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Monday, April 30, 2012

Image; 'Kazimir Malevich in Uncharted Waters'.2012.

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Gerhard Richter.

Gerhard Richter's groundbreaking study argues that the concept of "afterness" is a key figure in the thought and aesthetics of modernity. It pursues questions such as: What does it mean for something to "follow" something else? Does that which follows mark a clear break with what came before it, or does it in fact tacitly perpetuate its predecessor as a consequence of its inevitable indebtedness to the terms and conditions of that from which it claims to have departed? Indeed, is not the very act of breaking with, and then following upon, a way of retroactively constructing and fortifying that from which the break that set the movement of following into motion had occurred?
The book explores the concept and movement of afterness as a privileged yet uncanny category through close readings of writers such as Kant, Kafka, Heidegger, Bloch, Benjamin, Brecht, Adorno, Arendt, Lyotard, and Derrida. It shows how the vexed concepts of afterness, following, and coming after shed new light on a constellation of modern preoccupations, including personal and cultural memory, translation, photography, hope, and the historical and conceptual specificity of what has been termed "after Auschwitz." The study's various analyses—across a heterogeneous collection of modern writers and thinkers, diverse historical moments of articulation, and a range of media—conspire to illuminate Lyotard's apodictic statement that "after philosophy comes philosophy. But it has been altered by the 'after.'" As Richter's intricate study demonstrates, much hinges on our interpretation of the "after." After all, our most fundamental assumptions concerning modern aesthetic representation, conceptual discourse, community, subjectivity, and politics are at stake.

The problem with free play(beauty/Kant) with no concept -
Kant claims that the experience of beauty rests on what he calls a "harmony," or a "free play" of the faculties of imagination and understanding, punctuated by pleasure. Famously, this free play is supposed to be "without a concept" (§9, 5:217-9; 102-4). In his new book, Kenneth Rogerson argues that "only the doctrine of beauty as the expression of ideas gives Kant a plausible explanation of how we can see objects of beauty as free harmonies" (p. 3). The novelty of Rogerson's approach is twofold. First, he argues that aesthetic ideas can explain not only artistic, but also natural beauty. Second, he stresses the importance of expression: both nature and art talk to us, as it were, and thereby bring about the free play of our faculties. Rogerson bases his solution to the problem of the concept-less harmony on a sharp distinction between concepts and ideas. Since his solution involves ideas rather than concepts, it meets Kant's "no-concept" requirement head on: "an artwork (or natural object) that can be interpreted as expressing an aesthetic idea will accomplish this expression via a mental state that is free of concepts and yet orderly due to the fact that it expresses an idea"