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See detailLa Révolution digitale dans la musique : Une philosophie de la musique
Lehmann, Harry UL

Book published by Allia (2017)

Philosophy of music, like philosophy of art in general, is not a firmly established academic discipline. It appears sporadically when there are drastic changes in musical practice, and it becomes ... [more ▼]

Philosophy of music, like philosophy of art in general, is not a firmly established academic discipline. It appears sporadically when there are drastic changes in musical practice, and it becomes necessary to redefine the term music. This was the case when the symphony established itself as a formative musical genre just over two hundred years ago, and it happened when tonality was abandoned just over one hundred years ago. The event that directs philosophical interest in music today is the digital revolution. It calls into question the idea of New Music and its genuine claim to art. [less ▲]

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See detailÄsthetische Erfahrung : Eine Diskursanalyse
Lehmann, Harry UL

Book published by W. Fink (2016)

For almost half a century, theories of aesthetic experience have determined the discourse on aesthetics in Germany. In his discourse analysis, Harry Lehmann shows how this discussion defined its rules of ... [more ▼]

For almost half a century, theories of aesthetic experience have determined the discourse on aesthetics in Germany. In his discourse analysis, Harry Lehmann shows how this discussion defined its rules of discourse in distinction to Adorno's Aesthetic Theory and in recourse to Kant's Critique of Judgment. The author discusses how the most prominent aesthetics of experience have subsequently differentiated themselves within this given theoretical framework and how this discourse has finally begun to question its own constitutive premises. It is not only problematic that conceptual art, for example, is interpreted aesthetically in this discourse, but that these aesthetics of experience in principle lack the theoretical means to respond to the latest developments in neuroaesthetics and AI aesthetics. Lehmann therefore proposes an alternative model that no longer follows Kant's line of tradition and starts with a conceptual distinction between aesthetic and non-aesthetic phenomena, perceptions or judgments, but is based on a practice of perceptual comparisons whose factual and historical preconditions can be analyzed. [less ▲]

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See detailGehaltsästhetik : Eine Kunstphilosophie
Lehmann, Harry UL

Book published by W. Fink (2016)

One of the founding myths of postmodernism is that art has abandoned modernism's claim to novelty. In fact, however, this claim was not abandoned, but only reformulated. Whereas advanced art in the 20th ... [more ▼]

One of the founding myths of postmodernism is that art has abandoned modernism's claim to novelty. In fact, however, this claim was not abandoned, but only reformulated. Whereas advanced art in the 20th century largely followed a material aesthetic, as manifested in cubism or serial music, for example, today we can observe a turn towards a gehalt-aesthetic. Artists such as Ai Weiwei or Damien Hirst no longer seek newness in the aesthetic material, but in the new aesthetic content articulated by a work. This gehalt-aesthetic turn in the arts is the quintessence of Harry Lehmann's philosophy of art. Based on a theory of intrinsic aesthetic values, which include beauty, sublimity, event, and ambivalence, he retells European art history as a history of aesthetic experience. Numerous examples from the visual arts, poetry, and music, as well as from advertising, fashion, and design, make this paradigm shift in the arts vivid and evident. [less ▲]

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See detailRewolucja cyfrowa muzyki : Filozofia muzyki
Lehmann, Harry UL

Book published by Bęc Zmiana (2016)

Philosophy of music, like philosophy of art in general, is not a firmly established academic discipline. It appears sporadically when there are drastic changes in musical practice, and it becomes ... [more ▼]

Philosophy of music, like philosophy of art in general, is not a firmly established academic discipline. It appears sporadically when there are drastic changes in musical practice, and it becomes necessary to redefine the term music. This was the case when the symphony established itself as a formative musical genre just over two hundred years ago, and it happened when tonality was abandoned just over one hundred years ago. The event that directs philosophical interest in music today is the digital revolution. It calls into question the idea of New Music and its genuine claim to art. [less ▲]

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See detailDie digitale Revolution der Musik : Eine Musikphilosophie
Lehmann, Harry UL

Book published by Schott Music (2013)

Philosophy of music, like philosophy of art in general, is not a firmly established academic discipline. It appears sporadically when there are drastic changes in musical practice, and it becomes ... [more ▼]

Philosophy of music, like philosophy of art in general, is not a firmly established academic discipline. It appears sporadically when there are drastic changes in musical practice, and it becomes necessary to redefine the term music. This was the case when the symphony established itself as a formative musical genre just over two hundred years ago, and it happened when tonality was abandoned just over one hundred years ago. The event that directs philosophical interest in music today is the digital revolution. It calls into question the idea of New Music and its genuine claim to art. [less ▲]

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See detailAutonome Kunstkritik
Lehmann, Harry UL; Bürger, Peter; Demand, Christian et al

Book published by Kulturverlag Kadmos (2012)

Art criticism has been largely marginalized in the arts and today mostly fulfills a service function. How did this development come about? When and why did professional art, literature and music criticism ... [more ▼]

Art criticism has been largely marginalized in the arts and today mostly fulfills a service function. How did this development come about? When and why did professional art, literature and music criticism form in the first place? In this collection of essays, the authors Peter Bürger, Christian Demand, Jörn-Peter Hiekel, Harry Lehmann, Hanno Rauterberg, and Wolfgang Ullrich pose such fundamental questions about the constitution of art criticism and discuss them from their own perspectives as philosophers, literary scholars, musicologists, and art historians. What connects the various texts is the shared interest in the question: Does autonomous art need autonomous art criticism? [less ▲]

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See detailMusik, Ästhetik, Digitalisierung : Eine Kontroverse
Lehmann, Harry UL; Kreidler, Johannes; Mahnkopf, Claus-Steffen

Book published by Wolke (2010)

In this book, world views collide. The digital revolution seems like an attack on the established music business. This is not only directed at the orchestra, but also at the study, practice, mediation ... [more ▼]

In this book, world views collide. The digital revolution seems like an attack on the established music business. This is not only directed at the orchestra, but also at the study, practice, mediation, performance, and dissemination of new and old "serious" music in general. The positions represented here suggest a generational conflict between those who have grown up with the self-evident use of the computer and promise themselves a gain in freedom through quantification and acceleration, and those who see themselves committed to an emphatic concept of work and art and thus to the process of immanence of artistic production. Belief in progress in art is not a new thing. A good hundred years ago, Filippo T. Marinetti formulated his first Futurist manifesto of a new machine art. However, it was to take a hundred years before the technical possibilities also gave rise to a qualitative quantum leap. Opinions are divided on the point of "quality". Composition, musical practice and musical perception are at a crossroads. The rapid development of the digital world including its networking will not remain without consequences for musical creation. For too long, there has been silence about musical-aesthetic differences in New Music. In the present fundamental controversy, overdue and urgent questions about the future of New Music are now being posed and sometimes polemically fought out. The controversy, which is conducted after Harry Lehmann's introductory text between Johannes Kreidler and Claus-Steffen Mahnkopf, ultimately remains open-ended and will certainly give rise to follow-up discussions. With the concluding contributions, personal texts from the extended environment of the debate have been agreed upon. [less ▲]

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See detailDie flüchtige Wahrheit der Kunst : Ästhetik nach Luhmann
Lehmann, Harry UL

Book published by W. Fink (2005)

The author shows, with and against Luhmann, that the art system is not a functional system in the conventional sense, such as the economic or science system. Rather, the social system of art is a system ... [more ▼]

The author shows, with and against Luhmann, that the art system is not a functional system in the conventional sense, such as the economic or science system. Rather, the social system of art is a system of reflection that follows a "counter-systemic" coding: a coding that stems from the spirit of the avant-garde and is capable of generating resistance against the system in the system. Only the reference to truth in art, however, ensures that the art system works in this mode and that artistic innovations are not merely simulated. The permanent question of the truth of art thus immunizes the art system against its inherent tendency to self-programmed heteronomy. This insight forms the starting point for a philosophical aesthetics after Luhmann. [less ▲]

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