It suggests the reception of the Kantian sublime as an unexpectedly religious sentiment, in other words, as a theological aesthetics. In the face of the third Critique, and with the precision of a watchmaker, the old Kant seems to balance the new cosmological, religious and metaphysical conditions confronting baroque man with the properly theological need not to exclude God from his philosophical project. In this way, Kantian aesthetics is revealed as the source of the religious, precisely, from the practical contact of the subject with the idea of divinity. In this region, the thinking subject finds an indeterminate beyond in which he is ableto touch, or, if you will, to feel the omnipotence and immensity of God. Through the propaedeutic work of the Analytic of the Sublime, the Critique of Judgment would complete the theological path traced in the second Critique by pure practical reaso...

Written from the perspective of the philosophy of art, this essay seeks to confrm the thesis that the work of Mexican visual artist Elsa Quiñones—particularly her representations of the mythical figure La Catrina—can be interpreted through Jean Baudrillard’s concept of seduction. Through the selection of two of her skulls, adorned with vibrant colors, petals, birds, braids, and abundant ribbons, it becomes evident that ritual and death—fundamental dimensions of this seduction—are key elements in Quiñones’s aesthetic. Her Catrinas seduce us through death, mitigating the randomness of an accidental encounter with those who behold them; and through ritual, they reemerge into life through the artist’s hand, as the eternal return of a sacred and primordial ceremonial form.