By Figal, Gnter, Veith, Jerome
Connecting aesthetic event with our event of nature or with different cultural artifacts, Aesthetics as Phenomenology specializes in what paintings skill for cognition, popularity, and affect―how artwork 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 notion confront one another. For these informed within the visible arts and for extra informal audience, Figal unmasks paintings as a decentering event that opens extra chances for figuring out our lives and our world.
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Additional resources for Aesthetics as phenomenology : the appearance of things
It is a relation to the states of affairs and things of the world, and aims to make these accessible in a way that is different from the manner that we are accustomed to: it makes them accessible in the work alone. From the beginning, philosophy has viewed art, more specifically poetry, under the guise of insight. Philosophy’s claim to knowledge was formulated in competition with poetry, and that only makes sense if poetry is either knowledge or at least counts as knowledge. Only then can poetry be shown to be insufficient in comparison to philosophy; only then can one argue whether poetry is truly knowledge, such that philosophy gains in profile through comparison with it.
Yet they do not put to rest the question concerning the essence of art. In an image that is a work of art, its image-character is more distinct and clear; a poetic text is more able to be experienced as a text than an arbitrary piece of writing, and the experience of hearing a musical work of art could not be replaced even by the most successful of popular music pieces. Yet the question of what makes an image, a text, or a piece of music into an artwork cannot be answered through image, text, or music theory, for the art-character is common to visual, poetic, and musical artworks.
Only then is a circumspect answer possible to the question of what experience art induces. Such an answer must be especially prudent, because in modernism it was associated with either too high or too low of a demand. The conviction that art reveals truth, however this is conceived, stood over against the conviction that art is nothing other than an occasion to try out one’s own possibilities of experience in especially intense, perhaps even liberated and thus inspiring ways. The quarrel between these convictions is that between philosophy of art and philosophical aesthetics.