id	author	title	date	pages	extension	mime	words	sentence	flesch	summary	cache	txt
jispa-1699	Guyer, Paul	Monism and pluralism: The history of aesthetics and the philosophy of architecture - Part I	2014	18	.pdf	application/pdf	7617	231	46	isparchitecture.com Monism and Pluralism: The History of Aesthetics and the Philosophy of Architecture - Part I Paul Guyer I. Monism and Pluralism in the Early History of Aesthetics One way to think about the history of aesthetics since its inception as a properly named subdiscipline of philosophy in the early eighteenth century is to think of it as a debate about the right way to understand the relations among the terms of the Neo-Platonist triad comprised by the true, the good, and the beautiful: do these terms designate three separate domains of human interest, the theoretical, the practical and moral, and the aesthetic, the boundaries between which must be sharply defined and maintained, or do they designate three aspects of human experience that can and should be fused in practice, indeed do they suggest that the distinctive function of art among human activities is precisely to fuse our natural love of beauty with our theoretical and moral concerns, to provide a kind of unity in human experience that we otherwise do not find?1 Immanuel Kant might be thought to be the foremost of separatists rather than synthesizers in the modern history of aesthetics: his definition in the “Analytic of the Beautiful” in the Critique of the Power of Judgment of the “judgment of taste” as “aesthetic,” where that means that it is neither cognitive nor practical, that on the one hand “In order to decide whether or not something is beautiful, we do not relate the representation by means of understanding to the object for cognition”2 and that on the other hand “The agreeable, the beautiful, and the good...designate three different relations of representations to the feeling of pleasure and displeasure,” that “One can AP . Kant’s position in aesthetics is actually more complicated than these opening remarks suggest: they are part of an initial analysis of the simplest experience of beauty, but by no means a complete statement of his account of art, a fortiori of architecture.	cache/jispa-1699.pdf	txt/jispa-1699.txt