By Günter Figal
Connecting aesthetic adventure with our event of nature or with different cultural artifacts, Aesthetics as Phenomenology makes a speciality of what paintings potential 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 inspiration confront one another. For these knowledgeable 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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Extra resources for Aesthetics as Phenomenology: The Appearance of Things
Before it can be viewed according to its comprehensibility, it is already productive of insight—but in a way that is difficult to grasp. To be sure, the determinacy of its complex order must be discovered and accounted for, so that this order can be grasped in its particularity. Yet comprehension here no longer approaches a matter self-assuredly or matter-of-factly, but rather responds. It confirms or highlights something instead of determining by way of itself. This is the case in hermeneutic experience, that experience of interpreting and understanding that is concerned with the conceptually guided characterization of a text.
His conception certainly always continued to find advocates and apologists, but this aesthetics stands in a peculiar orthogonal relation to the development of the philosophical discussion of the beautiful after Kant. This also means that designating a philosophical reflection concerning art as “aesthetic” lacks self-evidence. Aesthetics, in Kant’s plentiful sense, is not the subject matter of post-Kantian philosophy. Art, Philosophically 29 This thesis can be elucidated in the following way: While Kant’s philosophical endeavor is directed at clarifying the judgment of taste and, with this, at the experience of the beautiful, the philosophical discussion of the beautiful turns toward the question of how the beautiful arises and thereby increasingly loses interest in understanding what the beautiful actually is.
In terms of reproductive arts,” this can be distinguished from the quality of the work as the quality of the performance. The aesthetic differentiation effects a peculiar “simultaneity” (93); in characterizing it, Gadamer refers to André Malraux’s notion of the musée imaginaire. (93)67 Under the category of the aesthetic, one can conjoin that which is unrelated in terms of subject matter or content. In this sense, it would be a result of aesthetic differentiation, a manifestation of “aesthetic consciousness,”68 to have a museum in which one encounters Babylonian reliefs, Gothic altarpieces, courtly portraits, art nouveau vases, a felt-and-fat arrangement by Joseph Beuys, 32 Aesthetics as Phenomenology and finally a shoddy steel sofa by Franz West with a colorful cloth thrown over it.