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19 Thomas Nagel, “What Is It Like To Be a Bat?” 20 Husserl, 18 Jean-Paul Sartre, pp. 43–8.ConsciousnessIdeas, trans. F. Williams and R. Kirkpatrick (New York: Noonday, 1957), , pp. 117, 122–3.The Transcendence of the Ego: An Existentialist Theory of Philosophical Review 4: 81–108.
21 Individual events that are either simply random or wholly determined are conscious events, in this view, because both cases necessarily fail to indicate the presence of embodied freedom. Random events are mindless occurrences. Determined events mechanically follow physical laws. Only the capacity to opt among alternatives, so that results are neither random nor determined, not
22 Clearly, even if one concedes that there is a proto-consciousness at the level of signals the presence of some forms of consciousness. For a detailed version of this argument, see David E. Klemm and William H. Klink, “Consciousness and Quantum Mechanics,” forthcoming in Science. Zygon: Journal of Religion and
23 Arthur C. Danto, 24 See Jean-Paul Sartre, elementary particles, it is also clear that many macroscopic systems, such as rocks, tables, and buildings, show no elements of consciousness.(Princeton, NJ: Princeton University Press, 1997), p. 195.After the End of Art: Contemporary Art and the Pale of HistoryThe Imaginary: A Phenomenological Psychology of the
25 Susanne K. Langer, 26 Paul Ricoeur, Imaginationpp. 13–26.of Toronto Press, 1977)., trans. Jonathan Webber (London: Routledge, 2004), pp. 11–14.The Rule of MetaphorProblems of Art (New York: Charles Scribner’s Sons, 1957), , trans. Robert Czerny (Toronto: University
27 For instance, see Paul Tillich, “Protestantism and Artistic Style,” in Culturelimit the analysis of culture just to so-called high culture, as Tillich did. On this, see Kelton Cobb, Blackwell, 2004). (Oxford: Oxford University Press, 1959), pp. 68–75. But one need not The Blackwell Guide to Theology of Popular CultureTheology of (Oxford:
28 Danto, 31 30 Danto, 29 Hans Belting, The Letters of Vincent Van Goghtrans. Edmund Jephcott (Chicago: University of Chicago Press, 1994).After the End of ArtAfter the End of ArtLikeness and Presence: A History of the Image Before the Era of Art, p. 73.. , ed. Ronald de Leeuw, trans. Arnold Pomerans ,
32 Wassily Kandinsky, 33 For example, one could say art “deconstructs visual experience to show us (New York: Penguin, 1997), pp. 394–5, 451–2.what is really going on” (cubist Picasso), or “reveals the hidden yet intrusive world of the unconscious” (Miro), or “judges our historical crises as the results Concerning the Spiritual in Art (New York: Dover, 1977).
34 See Arthur C. Danto, of a mythical past” (Kiefer).(Chicago: Open Court, 2003), pp. 1–38.The Abuse of Beauty: Aesthetics and the Concept of ArtNotes to Pages 135–44
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