By Günter Figal
Connecting aesthetic adventure with our adventure of nature or with different cultural artifacts, Aesthetics as Phenomenology makes a speciality of what artwork capacity 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 paintings, response and concept confront one another. For these educated within the visible arts and for extra informal audience, Figal unmasks paintings as a decentering adventure that opens extra percentages for knowing our lives and our international.
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Additional info for Aesthetics as Phenomenology: The Appearance of Things (Studies in Continental Thought)
Thus, the task is to work out such a concept and argue for its rigor and plausibility in the context of the art-philosophical tradition and discourse. The working out of a philosophical concept of art stands before a fundamental difficulty common to all formations of concepts. The formation of concepts aims at universality, and yet it must begin with the particular. The concept may not contain anything that only pertains to a particular instance, such that its universality would be compromised.
20 Aesthetics as Phenomenology Hans-Georg Gadamer has underlined the supertemporality of the classical. ”31 Nevertheless, one cannot fail to hear the tacit critique of Hegel. The classical, for Gadamer, is not what was once uniquely actualized, but that which “stands firm over against historical critique” (292). . . ] that [means] simultaneity with every present” (293). The supertemporality of the classical, as Gadamer understands it, thus does not lie in a classical work’s sheer timelessness.
As Friedrich Schlegel, whom Gadamer cites as support for his thought, states: “A classical text need never be able to be completely understood. ”42 Classicism and avant-garde approximate each other in the notion of inexhaustibility, but they remain infinitely separated. Whereas an orientation along the classical takes the inexhaustibility of the artwork as a confirmation of its always already effective “saying-power,” the avant-garde position sees its inexhaustibility in the present incommensurability of the artwork.
Aesthetics as Phenomenology: The Appearance of Things (Studies in Continental Thought) by Günter Figal