way allows us to reread key debates in aesthetic theory and to view art history in a different way. The formalist criticism of Greenberg and Fried is rejected for its refusal to embrace the innate theatricality and deep multiplicity of every artwork. This has consequences for art criticism, making pictorial content more important than formalism thinks but less entwined with the social sp
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The essential compendium of shorter works by one of the most influential philosophers of the twenty-first century. Written in Harman's typical clear and witty style, the Reader is an essential resource for veteran readers of Harman and newcomers...
kr 399.00
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<p>What objects exist in the social world and how should we understand them? Is a specific Pizza Hut restaurant as real as the employees, tables, napkins and pizzas of which it is composed, and as real as the Pizza Hut corporation with its headquarters...
kr 169.00
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"In this book we again encounter Harman's voice and the extraordinary force of his theses." Quentin Meillassoux, Ecole normale superieure, author of After Finitude This bestselling book presents the metaphysical system of renowned philosopher...
kr 169.00
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