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In Remembrance of Things Past

In Remembrance of Things Past THE COMPAKATIST Henry Sussman 1.My most recent project, which I have entitled The Aesthetic Contract, aims toward an articulation both of the circumstances and conditions under which the Artist has emerged, over the broader Modernity, as an agent and icon of transcendence over conditions of fragmentation, moral insufficiency, and a freedom as disorienting as it is delightful. As an alternative to the transcendental model of the Artist, formulated perhaps definitively by Kant, I also elaborate in this project an alternative dynamic of cultural evolution and intellectual work, one characterized by a succession of "aesthetic contracts," under whose aegis artists and other intellectual workers in different areas cooperate and produce artifacts for a time, specifically, so long as a particular aesthetic experiment answers its community's questions regarding the nature of knowledge and experience better than others. This experiment of mine has resulted as much in a modus operandi as in a body of substantive readings of particular texts. In responding to Professor Barricelli's comments on the current critical scene, it enables me to treat his reactions as interventions into certain critical contracts (close correlatives to "aesthetic" ones) that have in fact been formative to my own strategies as a http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The Comparatist University of North Carolina Press

In Remembrance of Things Past

Sussman, Henry.
The Comparatist , Volume 20 (1) – Oct 3, 1996
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Publisher
University of North Carolina Press
Copyright
Copyright © Southern Comparative Literature Association.
ISSN
1559-0887
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Abstract

THE COMPAKATIST Henry Sussman 1.My most recent project, which I have entitled The Aesthetic Contract, aims toward an articulation both of the circumstances and conditions under which the Artist has emerged, over the broader Modernity, as an agent and icon of transcendence over conditions of fragmentation, moral insufficiency, and a freedom as disorienting as it is delightful. As an alternative to the transcendental model of the Artist, formulated perhaps definitively by Kant, I also elaborate in this project an alternative dynamic of cultural evolution and intellectual work, one characterized by a succession of "aesthetic contracts," under whose aegis artists and other intellectual workers in different areas cooperate and produce artifacts for a time, specifically, so long as a particular aesthetic experiment answers its community's questions regarding the nature of knowledge and experience better than others. This experiment of mine has resulted as much in a modus operandi as in a body of substantive readings of particular texts. In responding to Professor Barricelli's comments on the current critical scene, it enables me to treat his reactions as interventions into certain critical contracts (close correlatives to "aesthetic" ones) that have in fact been formative to my own strategies as a

Journal

The Comparatist – University of North Carolina Press

Published: Oct 3, 1996

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