Abstract

How can a subjective experience claim universal validity? This question, posed by Kant in his Critique of Judgment, is also at the heart of Hegel's aesthetic project as I understand it. This article seeks to corroborate this proposition by analyzing how works of art transmit knowledge according to Hegel. I argue that one of the things that works of art can show according to Hegel are the apparently private subjective mental states that accompany our experience of worldly objects. Thus, art has the capacity to make structures of the mind that we usually understand as internal to subjectivity and, as such, only accessible to the activity of reflection, accessible objects external to and capable of being perceived. In my view, this thesis is closely linked to the social character of Hegel's theory of mind. By making subjective mental states visible, artworks have, according to Hegel, the capacity to exert an influence on how viewers will perceive the world after encountering such works. Thus, artworks are also crucial sites for understanding how rational minds construct their perceptual world together. I first develop this interpretation abstractly, then apply it to the specific fields of poetry and architecture, before discussing the question of the poetics of architecture in the work of contemporary author Renee Gladman.