Читать книгу Art and Objects - Graham Harman - Страница 9

1 1. Graham Harman, “Aesthetics as First Philosophy,” “The Third Table,” “Art without Relations,” “Greenberg, Duchamp, and the Next Avant-Garde,” “The Revenge of the Surface,” “Materialism is Not the Solution.” See also Timothy Morton, Realist Magic.

2 2. Harman, “Aesthetics as First Philosophy.”

3 3. Graham Harman, “On the Undermining of Objects,” “Undermining, Overmining, and Duomining.”

4 4. Harman, “The Third Table”; A.S. Eddington, The Nature of the Physical World.

5 5. Wilfrid Sellars, “Philosophy and the Scientific Image of Man.”

6 6. Harman, “Greenberg, Duchamp, and the Next Avant-Garde”; Graham Harman, Dante’s Broken Hammer; Clement Greenberg, Late Writings, pp. 45–49.

7 7. Robert Pippin, “Why Does Photography Matter as Art Now, as Never Before?”, p. 60, note 6.

8 8. Claire Colebrook, “Not Kant, Not Now: Another Sublime,” p. 145.

9 9. Melissa Ragona, personal communication, August 5, 2017. Cited with Ragona’s permission.

10 10. Hasan Veseli, personal communication, December 4, 2016. Cited with Veseli’s permission.

11 11. See especially Caroline Levine’s wonderful book Forms.

12 12. No less a figure than Hal Foster slips into the “fetishist” trope in The Return of the Real, pp. 108–109. See also his related attacks on OOO allies Jane Bennett and Bruno Latour in Hal Foster, Bad New Days, Chapter 5. Another recent example can be found in the second paragraph of J.J. Charlesworth and James Heartfield, “Subjects v. Objects.” For a general response to the claim that realism about objects is a form of fetishism, see Graham Harman, “Object-Oriented Ontology and Commodity Fetishism.”

13 13. David E. Wellbery, “Schiller, Schopenhauer, Fried,” p. 84.

14 14. Dante Alighieri, The Divine Comedy.

15 15. Immanuel Kant, Critique of Pure Reason, Prolegomena to Any Future Metaphysics.

16 16. The classic example is Salomon Maimon, Essay on Transcendental Philosophy.

17 17. Immanuel Kant, Critique of Practical Reason, Groundwork of the Metaphysics of Morals.

18 18. Immanuel Kant, Critique of Judgment.

19 19. Virgil, Aeneid.

20 20. Bruno Latour, We Have Never Been Modern. There is another interpretation of modernity – or at least of its degenerate forms – that reads it in the opposite way as an improper commingling of thought with world. This can be found in the valuable polemic against “correlationism” by Quentin Meillassoux in After Finitude, which nonetheless resembles Latour’s position in agreeing that thought and world count for the moderns as the two basic ingredients of reality. In this book I will focus on Latour’s “purity” interpretation or modernity rather than Meillassoux’s “impurity” version, since the Latourian stance is the one more relevant to Kant’s aesthetics and formalism in the arts.

21 21. Dante, The Divine Comedy, La Vita Nuova.

22 22. Max Scheler, Formalism in Ethics and Non-Formal Ethics of Values.

23 23. Max Scheler, “Ordo Amoris.”

24 24. Denis Diderot, Diderot on Art, Vols. I and II; Michael Fried, The Moment of Caravaggio.

25 25. Michael Fried, Absorption and Theatricality, Manet’s Modernism.

26 26. Clement Greenberg, Homemade Esthetics; Michael Fried, Art and Objecthood.

27 27. See Bruno Latour, Reassembling the Social and Jane Bennett, Vibrant Matter. I had the opportunity to raise this issue with Fried in person on February 10, 2018 during his visit to Los Angeles, and he was helpfully direct in his response.

28 28. Timothy Morton, Hyperobjects, p. 60.

29 29. Alain Badiou, Being and Event; Meillassoux, After Finitude.