Aesthetics as Phenomenology: The Appearance of Things by Günter Figal

By Günter Figal

Connecting aesthetic event with our event of nature or with different cultural artifacts, Aesthetics as Phenomenology specializes in what artwork ability for cognition, attractiveness, 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 artwork, response and concept confront one another. For these knowledgeable within the visible arts and for extra informal audience, Figal unmasks artwork as a decentering adventure that opens extra percentages for figuring out our lives and our world.

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Aesthetics as phenomenology : the appearance of things

Connecting aesthetic adventure with our event of nature or with different cultural artifacts, Aesthetics as Phenomenology specializes in what artwork skill for cognition, attractiveness, 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 artwork, response and concept confront one another.

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In this topic, one sees freedom mediated with nature; it is considered a particularly evident manifestation of the one reality that unites freedom and nature. Hegel expressly takes this turn. He retains the term “aesthetics” but distances himself from that which it designates.  . ”55 Yet because, according to Hegel’s conviction, artworks are not understood in their effects but only as a human activity that “has sprung forth from spirit” and thus also belongs “to the ground of spirit” (48), it is the sensible manifestation of spirit, accomplishing itself in human action, that centrally holds Hegel’s interest.

The experience of artworks is hermeneutical; they must be interpreted, and in this way they can be conceptually determined according to what they are. But the experience of art exceeds normal hermeneutical experience in that the significance and meaning essentially lead to astonishment. Because of this, an artwork as such cannot be experienced by simply viewing it in light of its significance and meaningfulness. In its emphatic existence that is never a matter of course, the experience of art always also belongs to the artwork as such.

Western art of modernity, especially, cannot be considered in isolation. Examples for this are Goethe’s West-Eastern Divan, which takes up and transforms Persian lyric poetry, the cubist paintings of Picasso’s that would be unthinkable without African and Polynesian influences, the Japanese-influenced architecture of Frank Lloyd Wright and Richard Neutra, even the music of Olivier Messiaen, which works with Indian and Asian sounds. Apart from this, in the meantime African and Asian art has engaged with the Western tradition and been shaped by it.

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