title: The Paradoxes of Art: A Phenomenological Investigation
author:  Alan Paskow 
description: "By the unique application of the phenomenological notion of being-in-the-world, he is able to expand and clarify people's understanding of the situations in which transactions with art take place, thus shedding light on questions of interpretation, artistic ambiguity, aesthetic attitude, and the definition of artworks." <br />-R.M. Davis, Albion College, Choice<br /><br />"Paskow's book is lucid and well written...the book remains an important contribution to the literature on our engagement with art." <br />Sarah Worth, Furman University, Notre Dame Philosophical Review<br /><br />"...Paskow aims to establish the 'ontological status of fictional beings' and pursue the bold and ambitious claim that fictional beings are 'quasi-real.' Mindful of the fact that many readers will be skeptical of such a position, he carefully rehearses the relevant problems in analytic philosophy before unfolding the challenge his undertaking presents. He does this in an altogether engaging and lucid prose that not only makes the book accessible to readers unfamiliar with its debate but also provides scholars with a precision often lacking in such writing." <br />Michael Belshaw, Loughborough University, The Journal of Aesthetics and Art Criticism<br /><br />"This, I believe, is a significant contribution, not just to the debate about why art matters to us but also to the wider question of how we consciously inhabit the world...[The Paradoxes of Art] is of particular relevance given that the discourses of art, philosophy, and consciousness are rapidly converging..." <br />Robert Pepperell, Leonardo On-line<i>
  						    	
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zlib_text: THE ETHICS OF MANIFESTATION IN MICHEL
  HENRY AND JEAN-LUC MARION
  NATHANIEL HILL
  McGill University
  For both Michel Henry and Jean-Luc Marion, ethical and spiritual exercises shape aesthetic
  experience. In Seeing the Invisible: On Kandinsky, Henry claims that the abstract paintings of
  Kandinsky offer ‘a way to enter into . . . expanded life.’1 Viewed through the lens of the phe-
  nomenology of Life, a philosophy generally deﬁned by an immanent and inﬁnite ipseity, art can
  mystically liberate the artist or beholder from the Kantian epistemological forms of time and
  space. Henry argues that such an artist or beholder, freed from being-in-the-world as the history
  of philosophy has conceived it, escapes the world’s ‘horizon of visibility.’ This liberating poten-
  tial lies dormant in the work of art itself; Henry states that the artist or beholder must engage ‘an
  ethics, a ‘practice,’ a mode of actualizing life.’ The artist or beholder approaches a mystical
  union with the work of art as ‘The in