Modern art’s drive came from Kant’s gap between the conceivable and presentable

Evidence

What this slackening of aesthetic tension promised was not just the end of experimentation, but a cancellation of the impetus of modern art as such, whose drive had always come from the gap between the conceivable and the presentable, that Kant defined as the sublime as distinct from the merely beautiful. — Perry Anderson, The Origins of Postmodernity, 74

Categorization

• DEFINE: Defines the Kantian sublime (vs the merely beautiful) as the engine of modernist art — a foundational concept for the whole debate.
• XREF: connects to: Modern art’s very production is driven by a nominalist imperative — Fredric Jameson, Postmodernism, or, The Cultural Logic…, 548; Kant’s sublime frames aesthetic feeling as subjection to commanding violence — Gil Anidjar, The Jew, the Arab: A History of the…, 602; Kant showed propositions have a ternary structure mediated by self-consciousness — Catherine Malabou, The Future of Hegel: Plasticity,…, 1184 (+1 more)

Broader Connections

• Modern art’s very production is driven by a nominalist imperative #expands (0.82) — Fredric Jameson, Postmodernism, or, The Cultural Logic…, 548
• Kant’s sublime frames aesthetic feeling as subjection to commanding violence #complicates (0.72) — Gil Anidjar, The Jew, the Arab, 602
• Kant showed propositions have a ternary structure mediated by self-consciousness #expands (0.72) — Catherine Malabou, The Future of Hegel, 1184