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http://anthropoetics.ucla.edu/ap0101/vano/
Derrida’s concept of presence admits of no historicizing precisely because he understands presence as a concept (and thus as an ontological category) and not as a historically realized event. But Gans reveals that before presence can be thus hypostasized as a metaphysical category, it must first be experienced as the mutual presence of the original interlocutors of the originary scene.
https://www.oxfordbibliographies.com/view/document/obo-9780195396577/obo-9780195396577-0251.xml
Jul 03, 2019 · In the first main part of the work, the critique of the aesthetic power of judgment, Kant analyzes and defends our responses to, and judgments of, the beautiful in both nature and art and the sublime in nature; in the second main part, the critique of the teleological power of judgment, Kant defends our “regulative” rather than “constitutive” judgments of organisms as purposive systems …
https://www.euppublishing.com/doi/abs/10.3366/olr.2014.0084
Aesthetics in general is mortgaged to sensory perception, and from very early Derrida ‘perception does not exist’. Whence his interest in blinking, blindness and the trait of drawing. But the trace is not the trait, colour too is differential, and aesthetic judgement in general …Author: Geoffrey Bennington
https://www.thefreelibrary.com/Adorno%27s+Aesthetic+Theory.+The+Redemption+of+Illusion.-a014412611
Apr 01, 1993 · It is the aesthetic, and more pointedly the semiological-aesthetic critique of reason which connects the very different projects of Adorno, Heidegger and Derrida, and which elicits sustained defences of communicative reason and discourse ethics by Habermas and Apel, among others(1).
https://core.ac.uk/download/pdf/43167955.pdf
Where modernist aesthetics stresses that the work of art provides what T. S. Eliot ... called “a way of controlling, ... idea of an ontological art, an art in other words which claims that the artistic genius, privileged ... postmodern reaction to the idea of an artistic teleology. 56
https://appearedtoblogly.files.wordpress.com/2011/05/williams-peter-22aesthetic-arguments-for-the-existence-of-god22.pdf
explanation, which can invoke teleology to explain this fact, gains a measure of credibility. Other ontological aesthetic arguments (aesthetic argument type d) propose the existence of God as the source and standard of objective aesthetic value. Augustine, in his City of God, provided the following typical example of a deductive type d aesthetic
https://plato.stanford.edu/entries/heidegger-aesthetics/
Feb 04, 2010 · Heidegger’s critique of aesthetics and his advocacy of art thus form a complementary whole. Section 1 orients the reader by providing a brief overview of Heidegger’s philosophical stand against aesthetics, for art. Section 2 explains Heidegger’s philosophical critique of aesthetics, showing why he thinks aesthetics follows from modern ...
http://x-traonline.org/article/enchanted-credulities-art-religion-and-amnesia/
Derrida’s point was that (in Kant) the realm of the aesthetic was naturalized and given point and direction– was purposeful or entelechal–insofar as it could …
https://www.metamute.org/editorial/articles/manifesto-theory-%e2%80%98new-aesthetic%e2%80%99
Oct 03, 2012 · A Process Without a Singular ‘Aesthetic’ Intentionality The New Aesthetic image is like outsider art incidentally created by systems. The New Aesthetic is indifferent to mimesis. The NA image is not the re-presentation of an object. The NA image is the incidental visual residue of the performance or enactment of a process.
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