By Figal, Gnter, Veith, Jerome
Connecting aesthetic event with our adventure of nature or with different cultural artifacts, Aesthetics as Phenomenology specializes in 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 artwork, response and proposal confront one another. For these proficient within the visible arts and for extra informal audience, Figal unmasks paintings as a decentering event that opens additional percentages for knowing our lives and our world.
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Extra resources for Aesthetics as phenomenology : the appearance of things
An indication of this might be that one tends to dedicate oneself to art outside of one’s working hours. One can spend free time in worse ways than with music, painting, and literature. That the occupation with art is typically only possible in one’s free time, but is nourished precisely in this time, speaks against the action and purpose-orientation of life as a whole. In dealing with art, one senses another side of life, a side that has meaning for itself and not in relation to action or purposes.
In these kinds of reflection-relations, the process of comprehension only enters one’s attention to a certain degree; the concepts are reflected in relation with other concepts with respect to their adequacy, and possibly even with a view to the formation of new concepts. But the comprehension itself remains unquestioned as long as that toward which the concepts are directed appears according to the possibility of comprehension—that is, by way of comprehension. This only changes when comprehension and the will to comprehend encounter something that is revealed in its independence over against comprehension—something that, in its complex order and coherence, appears meaningful and laden with significance.
Artworks are essentially interpretable and in need of interpretation; they are inherently to be understood. Yet intelligibility and the demand of interpretation are not traits restricted to artworks. They are just as valid for juridical, religious, and philosophical texts, for historical events and for complex life-relationships in general. Conversely, the intelligibility of artworks is less idiosyncratic than their perceivability. Whereas, in the process of understanding philosophical texts, perception is nothing more than a necessary condition, it is constitutive for the understanding of artworks.
Aesthetics as phenomenology : the appearance of things by Figal, Gnter, Veith, Jerome