By Jennifer A McMahon
In this e-book, McMahon argues examining of Kant’s physique of labor within the gentle of a pragmatist concept of that means and language (which arguably is a Kantian legacy) leads one to place group reception prior to person reception within the order of aesthetic kin. A middle premise of the ebook is that neo-pragmatism attracts cognizance to an another way ignored point of Kant’s "Critique of Aesthetic Judgment," and this is often the notion of neighborhood which it units forth.
While providing an interpretation of Kant’s aesthetic conception, the ebook specializes in the results of Kant’s 3rd critique for modern artwork. McMahon attracts upon Kant and his legacy in pragmatist theories of that means and language to argue that aesthetic judgment is a model of ethical judgment: how to domesticate attitudes conducive to group, which performs a pivotal position within the evolution of language, which means, and knowledge.
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Extra resources for Art and Ethics in a Material World: Kant's Pragmatist Legacy
The artist is the catalyst, but the creative component of an artwork relies as much on the community of reception. The dynamics of new ideas from old relies on the principle of aesthetic form (in Adorno’s post-Kantian sense) or the incorrigible tendency to read intention in order (to be explored in chapter 2). 4 ENFRANCHISING PUBLIC RECEPTION AND THE CASE OF BILL HENSON The notion of reflective content developed in the preceding sections suggests that the reflective content that an audience experiences in an artwork may indirectly represent new developments and trends emerging in the life of a community.
Whatever items the artist has included in their work, the very items that are in effect “ordered,” in turn lend their representational content to the story that unfolds in the mind of the perceiver. The perceptual order in itself takes the place of the syntax/grammar of language, and the specific items provide the reference. The construction of order or perceptual form explains the intensity with which the artist focuses upon materials, techniques or procedures. In some artistic practices today, this focus is directed to developing a concept, sourcing materials and structuring a procedure for assistants or contracted personnel to follow.
Installation art adds a dimension that acts as metaphor for the various perspectives that eventually create the meaning of an artwork. Regarding where she stands and walks and which parts of the work she focuses upon, the viewer is reminded that her perspective is a part of what the work means. The viewer participates in the construction of meaning. The uncertainty surrounding new art media also prompts the viewer to be conscious of the fact that she compares her judgments to the judgments of others or how she imagines others would judge.
Art and Ethics in a Material World: Kant's Pragmatist Legacy by Jennifer A McMahon