Abstract

In a sustained and protracted meditation on imagination and art, John Sallis has more than challenged the traditional metaphysical distinction between sensible and intelligible that has governed much of aesthetic discourse. In his Sense of Imagination , he excised that philosophical marker altogether in favor of a language of sense in which intelligibility occurs as a secondary function—if at all. Praising Hegel’s celebration of color, he disputes the latter’s declaration that “art is dead” in favor of the Nietzschean hearkening to art as the movement toward the future