By Figal, Gnter, Veith, Jerome
Connecting aesthetic adventure with our event of nature or with different cultural artifacts, Aesthetics as Phenomenology specializes in what paintings capability for cognition, reputation, and affect―how artwork adjustments 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 idea confront one another. For these informed within the visible arts and for extra informal audience, Figal unmasks artwork as a decentering event that opens additional chances for figuring out our lives and our world.
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Connecting aesthetic event with our event of nature or with different cultural artifacts, Aesthetics as Phenomenology makes a speciality of what paintings capacity for cognition, popularity, and affect—how paintings adjustments 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 idea confront one another.
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Extra resources for Aesthetics as phenomenology : the appearance of things
The third chapter of the investigation is dedicated to these forms of art. At issue here is also the question of how the various art forms—image, poetic text, music—relate to one another. This question is already significant because there are combinations, intersections, and mixtures of the forms of art. It is only because the forms of art are not strictly separated from one another that one can speak of art. Yet the connection of art forms extends even further. We will see that every artwork as such is a mixture of various art forms; the work, as work, consists in just this mixture.
The philosophical observation of art begins in the experience of art, and even when it leads to general determinations, it cannot sever its binding to the experience of art. Even the clarification of the observational essence of philosophy, which flows together with the philosophical elucidation of art, does not lead away from art. The clarification cannot become a mere self-understanding of philosophy for which art is simply an impetus, for as a clarification of observation, it remains bound to that which is observed.
It is only with a view to the εἶδος that different accounts can complement each other in their variation such that they result in a meaningful whole. Only when a matter is present independently of its respective circumstantial accounts can the presentation of the matter be transparent. Nietzsche doubts the possibility of such an eidetic grasp of a matter. In his understanding, whoever varies his statements does not elucidate something grasped previously, but rather creates something new. No statement is sustained by the matter revealed in observation; instead every statement, according to its particular possibilities, brings something to appearance that is never given purely as itself.
Aesthetics as phenomenology : the appearance of things by Figal, Gnter, Veith, Jerome