Making Sense of Kant’s Senseless Sublime

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1051px-Giovanni_Battista_Tiepolo_-_Rinaldo_Enchanted_by_Armida_-_Google_Art_Project.jpgGiovanni Battista Tiepolo, Rinaldo Enchanted by Armida, 1742 until 1745. Was this the kind of work Kant associated with charms and sensual delights of beauty?

Making Sense of Kant’s Senseless Sublime

In the last decade of the 18th century Beethoven composed his 1st and 2nd piano concertos, Goya etched the series Los Caprichos, Jacques-Louis David painted The Death of Marat, and Mozart composed the Requiem in D Minor and the great Jupiter Symphony. These works coincided with the French Revolution, and together they guided European culture away from the extravagant art of Rococo exemplified by the sweetly-colored paintings of Boucher and Tiepolo, with their floating florid nymphs, cupids, silks, and princesses.

699px-Jacques-Louis_David_-_Marat_assassinated_-_Google_Art_Project_2.jpg

Jacques-Louis David, Death of Marat, 1793. The period of the French Revolution marked a new period of art with more gravitas.

This was a paradigm shift from the superficial to gut wrenching passion, as if Western art was going back to its roots in the dramas of Aeschylus and Euripides; answering the big questions of what is the good and what is important while at the same time elevating the creative process by innovation and superlative skill. This wasn’t for the faint of heart. The artists would have to face inner turmoil and outer rejection as they attempted to get patrons to sponsor wildly dramatic depictions of death, war, and executions, which didn’t lend themselves to the decorative palace dining room.  Risking their livelihoods the artists bore down in this new direction. With this revolutionary spirit we can see the need for a new aesthetic to champion and reflect an Age of Enlightenment.

The Sublime the Absolutely Great
The year 1790, when Beethoven was 20, also marked the publication of Immanuel Kant’s Critique of Judgment. It famously compares and contrasts the aesthetic values of Beauty with that of the Sublime. The treatise identifies Beauty representing the lighter more sensual pleasing side and the Sublime addressing what is the “absolutely great beyond all comparison.” Kant wanted to free the Sublime from the constraints of art and launch it into the world of the mind unfettered by perception, form, or realization. …Read more at the Atlas Society website.

From Modern to Postmodern Art and Beyond, Parts 1 and 2, by Stephen Hicks

From Modern to Postmodern Art by Dr. Stephen Hicks, philosopher.

Dr. Stephen Hicks: Leading philosopher with wide-ranging insights from Postmodernism and Intellectual History. Dr. Hicks outlined the spiraling descent of postmodern art and argued that we must “look at the world afresh.”
“By the turn of the twentieth century, the nineteenth-century intellectual world’s sense of disquiet had become a full-blown anxiety. The artists responded, exploring in their works the implications of a world in which reason, order, certainty, dignity, beauty, and optimism seemed to have disappeared.”
“The world of postmodern art is a run-down hall of mirrors reflecting tiredly some innovations introduced a century ago. It is time to move on.”

Art and Ideals by David Kelley

Just published for the first time.

On October 6th, 2003 The Foundation for the Advancement of Art presented this conference at New York’s Pierre Hotel. David Kelley, a philosopher, gives the talk Art and Ideals.

0:05 Stephen Hicks introduces David Kelley
1:54 Chavet Cave, images, music. Why artistic artifacts? Some evolution theories.
7:00 Universality of Art, cognitive and emotional needs. Concept of abstraction; language, science. Foreknowledge.
10:27 Earliest narrative in written form, The Epic of Gilgamesh. Choice, normative concepts, good and bad.
12:39 Moral codes, emotions. Issues of life and death why through art? Concept of love. Homer, Shakespeare. Art gives the power of immediacy to our abstractions.
21:20 Modes of the ideal. Polyclitus, exemplars such as Christ through Michelangelo. Beethoven, Chopin, Delacroix. Hunger for ideals.

A New Medium for Postmodern Expression

A New Medium for Postmodern Expression by Michael Newberry

One of Postmodern Art’s important contributions to art history is cheek. But, far from being simple, there are several requirements that need to be met for a successful postmodern work.

The recent Marco Evaristti exhibition of canned meatballs cooked in his fat inspired me for a moment to see what idea I would come up with if I were a postmodernist. It would have to be a new medium of artistic expression and, at the same time, solve several PM requirements. The thing would have to be temporal; use the body of the artist in some fashion; reference an aspect of mass production; be an unorthodox medium; and use the natural force of one’s spontaneous genius (Kant).

As you might imagine, solving these demands is no easy feat.

Evaristti, Polpette al grasso di Marco.
Evaristti, Polpette al grasso di Marco. Marco Evaristti recently exhibited canned meatballs cooked in his liposuction fat.

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Detecting Value Judgements in Painting

Detecting Value Judgements in Painting by Michael Newberry

A few years ago I read the book What Art Is: The Esthetic Theory of Ayn Rand by Torres and Kamhi. I was disquieted to read their take on Rand’s definition of art, specifically about the meaning of metaphysical value-judgements. Perhaps the thing that was the most surprising to me was that their perspective on this issue is so much not the way that I experience art; either as a creator or as in appreciation, or how I understand Rand’s meaning. In a sense, their book has been the catalyst for this lecture. I hope to answer them by showing how you can detect metaphysical value-judgments in painting. But, more importantly, I hope to show you how to find and, perhaps, share the artist’s incredible passion that lies just beneath the surface of the paint.

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Pandora’s Box Part 3

Pandora’s Box Part 3
by Michael Newberry

There is a newly-discovered version of the legend of Pandora’s Box. In this third version insanity, despair, and hatred had overrun the world and Pandora, driven by a sense of hope, opened the box by unlocking it with a key. Out from the box rose up all the glories of humanity and they spread throughout the world with undiminished splendor. Pandora discovered that the glories had never disappeared, but it was humankind that had lost the key to identifying the magnificence that lay before them.

The form of art and its function in human life are central to the debate between postmodern art and art. In the first two parts of this series I essayed 1) how postmodern art shocks your epistemological processes through its anti-art means, and 2) how it shocks your psychological processes by expressing disturbing content as the ends. Along these lines, I will go deeper in examining the theoretical basis of postmodern art and then, I would like to show you that an alternative to postmodern art exists, today, in the here and now.

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Pandora’s Box Part 2

Pandora’s Box Part 2
by Michael Newberry

… pathetically, only Hope remained inside. In the other version the box held all of humanity’s glories. When she opened the box progress, knowledge, and exaltation vanished into oblivion, forever lost to humanity.

Art, in all its forms, plays an exalted role as one of humanity’s glories. It also plays a profoundly personal role. Think, for instance, of the impact your favorite artwork has had on your life. Has it moved you to tears, to resolution, to moments of joy? Have you felt that an artwork was as close to you as a lover, a friend, or a child? Have you imagined what your life would be like without art? Picture your most beloved painting or recall your favorite song or regard your most treasured book and ask yourself what if it had never existed. Would that leave a gaping hole in your soul where once something precious had been? When Pandora opened the box, marvelous things rose up and vanished into space before her eyes. Without grasping the nature of this phenomenon, she unleashed Postmodernism on humanity.

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