By Steve Odin
Creative Detachment in Japan and the West takes up the thought of inventive detachment, or psychic distance, as an intercultural motif for East-West comparative aesthetics. The paintings starts with an summary of aesthetic concept within the West from the eighteenth-century empiricists to modern aesthetics and concludes with a survey of varied reviews of psychic distance. all through, the writer takes a hugely cutting edge technique by means of juxtaposing Western aesthetic thought opposed to japanese (primarily eastern) aesthetic idea.
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Additional info for Artistic Detachment in Japan and the West: Psychic Distance in Comparative Aesthetics
In other words: the disinterested pleasure one takes in the beauty of an object has no concern for personal sensory gratification as is the case of delight in what is agreeable, nor does it have any interest in the practical usefulness of something as is the case of delight in what is good. Yet he further clarifies other attributes of the disinterested attitude characterizing aesthetic judgements of taste. To begin with, the disinterested attitude is said to be contemplative (§5:48). As he writes elsewhere, an aesthetic judgement of taste “combines delight or aversion immediately with the bare contemplation of the object irrespective of its use or of any end” (§22:87).
Ihde’s thesis is that “the later Heidegger is doing a radical phenomenological description of horizons-phenomena” (1974:20). Heidegger describes the noematic content of experience as the “region of openness” that is itself bound by the nothing as its ultimate parameter (1974:22). The region of openness contains an inner horizon of latent alternative profiles signifying the multiplicity, variety, and possiblity of divergent perspectives by which an object may be constituted and reconstituted.
Natsume Sòseki’s novel titled Grass Pillow (Kusamakura, 1906) thematizes artistic detachment and the conflict between distance and involvement as well as the problem of over-distancing to dehumaniza-tion. In this work he combines Japanese and British literary movements of aestheticism in order to show the process by which a poet achieves psychic distance from life. Like Walter Pater’s Marius the Epicurean, Henry James’ Roderick Hudson, Oscar Wilde’s Portrait of Dorian Gray, James Joyce’s Portrait of the Artist as a Young Man, and other classic works of creative fiction in the tradition of 24 — Introduction British aestheticism, Natsume Sòseki’s Grass Pillow is a portrait-ofthe-artist novel.