000			03143cam a2200361 i 4500
001			20866204
003			CSPC
005			20250813163031.0
008			190226s2020 enk b 001 0 eng
010			_a 2019008491
020			_a9781509512683 _q(pbk.)
035			_a20866204
040			_aDLC _beng _erda _cDLC _dDLC _dCSPC
042			_apcc
050	0	0	_aBH39 _b.H367 2020
082	0	0	_a111.85 _bH227a _223
100	1		_aHarman, Graham, _d1968- _eauthor.
245	1	0	_aArt and objects / _cGraham Harman.
264		1	_aCambridge, UK ; _aMedford, MA : _bPolity Press, _c2020 ; Reprint 2021.
300			_axii, 204 pages ; _c23 cm.
336			_atext _btxt _2rdacontent
337			_aunmediated _bn _2rdamedia
338			_avolume _bnc _2rdacarrier
504			_aIncludes bibliographical references and index.
505	0		_aIntroduction: formalism and the lessons of Dante -- OOO and art: a first summary -- Formalism and its flaws -- Theatrical, not literal -- The canvas is the message -- After high modernism -- Dada, surrealism, and literalism -- Weird formalism.
520			_aIn this book, the founder of object-oriented ontology develops his view that aesthetics is the central discipline of philosophy. Whereas science must attempt to grasp an object in terms of its observable qualities, philosophy and art cannot proceed in this way because they don't have direct access to their objects. Hence philosophy shares the same fate as art in being compelled to communicate indirectly, allusively, or elliptically, rather than in the clear propositional terms that are often taken – wrongly – to be the sole stuff of genuine philosophy. Conceiving of philosophy and art in this way allows us to reread key debates in aesthetic theory and to view art history in a different way. The formalist criticism of Greenberg and Fried is rejected for its refusal to embrace the innate theatricality and deep multiplicity of every artwork. This has consequences for art criticism, making pictorial content more important than formalism thinks but less entwined with the social sphere than anti-formalism holds. It has consequences for art history too, as the surrealists, David, and Poussin, among others, gain in importance. The close link between aesthetics and ontology also invites a new periodization of modern philosophy as a whole, and the habitual turn away from Kant’s thing-in-itself towards an increase in philosophical "immanence" is shown to be a false dawn. This major work will be of great interest to students and scholars of philosophy, aesthetics, art history and cultural theory.
650		0	_aAesthetics.
776	0	8	_iOnline version: _aHarman, Graham, 1968- author. _tArt and objects _dMedford, MA : Polity, 2019 _z9781509512713 _w(DLC) 2019017058
906			_a7 _bcbc _corignew _d1 _eecip _f20 _gy-gencatlg
942			_2ddc _cBK _e23 _h111.85 _iH227a _kCIR _m2020 _n0
999			_c11841 _d11841