By Figal, Gnter, Veith, Jerome
Connecting aesthetic adventure with our adventure of nature or with different cultural artifacts, Aesthetics as Phenomenology specializes in what paintings skill for cognition, attractiveness, 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 proposal confront one another. For these educated within the visible arts and for extra informal audience, Figal unmasks artwork as a decentering event that opens extra probabilities for realizing 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 specializes in what artwork skill for cognition, attractiveness, 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 paintings, response and idea confront one another.
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Extra info for Aesthetics as phenomenology : the appearance of things
The formation of concepts aims at universality, and yet it must begin with the particular. The concept may not contain anything that only pertains to a particular instance, such that its universality would be compromised. Thus with a particular, it is essential to distinguish its particularity from that which is specifically universal about it. This sketched difficulty is intensified in a peculiar way with respect to art. An experience of art is always an experience of the particular, indeed of the radically individual; it is the experience of the singular work that cannot be replaced by any other.
This work nevertheless exists for Plato, and it is seen as a work about which there is something to say. What is more, Plato knew very well that his own writings are not artless treatises oriented solely by the factual, but are in fact poetry. These writings challenge one to inquire about the essence of a philosophy that articulates itself poetically and thus appropriates characteristics of poetry, but that is not exhausted by this. An answer to this question clearly presupposes a clarified understanding of the essence of poetry and its artistic character.
The second chapter will connect with Kant in clarifying the concept of beauty, initially merely from the aesthetic standpoint, then from an aesthetic-phenomenological one. It will thereby become evident that the beautiful as such is a decentered order that stands for itself as an appearance. A decentered order does not permit of being assigned to any conceptually identifiable object and thus being made comprehensible through this object. The order only exists by appearing. In artworks, this appearance is deictic.