By Günter Figal

ISBN-10: 0253015510

ISBN-13: 9780253015518

Connecting aesthetic adventure with our adventure of nature or with different cultural artifacts, Aesthetics as Phenomenology makes a speciality of what artwork ability for cognition, popularity, 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 notion 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 probabilities for knowing our lives and our world.

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The fact would remain hidden that the richness of a great work is not simply there, but must be actualized in various performances. Thus, aesthetic differentiation makes it possible Art, Philosophically 33 to speak of artworks’ “effective history” and thereby also of hermeneutic experience in Gadamer’s sense. The effective history of an artwork is essentially that of its interpretations. ” The image of the imaginary museum is certainly accurate in that aesthetically experienceable art can encompass extremely different works; if one assesses the collected presentation according to the type and origin of the works, it can appear arbitrary.

The classical in Gadamer’s understanding is certainly not historically fixed; it does not belong to a determinate age as a unique formation of art. It is not historical [historisch], but it is also not entirely timeless; rather, it is “historical” [geschichtlich]. The timelessness of the classical proves to be, as Gadamer puts it, “a mode of historical being” (295); it consists in a validity that is ongoing and always proving itself anew, that cannot be historically dated, and can only be grasped as valid in retrospect.

If one raised them to 24 Aesthetics as Phenomenology the rank of fundamental concepts, one would not only restrict art-philosophical observation in a problematic way to historical-philosophical premises, but one would also relegate this observation to the limits of positional thinking. Above all, its relation to the matter at hand would be curtailed in a most disadvantageous way, for the rigid alternative of “classical” or “modern” does not do justice to the plenitude and variety of artworks. Not every work that lends itself or even offers itself to art-philosophical observation is univocally graspable as classical or emphatically modern.

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Aesthetics as Phenomenology: The Appearance of Things by Günter Figal


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