
Rômulo Eisinger Guimarães
PhD in Philosophy (2020) - Research Line: Normative Ethics, Metaethics and Applied Ethics, from Federal University of Santa Maria, UFSM, under the guidance of Prof. Dr. Christian Hamm, with the thesis "The problem of the 'sensification' of ideas and the Kantian doctrine of 'Beauty as a symbol of Morality'" (one-year doctoral research stay at Friedrich-Schiller-Universität Jena, Germany). Master in Philosophy (2016) - Research Line: Normative Ethics and Metaethics, from UFSM, with the dissertation "On Beauty as a Symbol of Morality in Kant". Bachelor of Visual Arts (2012), from Federal University of Santa Maria, UFSM, under the guidance of Prof. Ms. Alphonsus Benetti at Atelier 1336 (academic exchange at Universidad de la Republica, UdelaR, Uruguay). Topics of Interest: Visual Arts (history, theory, criticism and reflection of Art; artistic creation and visual poetics), Aesthetics and Philosophy of Art, Normative Ethics, Metaethics and Applied Ethics, Semiotics and Hermeneutics, Transcendental Philosophy and Kantian Critical Philosophy (origin and historical reception; architecture, system and foundation; Practical philosophy, Aesthetics and Teleology).
Supervisors: Christian V. Hamm, Andrea M. Esser, and Alphonsus Benetti
Supervisors: Christian V. Hamm, Andrea M. Esser, and Alphonsus Benetti
less
Related Authors
Martin Hammer
Technische Universität Berlin
Lawrence Pasternack
Oklahoma State University
cinara nahra
Universidade Federal do Rio Grande do Norte
Emma Ingala
Universidad Complutense de Madrid
Cláudia Fidalgo da Silva
Faculdade de Letras da Universidade do Porto
Gabriele Gava
Università degli Studi di Torino
Ileana Beade
CONICET
Uploads
Papers by Rômulo Eisinger Guimarães
In his essay Seeing the Invisible Henry praises Kandinsky for his innovative formulation of abstract art; an art which seeks to turn the artist and the spectator radically inward. Henry argues that after Kandinsky art no longer seeks to represent the world; rather, it shifts its focus on what Kandinsky calls the internal. Henry’s claim is that the purpose of art becomes a way that allows us to see what is not seen and cannot be seen.
This essay demonstrates to what extent it is possible to draw a connection between Kandinsky’s art and theory through Kant's notion of pure aesthetic judgements and Henry's radical phenomenology.
Keywords: Kant, Henry, Kandinsky, phenomenology, beauty, abstract art, invisible, life, nature.
Talks by Rômulo Eisinger Guimarães
In his essay Seeing the Invisible Henry praises Kandinsky for his innovative formulation of abstract art; an art which seeks to turn the artist and the spectator radically inward. Henry argues that after Kandinsky art no longer seeks to represent the world; rather, it shifts its focus on what Kandinsky calls the internal. Henry’s claim is that the purpose of art becomes a way that allows us to see what is not seen and cannot be seen.
This essay demonstrates to what extent it is possible to draw a connection between Kandinsky’s art and theory through Kant's notion of pure aesthetic judgements and Henry's radical phenomenology.
Keywords: Kant, Henry, Kandinsky, phenomenology, beauty, abstract art, invisible, life, nature.