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Philosophy of Architecture: Kant's Idea of Disinterestedness

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According to Kant, fine art follows two paradoxes: it “is a way of presenting that is purposive on its own and that furthers, even though without a purpose, the culture of our mental powers to [facilitate] social communication”(Kant 173) and “it must have the look of nature even though we are conscious of it as art”(Kant 174)

In other words, Kant believes that fine art is intentionally produced, yet remains purposive without a purpose, and is fabricated, essentially unnatural, yet must appear natural to its viewers.

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We learn that aesthetics is the study of beauty and taste, aesthetic Object is an artefact removes from its functionality by being judged by the viewer. Kant’s theory of disinterested help us to remove the subject from its functionality, this will enable us to have aesthetics and technical good photography. This has been evident by Sebastião Salgado and James Nachtwey whom is photographers of the human condition, which is possible to create good photography in wars famine and may more. I can use Kant’s theory of disinterestedness in my photographic parties to improve, and make me a more critical photographer

Mostly the media use visually shocking subject matter in order to attract more reader, but if they had to have aesthetic and technically good photography which will be better photography.

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The aestheticism of an object does not include the external purpose- the utility for which the object was built, or the internal purpose- what the object is intended to be like. If an object is judged on the basis of its utility, then its purpose will be determined on how well it does the job. On the other hand, if it is judged based on how close it is to a preconceived notion of how it is meant to look, then the purpose will be perfection(Kant 93). The fourth moment in Kant’s text, as regards the sublime is that aesthetic judgments must be found necessary

Here, Kant is trying to define the parameters within which objects are judged and why it is necessary to notice the aesthetic in an object, a truly daunting task. Kant refers to these grounds as common sense, meaning the shared sense of the beautiful in an object by different viewers, or in other words-taste (Kant 94).

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In brief, each aesthetic judgement is made with purposive but without an end in sight and all aesthetic judgements are necessary. It has then gone on to discuss the sublime, looking at the two types of sublime – the mathematical and the dynamical; the mathematical concerning that which is so extensive in size, it overcomes us and the dynamical being that we are observing something very powerful from a position of safety and so are able to experience the sublime. It is evident that Kant indeed influenced many aesthetic philosophers after him as his aesthetic theory can be seen in many a philosopher of art since then, both of influence and criticism.

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Kant, Immanuel. Critique of Judgement. Cosimo Publishing: New Jersey. 2007. Print.

John Szarkowski. The photographer’s eye. Victor landweder. Publisher The Academy of Art University

Paul Guyer The Journal of Aesthetics and Art Criticism Vol. 36, No. 4 (Summer, 1978), pp. 449-460

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