By Günter Figal
Connecting aesthetic event with our event of nature or with different cultural artifacts, Aesthetics as Phenomenology makes a speciality of what paintings ability 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 artwork, response and inspiration confront one another. For these knowledgeable within the visible arts and for extra informal audience, Figal unmasks artwork as a decentering event that opens additional chances for realizing our lives and our global.
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Additional info for Aesthetics as Phenomenology: The Appearance of Things (Studies in Continental Thought)
It is not added onto this experience externally and after the fact. For this reason, the question also cannot be separated from the experience without losing its objective validity. The philosophical observation of art begins in the experience of art, and even when it leads to general determinations, it cannot sever its binding to the experience of art. Even the clarification of the observational essence of philosophy, which flows together with the philosophical elucidation of art, does not lead away from art.
38 This does not indicate the work that is still to come, but instead the work whose formative possibilities have become free from those of the respective present. The artwork of the future does not belong to the present, but instead comes toward it, and thus, measured by the standards of its respective present, it is irritating or disturbing; it violates the established forms of creation and the reigning taste. 22 Aesthetics as Phenomenology Its “authenticity” certainly does not stem from its unconventionality, but solely from a promise: the promise of being the actual, real artwork whose possibilities cannot be reached by the respective present, let alone be exhausted.
Why should comprehension be reflected upon if not with respect to its meaning, that is, the comprehension of a matter? This matter first sets reflection in motion; it is only through the matter that reflection gains a point of reference. Reflection is only ever possible if what is to be grasped does not simply acquiesce to the concepts that are directed toward it. This is already the case when something is difficult to grasp, and especially when it appears inconceivable. In these cases, the concepts do not simply turn out to be useless, but are played back into the process of comprehension.
Aesthetics as Phenomenology: The Appearance of Things (Studies in Continental Thought) by Günter Figal