By Steve Odin
Creative Detachment in Japan and the West takes up the suggestion of inventive detachment, or psychic distance, as an intercultural motif for East-West comparative aesthetics. The paintings starts with an summary of aesthetic idea within the West from the eighteenth-century empiricists to modern aesthetics and concludes with a survey of varied opinions of psychic distance. all through, the writer takes a hugely leading edge strategy by way of juxtaposing Western aesthetic idea opposed to japanese (primarily jap) aesthetic thought.
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Additional info for Artistic Detachment in Japan and the West: Psychic Distance in Comparative Aesthetics
He adds that the definition of the beautiful as an object of universal delight is itself deducible from the foregoing definition of it as an object of delight apart from any interest. For acccording to Kant, where anyone is conscious that his delight in an object is with him independent of interest, it is inevitable that he should look on the object as one containing a ground of delight for all men (§50). When we judge an object beautiful, we speak as if beauty were a property, though in actuality the judgement is subjective, since it relates the object with aesthetic satisfaction.
Elsewhere he makes it clear that these two criteria are identical since to want something and to desire its real existence are the same (§4:48). His polemic here is that underlying the experience of the beautiful is a “free play” of imagination and understanding. This harmonious free play of faculties produces plea- 36 — Artistic Detachment East and West sure, and this pleasure is “disinterested” because it is cut off from the real existence of objects—and hence from interest. In the first moment Kant then proceeds to distinguish between three kinds of delight: the agreeable, the good, and the beautiful.
Yet the detached contemplation of beauty in tragic art is only a temporary repose. For Schopenhauer, early Buddhism teaches that the goal of detached contemplation is therefore no less than moksa or emancipation: the total extinction of all desires in the peace of nirvana. Heidegger: Aesthetic Disinterestedness The Kantian aesthetics of detached contemplation as well as the Husserlian phenomenological tradition both culminate in the writings of Martin Heidegger, perhaps the most influential philosopher in the twentieth century.
Artistic Detachment in Japan and the West: Psychic Distance in Comparative Aesthetics by Steve Odin