By Miguel Beistegui
This publication specializes in a size of artwork which the philosophical culture (from Plato to Hegel or even Adorno) has regularly missed, such was once its dedication – specific or implicit – to mimesis and the metaphysics of fact it presupposes. De Beistegui refers to this size, which unfolds outdoor the gap that stretches among the practical and the supersensible – the gap of metaphysics itself – because the hypersensible and convey how the operation of artwork to which it corresponds is healthier defined as metaphorical. The move of the publication, then, is from the classical or metaphysical aesthetics of mimesis (Part One) to the aesthetics of the hypersensible and metaphor (Part Two). opposed to a lot of the heritage of aesthetics and the metaphysical discourse on paintings, he argues that the philosophical worth of artwork doesn’t consist in its skill to bridge the gap among the practical and the supersensible, or the picture and the belief, and show the practical as proto-conceptual, yet to open up a special experience of the practical. His objective, then, is to shift the place and role that philosophy attributes to paintings.
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