Abstract

When philosophers consider art, they typically do so from the standpoint of an outside observer, yielding a description of the phenomenon as though it was in actuality a mode of philosophy. Here the work appears to have been constructed as part of a purely rational process, or at least dominated by logic and cognitive intention at all meaningful points along the way. In the final account the anoetic is eclipsed by the noetic, which is taken as its most important and most valid dimension.Recently Thomas C. Hilde claimed that “the typical philosopher’s vantage is nevertheless bound to present an account of art and the practices the artwork implies or conceals that is different from and sometimes a caricature...