By Günter Figal
Connecting aesthetic event with our adventure of nature or with different cultural artifacts, Aesthetics as Phenomenology specializes in what artwork ability 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 artwork, response and inspiration confront one another. For these informed within the visible arts and for extra informal audience, Figal unmasks paintings as a decentering adventure that opens additional probabilities for knowing our lives and our global.
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Extra resources for Aesthetics as Phenomenology: The Appearance of Things (Studies in Continental Thought)
62 The aesthetic experience is not thereby taken as one form of life among others, but as the most intensive form of experiencing as such. . ”64 And, like Heidegger, Gadamer takes experiencing to come into its own in aesthetic experience. The “aesthetic experience” is “not just one kind of experience next to others,” but instead represents “the essential form of experience as such” (75). One can elucidate Heidegger’s and Gadamer’s characterizations of experience by turning to the meaning of the word.
They aroused enthusiasm and interest and thereby paved the way for further discoveries; later experiences follow upon earlier ones and even by turning away from the latter remain bound to them. Talents supervened from the outset and determined one’s inclinations; those gifted at hearing or seeing turn to the works that are respectively more accessible to them. This can be strengthened by artistic activity, even if it remains amateurish. Later, once reflection has set in, the inclination toward certain art forms, epochs, or works is also shaped by prejudices as they are articulated in scientific or philosophical schools of thought or writings.
Here, the text that is to be characterized and determined according to its significance and meaning precedes insight; it provides in advance the context of comprehensibility and its possibilities. Accordingly, any determination related to the text is placed in the context of the text. The reflection of hermeneutical concepts does not arise from the activity of the one who interprets. The concepts are initially reflected by the text and turned toward the interpreter. It is only in this way that the latter can ponder them.