By Günter Figal
Connecting aesthetic event with our event of nature or with different cultural artifacts, Aesthetics as Phenomenology specializes in what artwork potential 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 idea 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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Additional resources for Aesthetics as Phenomenology: The Appearance of Things
Trivializations, such as the terms “aesthete” or “aestheticism” to designate sophisticated lovers of beautiful things, have done the rest. As we will soon see, there are reasons for this development. But it is only the habitual use of “aesthetic” that is disagreeable, partly because the meaning of philosophical concepts should never be presupposed without reflection. It is far more important, in the case of the aesthetic, that the concept is not in any way neutral; it does not align with every philosophical elucidation of art.
As Friedrich Schlegel, whom Gadamer cites as support for his thought, states: “A classical text need never be able to be completely understood. ”42 Classicism and avant-garde approximate each other in the notion of inexhaustibility, but they remain infinitely separated. Whereas an orientation along the classical takes the inexhaustibility of the artwork as a confirmation of its always already effective “saying-power,” the avant-garde position sees its inexhaustibility in the present incommensurability of the artwork.
This interest centers around the peculiar occurrences of spirit, will, life, truth, or rationality that are manifest in the artwork but that can only be adequately understood as occurrences. ”58 Idealist and postidealist philosophy of art thus proceeds beyond Kant by going back behind him. Even Baumgarten’s Aesthetica was already interested less in the experience of the beautiful than in an activity that could be called “beautiful,” which he conceived as knowing, as cognitio. The “beauty of sensible knowing” does not refer to its object, but instead to its own beautiful consistency.
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