Aesthetics as Phenomenology: The Appearance of Things (Studies in Continental Thought)

Aesthetics as Phenomenology: The Appearance of Things (Studies in Continental Thought)

Günter Figal

Language: English

Pages: 288

ISBN: 0253015588

Format: PDF / Kindle (mobi) / ePub

Connecting aesthetic experience with our experience of nature or with other cultural artifacts, Aesthetics as Phenomenology focuses on what art means for cognition, recognition, and affect―how art changes our everyday disposition or behavior. Günter Figal engages in a penetrating analysis of the moment at which, in our contemplation of a work of art, reaction and thought confront each other. For those trained in the visual arts and for more casual viewers, Figal unmasks art as a decentering experience that opens further possibilities for understanding our lives and our world.

Thinking Through the Imagination: Aesthetics in Human Cognition (American Philosophy)

Soul and Form (Columbia Themes in Philosophy, Social Criticism, and the Arts)

Aesthetic Creation

The Routledge Companion to Aesthetics (3rd Edition)

Adorno: A Critical Introduction














foreign by finding his way out of his own familiar gaze that is determined by “prejudices.” This occurs by way of the foreign, the landscape beyond the canvas, “inscribing”94 itself in him and engaging his capacity for perception. By inscribing itself in the painter, “becoming human” and “thinking”95 within him, the landscape transposes the painter into the foreign. Yet the external, the natural landscape beyond the canvas that is viewed without intention, does not transform into the painter,

watches a mime will be able to 88 Aesthetics as Phenomenology take his or her presentation of tennis for tennis. It is precisely for this reason that one understands so well the sequence of movements in the pantomimed presentation. One has not seen the sequence of movements on the tennis court as clearly as one does in the mime’s presentation. On the tennis court, the sequence was factually enacted; in the pantomimed presentation, it came to appearance. This fact of the matter could lead to

allocating the arts (insofar as they are shaped by an art form) to a specific art-historical epoch. This requires Hegel to grasp the nonrepresentative arts as pre- or posthistorical. The “special arts” also reach “over and beyond their actual realms into the other forms of art.” Yet “these branchings” are “partly only prepara104 Aesthetics as Phenomenology tory attempts of later beginnings, or they indicate an art’s incipient breaching in which it [seizes] a content and mode of material

pictures or paintings. World-pictures are no representations of the world, but instead are the world itself in a certain form of accessibility. Heidegger elaborates on this accessibility by indicating the phrase of “being in the picture” about something. The phrase means that something stands before us precisely in the “way that it is.” To “come to be in the picture about something” thus means “placing beings before oneself in the way that they are, and having them constantly before oneself.” In

is freedom, decisively conceived by Kant as autonomy.9 Kant’s opposition is radical. Law stands over against law, and this means that the supersession of nature is only possible under the condition of equal ranking. This presupposition also grounds Adorno’s thesis of substitution. Art can only stand in for nature if, as nature, it can stand on its own. It is precisely in its nonnaturalness that art is to be like nature, but for itself. Yet this raises the question how art is to even still relate

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