By Figal, Gnter, Veith, Jerome
Connecting aesthetic adventure with our event of nature or with different cultural artifacts, Aesthetics as Phenomenology makes a speciality of what paintings 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 paintings, response and inspiration confront one another. For these educated within the visible arts and for extra informal audience, Figal unmasks artwork as a decentering adventure that opens extra percentages for knowing our lives and our world.
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Additional info for Aesthetics as phenomenology : the appearance of things
Yet as concerns art, they agree; both neglect the same thing, namely the artwork. The artwork is neither a variable pronouncement of knowledge nor the expression of a view that changes from moment to moment. It stands for itself and is even withdrawn from its creator as soon as it is there. Assuming the poet Socrates interrogated in the Apology had had the opportunity to respond and had refuted the Socratic judgment concerning the poets’ incapacity to elaborate on their work, he could nevertheless not have supplemented his work by means of an additional justifying or clarifying statement.
Thus, through art, philosophy gains independence from all that has befallen the concept of theory in modernity and modernism. Instead of relinquishing its theoretical character to art,21 philosophy can discover it anew. After all, the term is rarely still used in its classical meaning, but stands instead for a system of statements, determined by certain basic suppositions and concepts that describe a more or less limited realm of objects and explain circumstances specific to this realm. In this sense, theory is above all a matter for the sciences, yet this theory has little or nothing to do with θεωρία in the classical sense.
Accordingly, Figal considers a wide range of artworks, noting every aspect of how they appear, and deftly engaging the history of thought in his analyses. On the other hand, we see that art provides a corrective to philosophy itself, directing our attention to a relational, lived space of which artworks are exemplary appearances. In this regard, the works considered in the present volume are more than mere illustrations of a theory; they instead shift our gaze precisely to the appearance of things.