This paper identifies an aesthetics implicit in Spinoza’s philosophy through the concept of a genesis of the aesthetic. A genesis of the aesthetic indicates that a philosophy of art is not yet fully formed in his work, but can emerge as a consequence or effect of his thought. This aesthetic theory would evaluate the work of art primarily in its relationship to truth. Following the architectonics of Spinoza’s own thought, this paper constructs a progression – moving from the imagination, to (...) reason, to intuition – toward a concept of aesthetic practices that aligns itself ever more closely with the freedom, perfection, and affirmation of infinite substance itself. The specific forms of aesthetic reception and production flowing from Spinoza’s ideal of wisdom unite two seemingly disparate paradigms: the aesthetic as essentially affirmative, as a joy in the individual power of every individuated thing, on the one hand; and the cultivation of a critical, ethically informed aesthetics of liberation, one capable of occupying different positions with respect to state or sovereign power, on the other hand. (shrink)

This paper investigates the implicit aesthetics of Schelling’s early Naturphilosophie. Within the framework of Naturphilosophie, Schelling naturalizes the categories of the beautiful and the sublime, making not only the purposiveness of the beautiful, but also the disorder and perturbation of the sublime into part of the internal dynamic of nature. A disequilibrium between the transcendental forces of attraction and repulsion conditions all systems of differentiation, thus giving rise to an aesthetics of production inherent within nature that moves throughout the order (...) and disorder of signs, things, and conscious states. (shrink)