Buch, Englisch, 238 Seiten, Format (B × H): 152 mm x 229 mm, Gewicht: 485 g
Buch, Englisch, 238 Seiten, Format (B × H): 152 mm x 229 mm, Gewicht: 485 g
Reihe: Routledge Research in Aesthetics
ISBN: 978-1-032-73918-2
Verlag: Taylor & Francis
This book is a defense of perspectivism in the age of post-truth. At the crossroads of science, art, and philosophy, it unearths a tradition that we must rediscover: the point of view is not only what divides, it is also what is shared.
Today, perspective is associated with individualism and personal viewpoints. But in an age of post-truth, the only robust answer to relativism lies in fact in a reappraisal of perspectivism. In discussion with contemporary new realisms of various sorts, this book makes a case why perspectivism alone can avoid us falling back into epistemological naivetés. A journey into the history of optics, art, philosophy, and social psychology, this book unearths the forgotten tradition of perspectiva communis, which makes perspective the vector of a common horizon. This book argues that vision is never immediate. Rather, to see through is the key to understanding the perspectival operation. We never see by ourselves—all seeing must pass through something other than itself, through the mediation and the detour of an apparatus or the witness of a third party. Besides the theoretical framework for this new approach to perspective, this book presents a series of case studies ranging from innovative interpretations of classical authors and key moments in the history of art—from ancient painting, trompe l’oeil, and Brunelleschi’s experiment in Renaissance Florence—to the issue of perspective in the work of contemporary artists such as Robert Smithson.
The Share of Perspective will be of interest to scholars and advanced students working in aesthetics, phenomenology, art history, and the history of sciences.
Zielgruppe
Postgraduate and Undergraduate Advanced
Weitere Infos & Material
Foreword Martin Jay Preface to the English Edition 1. Shared Perspectives 2. The Threat of Perspectives: Plato’s Image Theory 3. Florence, 1425: The Mirror Stage of Painting 4. Robert Smithson, at Lost Sight 5. Can Perspective Be a Symbolic Form? Revisiting Panofsky with Cassirer Conclusion: In Praise of the Plural: For a New Perspectivism
