David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Ezio Di Nucci
Jack Alan Reynolds
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Kantian Review 8 (1):1-37 (2004)
Trying to assess Kant's impact on contemporary aesthetics is by no means a straightforward task, for the simple reason that the subject is saturated with his influence. In all aspects of the theory and practice of art, it is possible to observe concepts and attitudes at work which are either a reflection of, or a response to, Kant's thinking. This might seem a rather overblown claim and a difficult one to substantiate but, without going into too much detail at this point, one has only to consider that the central tenets of both modernism and postmodernism can be traced back to Kant's Critical thought. There is the modernist's interest in the conditions of possibility of representation – as evidenced, for example, by the push towards abstraction in the visual arts and the attempt to paint not the world but the process of painting itself – and, responding to this, the postmodernist's concern that these conditions of possibility should not become universal absolutes
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References found in this work BETA
Jacques Derrida (1998). Of Grammatology. Johns Hopkins University Press.
Ludwig Wittgenstein (1922). Tractatus Logico-Philosophicus. Dover Publications.
Richard Rorty (1982). Consequences of Pragmatism. University of Minnesota Press.
Martin Heidegger (1972). Poetry, Language, Thought. Journal of Aesthetics and Art Criticism 31 (1):117-123.
Immanuel Kant (1790). Critique of Judgment. Barnes & Noble Books.
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