The reviewer finds that these two books provide a subtle theory of aesthetic understanding based on notions of embodiment, particularly in relation to contemporary sensibilities, and that they serve as refreshingly critical introductions to questions of philosophical aesthetics. Focuses on the author's critique of Derrida in the first book; and discusses his treatment, in the second book, of the centrality of the notion of embodiment and his extension of it to an ecological theory of the value of art.
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