By Günter Figal
Connecting aesthetic adventure with our adventure of nature or with different cultural artifacts, Aesthetics as Phenomenology makes a speciality of what artwork potential for cognition, acceptance, 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 inspiration 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 knowing our lives and our global.
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Extra resources for Aesthetics as Phenomenology: The Appearance of Things (Studies in Continental Thought)
Before it can be viewed according to its comprehensibility, it is already productive of insight—but in a way that is difficult to grasp. To be sure, the determinacy of its complex order must be discovered and accounted for, so that this order can be grasped in its particularity. Yet comprehension here no longer approaches a matter self-assuredly or matter-of-factly, but rather responds. It confirms or highlights something instead of determining by way of itself. This is the case in hermeneutic experience, that experience of interpreting and understanding that is concerned with the conceptually guided characterization of a text.
Philosophy of Art and Aesthetics The conclusion of our foregoing considerations might appear not to be very original. By presenting philosophical observation as aesthetic reflection, Art, Philosophically 27 one identifies it as belonging to that philosophical mode of questioning that, since its establishment in the middle of the eighteenth century, was understood as being responsible for the elucidation of the beautiful. It sounds like a matter of course to deem philosophical thoughts concerning art and the beautiful “aesthetic,” and indeed in many pertinent discussions the expression “aesthetic” is no more than a manner of speaking.
According to Hegel’s conviction, Greek art, more specifically Greek sculpture, is art par excellence in comparison with which no later art, particularly that of modernity, fulfills the concept of art. ” Art nowadays invites “thoughtful observation, not for the sake of bringing forth more art, but for the sake of scientifically recognizing what art is” (25–26). Hegel’s classicism is historical; he dwells in the certainty that “the beautiful days of Greek art, just as the golden age of the late Middle Ages,” are over.