All in Aesthetics
The following is an excerpt from my work, “Art as Sublime”, in which I attempt to reconceptualize an ancient idea. Its bold thesis is that, far from an aesthetic incident, the Sublime is art’s very ‘telos'. “Art as Sublime” was published in 2023 in the short volume, “Sublimism: An introduction”.
In this vignette, I attempt to profile the Sublime, a topic I delve into more extensively in my essay, “Art as Sublime”, published here.
In the following vignette, I attempt to distinguish aesthetic knowledge, that is, the knowledge of sublime Truth, from conceptual knowledge.
In the following vignette, I explore the interesting idea that any artwork is a living paradox, one in which an attempt is made to use finite means to convey infinite ends, that is, to express the inexpressible.
In this brief vignette, I attempt to philosophically distinguish two great modes of human knowing from one another, Art and Science - a distinction I delve into more deeply in my essay, “Art as Sublime”, published in “Sublimism: An Introduction.”
Drawing to a certain extent upon Kant, but mostly upon observations from the introduction to Hegel’s Lectures on Fine Art, this paper sets out to explore fine art’s infinite purposiveness, firstly by contrasting it to form, then to fine art’s finite counterpart, and finally by integrating it with Hegel’s notion of ‘Spirit’ (Geist).
