By Figal, Gnter, Veith, Jerome

ISBN-10: 0253015510

ISBN-13: 9780253015518

ISBN-10: 0253015588

ISBN-13: 9780253015587

ISBN-10: 0253015650

ISBN-13: 9780253015655

Connecting aesthetic event with our event of nature or with different cultural artifacts, Aesthetics as Phenomenology makes a speciality of what artwork skill for cognition, attractiveness, and affect―how artwork alterations our daily disposition or habit. Günter Figal engages in a penetrating research of the instant at which, in our contemplation of a piece of paintings, response and concept confront one another. For these educated within the visible arts and for extra informal audience, Figal unmasks artwork as a decentering event that opens additional probabilities for realizing our lives and our world.

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Hardcover: 264 pages (262 - this pdf)
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New PDF release: Aesthetics as phenomenology : the appearance of things

Connecting aesthetic adventure with our event of nature or with different cultural artifacts, Aesthetics as Phenomenology specializes in what artwork ability for cognition, popularity, and affect―how paintings alterations our daily disposition or habit. Günter Figal engages in a penetrating research of the instant at which, in our contemplation of a piece of paintings, response and suggestion confront one another.

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Extra info for Aesthetics as phenomenology : the appearance of things

Sample text

Because art invites one to observe, it gives philosophy an opportunity to reflect upon its own observational character, its theoretical essence, and to actualize this essence without inhibitions. Thus, through art, philosophy gains independence from all that has befallen the concept of theory in modernity and modernism. Instead of relinquishing its theoretical character to art,21 philosophy can discover it anew. After all, the term is rarely still used in its classical meaning, but stands instead for a system of statements, determined by certain basic suppositions and concepts that describe a more or less limited realm of objects and explain circumstances specific to this realm.

In its emphatic existence that is never a matter of course, the experience of art always also belongs to the artwork as such. The work is consciously present to any adequate experience as an artwork; the significance and meaningfulness that are disclosed through the work are always those of an artwork that is transparent in its art-character. They belong to the experience of art that thereby also distinguishes itself from all other hermeneutic experience. This does not mean, however, that the experience of art necessarily includes the expressly posed question of what art is.

With every work, one experiences something that one did not know before and that one could not anticipate in the way that it is experienceable in this work. An artwork cannot be “expected,” and this not only in one’s initial experience of it, but anew in every instance. One can think one knows an image; one has read a text several times or heard a musical piece countless times, and yet it will always again seem as if one encounters what is to be seen, read, or heard for the first time. Every experience that one has already had with the artwork thereby enters anew into the context of the present experience.

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Aesthetics as phenomenology : the appearance of things by Figal, Gnter, Veith, Jerome

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