4 The Dogma of Conviction

Kapitel in diesem Buch

1. Frontmatter i
2. Contents v
3. Contributors ix
4. (Re)Discovering Aesthetics An Introduction 1
5. Part I Aesthetics in Art History and Art Theory
6. 1 Kunstwissenschaft versus Ästhetik The Historians’ Revolt Against Aesthetics 19
7. 2 Aesthetics and the Two Cultures Why Art and Science Should Be Allowed to Go Their Separate Ways 34
8. 3 Stones of Solace 51
9. 4 The Dogma of Conviction 66
10. 5 Sensation in the Wild On Not Naming Newman, Judd, Riley, and Serra 75
11. 6 Kant’s “Free- Play” in the Light of Minimal Art 87
12. Part II Aesthetics in Philosophy
13. 7 The Future of Aesthetics 103
14. 8 Retrieving Kant’s Aesthetics for Art Theory After Greenberg Some Remarks on Arthur C. Danto and Thierry de Duve 117
15. 9 Artistic Creativity Illusions, Realities, Futures 133
16. 10 Gadamer and the Ambiguity of Appearance 147
17. 11 Modernisms and Mediations 163
18. 12 Aesthetics Beyond Aesthetics 178
19. 13 Intuition and Concrete Particularity in Kant’s Transcendental Aesthetic 193
20. Part III Aesthetics in Artistic and Curatorial Practice
21. 14 Seasonal Fractional Political Idiosyncratic Aesthetics 213
22. 15 Toward an Ophthalmology of the Aesthetic and an Orthopedics of Seeing 225
23. 16 The Social Turn Collaboration and Its Discontents 238
24. 17 The Richter Effect on the Regeneration of Aesthetics 256
25. Notes 275
26. Index 313