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What is the nature of time? This new study engages with the
philosophy of Henri Bergson on time and proposes a new way of
thinking about the effects of future events on the past. According
to Bergson, time is an integral feature of real things, just as
much as their material or size. When a flower grows, it takes a
period of real time for it to flourish, which cannot be quickened
or slowed down, nor can it be eliminated from the process of
growth. Bergson named this real time 'duration' and argued that
everything and everyone exist as duration, and that internal
processes flow into one another, with no clear boundaries that
separate one phase of duration from another. According to Bergson's
philosophy, the past does not disappear but smoothly flows into the
present, forming an indivisible dynamic unity. But what if the
causal flow of temporal reality is not unidirectional? What if not
only past events influence future ones, but future ones in their
turn have retrospective effect on past occurrences? The author of
this book analyses these key questions, asserts that the
changeability of the past follows from Bergson's theory of time and
proposes a theory of embodied time that involves the retrospective
enrichment of reality.
This book seeks to fill a void in contemporary aesthetics
scholarship by considering the cognitive features that make the
aesthetic and artistic worthy of philosophical study. Aesthetic
cognition has been largely abandoned by analytical philosophy,
which instead tends to focus its attention on the 'non-exhibited'
properties of artwork or issues concerning semantic and syntactic
structure. The Cognitive Basis of Aesthetics innovatively seeks to
correct the marginalization of aesthetics in analytical philosophy
by reinterpreting aesthetic cognition through an integration of
Ernst Cassirer's philosophy of symbolic forms with Paul Crowther's
theory of imagination and philosophy of art. This integration has
three important outcomes: 1) it explains why the aesthetic and
artistic constitute a unique form of knowledge; 2) it shows the
role this plays in the formation of aesthetics as a discipline; and
3) it describes why aesthetic cognition is so deeply engaging. This
book's unique theoretical approach engages with important works of
visual, conceptual, and digital art, as well as literature, music,
and theatre.
This book seeks to fill a void in contemporary aesthetics
scholarship by considering the cognitive features that make the
aesthetic and artistic worthy of philosophical study. Aesthetic
cognition has been largely abandoned by analytical philosophy,
which instead tends to focus its attention on the 'non-exhibited'
properties of artwork or issues concerning semantic and syntactic
structure. The Cognitive Basis of Aesthetics innovatively seeks to
correct the marginalization of aesthetics in analytical philosophy
by reinterpreting aesthetic cognition through an integration of
Ernst Cassirer's philosophy of symbolic forms with Paul Crowther's
theory of imagination and philosophy of art. This integration has
three important outcomes: 1) it explains why the aesthetic and
artistic constitute a unique form of knowledge; 2) it shows the
role this plays in the formation of aesthetics as a discipline; and
3) it describes why aesthetic cognition is so deeply engaging. This
book's unique theoretical approach engages with important works of
visual, conceptual, and digital art, as well as literature, music,
and theatre.
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