The anti aesthetic essays on postmodern culture 1983 edited

The third difference between Baudelaire's and Kant's critical modernities is in their different viewpoints on historical progress. What connects Kant's essay on the Enlightenment with Baudelaire's dandyism is, in Foucault's view, the fact that the (promise of reconciliation or happiness) of both thinkers is embedded in the promise of critique. Yet, I contend that, at the same time, there are some significant differences between the two, which are worth taking up here so that we may better understand the specific character of Foucault's own interpretation of the terms 'modernity' and 'Enlightenment'. What I particularly have in mind here is that, unlike in Kant, the promise of reconciliation in Baudelaire's modern aesthetics is not rooted in the individual's public usage of reason. Instead, the possibility of redemption or reconciliation is actualised in the aesthetic constitution of what he simply calls 'modernity' or 'modern subjectivity.'

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Essay: Concept Art - Henry Flynt Philosophy

Abstract
Although Barthes is perhaps best known as a semiotician, he is paradoxically always in search of precisely that which defies the constraints of language, whether art, signs or, in fact, language itself. Enter the relevance of music for Barthesian aesthetics. Barthes called for a "second semiology," in contrast to the classical semiology, which would explore "the body in a state of music." In this essay, I explore Barthes' musical semiology in terms of key concepts, including , and . I extend the relevancy of Barthes' concepts, often articulated within the context of the Western classical musical tradition, to more contemporary examples from popular music and jazz. Here, free jazz drumming shows the way to the pulsion so integral to Barthes' emphasis on the bodily in music, and Tom Waits and Bjork demonstrate the gritty materiality of .

Henry Flynt ESSAY: CONCEPT ART [As published in An Anthology (1963)

This essay first explores the history of how Epstein’s monument to Wilde came to be regarded as an embodiment of modernity—both in terms of sculptural aesthetics and queer politics—and how this collective sense of the monument’s modernity has scripted the structures of mourning and ritual surrounding it for over a century. The essay then turns to a counterfactual yet suggestive consideration of how an alternate memorial—one designed not by an emerging avant-garde sculptor, but by a member of Wilde’s queer circle—might have likewise (but differently) constituted a radical challenge to both prevailing sculptural aesthetics and attitudes towards queer memorial. By exposing the intricate personal, aesthetic, queer cultural histories that swirl around Wilde’s iconic tomb, I hope to offer a meditation on the complex politics of queer memorialization within literary history that recovers the radical potential of Silence in the face of communal trauma.

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Aesthetics vs. Art – 1000-Word Philosophy

Yet, the critical question soon arises that if Foucault does not even attempt to provide universally valid norms for human action and morality, how can we avoid the situation in which the subject who commits crimes, rapes or kills, for example, is merely considered to be realizing his/her freedom and creating a unique aesthetics of the self? From where, in other words, can we seek moral criteria for action if the only critical basis we have is that individual autonomy tests the limits of the self and the present? This is not an easy question, as Foucault himself acknowledges in his essay on the Enlightenment. For if we limit ourselves to exclusively partial and local inquiry (such as studying the individual practices of the self), we seem to run the risk of letting ourselves be determined by some more general structures over which we have no control, and of which we may even not be conscious.

Author: Brock Rough Category: Aesthetics and Philosophy of Art Word Count: 1000 1

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