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Flashes of lightning, resounding thunder, gloomy fog, extraordinary sunshine…these are the lifestyles manifestations of the skies. The concrete visceral reports that residing lower than these skies stir inside us are the floor for person impulses, feelings, sentiments that during their interplay generate their very own ever-changing clouds. whereas our mind concentrates at the discovery of our cosmic place, at the structure of the universe, our mind's eye is knowledgeable through the gloomy vapors, the glimmers of fleeting gentle, and the respect of the skies. Reconnoitering from the soil of human existence and striving in the direction of the limitless, the elan of mind's eye will get stuck up within the clouds of the skies. There in that dimness, sensory receptivity, tendencies, feelings, passionate strivings, yearnings, elevations assemble and propagate. From the “Passions of the Skies” spring innermost intuitions that nourish literature and the arts.​

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Extra info for Art, Literature, and Passions of the Skies (Analecta Husserliana, Volume 112)

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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.

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