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By Günter Figal
Connecting aesthetic event with our adventure of nature or with different cultural artifacts, Aesthetics as Phenomenology makes a speciality of what artwork potential 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 paintings, response and idea confront one another. For these knowledgeable within the visible arts and for extra informal audience, Figal unmasks paintings as a decentering event that opens additional percentages for figuring out our lives and our international.
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Extra resources for Aesthetics as Phenomenology: The Appearance of Things (Studies in Continental Thought)
Example text
The fundamental condition for such a reflection is the orientation by that which is to be described. ” Concepts that one reflects upon are no longer directed straight at something they intend to grasp in its determinacy; rather, they are themselves contemplated. But this does not mean that attention is shifted from the matter to be comprehended and directed only at the process of comprehension. Aside from the question of whether comprehension can even be directed at the comprehensive process as if at the matter to be grasped,23 a reflection that solely pursued the process of cognition would be unmotivated.
Taken in itself, it is not even worthy of scientific observation. It only deserves attention in order to make evident the superiority of science and philosophy. Yet Hegel’s orientation by way of the classical does not absorb completely into its historical fitting. Even if Greek art is past and is therefore the art of another epoch, its exemplarity must have a supertemporal character. Greek art can only be classical because one can at all times experience the essence of art in it. 20 Aesthetics as Phenomenology Hans-Georg Gadamer has underlined the supertemporality of the classical.
Talents supervened from the outset and determined one’s inclinations; those gifted at hearing or seeing turn to the works that are respectively more accessible to them. This can be strengthened by artistic activity, even if it remains amateurish. Later, once reflection has set in, the inclination toward certain art forms, epochs, or works is also shaped by prejudices as they are articulated in scientific or philosophical schools of thought or writings. Thus conditions arise for the reflection upon art, conditions that tend to only rarely and gradually become completely transparent.