This book proposes that aesthetics begin not with concepts of being or semblance, but with a concept of appearing. Appearing bespeaks of the reality that all aesthetic objects share, however different they may otherwise be. For Martin Seel, appearing plays its part everywhere in the aesthetic realm, in all aesthetic activity. In his book, Seel examines the existential and cultural meaning of aesthetic experience. In doing so, he brings aesthetics and philosophy of art together again, which in continental as well (...) as analytical thinking have been more and more separated in the recent decades. Within Seel’s framework, to apprehend things and events with respect to how they appear momentarily and simultaneously to our senses represents a genuine way for human beings to encounter the world. The consciousness that emerges here is an anthropologically central faculty. In perceiving the unfathomable particularity of a sensuously given we gain insight into the indeterminable of our lives. Attentiveness to what is appearing is therefore at the same time attentiveness to ourselves. This is also the case when works of art imagine past or future, probable or improbable presences. Artworks develop their transgressive energy from their presence as sense-catching forms. They bring about a special presence in which a presentation of close or distant presences comes about. (shrink)

Die vier Studien dieses Bandes behandeln alle das Problem, wie sich ein gutes Leben zu einem moralisch guten Leben verhält. Jede untersucht dieses Verhältnis von einer anderen Seite her; jede führt auf ihre Weise zu dem Schluß, daß der Zusammenhang zwischen dem Guten und dem moralisch Guten weder als letztendliche Identität noch als begriffliche Priorität einer der beiden Komponenten verstanden werden darf. Zusammen bilden sie den Entwurf einer praktischen Philosophie, die die Begriffe des individuellen Guten und des moralisch Richtigen als (...) interdependente Grundbegriffe versteht. (shrink)

This essay begins with some observations concerning the interaction between nature and art. Relying on these reflections, in the second part experience of landscape will be interpreted as a model for the human stance within the natural as well as the historical world. In the third part some consequences for an ethics and politics of saving the conditions for individual as well as social well-being will be drawn.

‘Being with oneself in the other’ is a well-known formula that Hegel uses to characterize the basic relation of subjective freedom. This phrase points to the fact that subjects can only come to themselves if they remain capable of going beyond themselves. This motif also plays a significant role in Hegel’s philosophy of art. The article further develops this motif by exploring the extent to which this polarity of selfhood and otherhood is also characteristic of states of aesthetic freedom. It (...) does not offer an exegesis of Hegel’s writings, but attempts to remain as close as possible to the spirit of Hegel’s philosophy – with some help from Kant and Adorno. The argument begins with some key terms on the general state of subjective freedom in order to distinguish it from the particular role of aesthetic freedom and then, finally, drawing again on Hegel, works out the sense in which aesthetic freedom represents an important variant of freedom. (shrink)

This essay argues that film as a medium breaks through the clearly delineated boundaries between realism and anti-realism that have been established by film theory. Film itself is basically indifferent to each. As an alternative to both, I put forward a thesis of indeterminism, which argues that films engender a unique event of sight and sound that does not have to be perceived to be a real event or an illusion of such an event.

A collection of essays by German philosophers on the question of the dispensability or indispensability of language for human capacities of thought, perception, and agency.

This book attempts to give a systematic account of the development of semantic holism within the philosophy of language in the 20th century. One of the things that might make it interesting is that it covers philosophers from the analytic tradition (Hilbert, Schlick, Sellars, Davidson, McDowell) as well as structuralist and post-structuralist philosophers (Saussure, Jakobson, Hjelmslev, Merleau-Ponty, Derrida). It is not only claimed that these philosophers address what can intelligibly be recognized as the same systematic questions concerning the constitution of (...) linguistic meaning, but also that the development of holistic approaches in the two traditions follows the same course, leading from formalist to post-formalist varieties of holism. This course implies the rejection of the myth of a pure or autonomous structure of language in favour of a view of language which sees linguistic practice as necessarily interwoven with the natural and social world. (shrink)

In his latest book about art Arthur Danto claims that aesthetic appearance-visuality in the visual arts-has become more and more irrelevant for most of contemporary art. This essay first immanently critiques the distinction between the aesthetic and artistic properties underlying this claim. Danto's claim about the irrelevance of the aesthetic is not compatible with the spirit of his own writings: what Danto denies in After the End of Art has been a cornerstone of his theoretical work since The Transfiguration of (...) the Commonplace, namely, that the aesthetic is indeed both an elementary and a defining property of art. Examples ranging from Duchamp's Fountain to a recent installation by the Art & Language group are discussed to support this critique. Second, the essay defends Danto's contention that developing a "definition of art" is a sensible enterprise. But it turns out that Danto's "essentialism" concerning art has no essentialist implications in any specific sense. (shrink)

This paper argues that there is an ethics of contemplation that is internal to Adorno's critique of modern functionalised and administered societies. It is argued here that 'contemplation' is Adorno's name for a praxis by which one is open to the other, and yet can let the other be. Adorno sees a kernel of experience in such contemplative practices, which, although increasingly being stripped bare by the modern world, is the basis for its possible critique.

El objetivo del artículo es reflexionar sobre el concepto de revuelta popular para precisar su valor heurístico en relación con la comunidad política. Para ello se realiza un recorrido teórico de la idea de revuelta popular en algunos textos de Arendt, Rancière, Blanchot, Nancy, Agamben y Esposito. Propongo que la revuelta debe ser entendida en el marco de una ontología de la comunidad. Se concluye que la revuelta popular supone el rechazo de un orden de desigualdad sostenido en un desacuerdo (...) y la exigencia de no perder la comunidad entendida como el lugar mismo de nuestra existencia. The aim of this paper is to reflect on the concept of popular revolt in order to clarify its heuristic value in relation to political community. The essay traces a theoretical trajectory of the idea of popular revolt in some texts of Arendt, Rancière, Blanchot, Nancy, Agamben and Esposito. I propose that popular revolt must be understood in the context of an ontology of the community. I conclude that popular revolt presumes the rejection of an order on inequality sustained by a disagreement and the requirement of not to lose the community understood as the very place of our existence. (shrink)

This paper argues that time, not space, is the highlight of aesthetic and especially artistic form. Spatial relations must be translated into temporal relations and experienced as such if they are to be experienced as aesthetic form. The reverse is not the case, for aesthetic and artistic forms are not generally there to create spaces, at least not in a literal sense, but to give time in a very literal sense. The meaning of form is time.

The entire corpus of Proust’s Recherche is permeated by philosophical digressions, reflections, aphorisms, dialogues and monologues. These are presented by a number of different and often divergent voices – that of the narrator who is the fictive author of the novel, that of the young Marcel on his long way to become this writer, those of many other figures, with whom Marcel interacts, that of the real author, who has permanently rewritten the text and finally the authority of the text (...) as a whole. The interplay of these perspectives is an essential part of the drama the novel displays. Their contrast cannot, must not and should not be overcome in favour of an integrated and justified point of view of the kind professional philosophy is aiming at. Following this observation, the essay highlights a number of intertwined strands of philosophical motives in the Recherche in order to explore a basic relationship as well as tension between philosophy and literature. Proust’s novel – like other instances of literature and the arts – is not primarily made for a veridical but primarily for a processual thinking. It invites its readers to get involved and to linger in open ended mind games. Philosophising in and with the Recherche means doing philosophy without heading at a philosophy. (shrink)

Explores film's connections to the other arts and the qualities that distinguish it from them. He explores the cinema's singular aesthetic potential and uses specific examples from a diverse range of films--from Antonioni and Hitchcock to The Searchers and The Bourne Supremacy--to demonstrate the many ways this potential can be realized.

The paper argues that only in the sphere of deliberation does intentionality exist in the demanding sense of a kind of foresight and planning, memory and imagination that steps out into space and time. Furthermore, only in the sphere of deliberation can something like normativity exist, be it in a logical, moral or legal sense. For only those who can deliberate can have any reasons to believe what they believe and desire what they desire. Following these directions, a analysis of (...) the determinations and indeterminations within the process of deliberation leads to a revised compatibilist understanding of human freedom. (shrink)