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By Robert Sokolowski
Robert Sokolowski, a clergyman of the Archdiocese of Hartford, has taught philosophy on the Catholic college of the USA when you consider that 1963. He has written six books and various articles facing phenomenology, philosophy and Christian religion, ethical philosophy, and concerns in modern technological know-how. He has been an auxiliary chaplain at Bolling Air strength Base in Washington, D.C., for the reason that 1976 and used to be named monsignor in 1993.
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Extra info for Edmund Husserl and the Phenomenological Tradition: Essays in Phenomenology
Example text
True, he may despise what his contempo rary brothers and sisters in art are creating, he may have nothing but contempt for critics and public alike, and his whole purpose may be to overthrow the established artistic order. But try as he might, he is bound to define his solitary activity in terms of its connection with the activities of others. If he pursues the new, it is because he rejects the old which other artists have produced and which critics have accepted; if he is determined to achieve something radically different, the dif ference will be measured in terms of what other artists have already done.
Many people who have encountered Duane Hanson's "photorealist" sculptures have had this difference in presentation 10. Dickie discusses these themes in Chapter VI of The Art Circle ("The Aesthetic Object"). 34 JOHN BARNETT BROUGH brought home quite dramatically. Hanson's sculptures often appear at first glance as real people, even when they have been placed in the gallery of a museum. On closer inspection, they suddenly present themselves as not at all real, but as made. At that point, and not before, they are on their way towards being appropriately named works of art.
A second complicating factor concerns the breadth of what can display itself as an artifact. Professor Cone urges a return to the distinction between making and acting because he thinks the distinction is a useful weapon in fighting against the current tendency to confuse art and life. His point is that while the artifact presents itself as different from the natural thing, it also presents itself as different from human acting and doing. This does not mean, of course, that human action and the making of some product may not have an intimate connection.