By Günter Figal
Connecting aesthetic adventure with our event of nature or with different cultural artifacts, Aesthetics as Phenomenology makes a speciality of what paintings ability for cognition, reputation, 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 proposal confront one another. For these proficient within the visible arts and for extra informal audience, Figal unmasks artwork as a decentering event that opens additional percentages for knowing our lives and our world.
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Extra resources for Aesthetics as Phenomenology: The Appearance of Things
Yet both the evidence and the incommensurability of artworks are solely presented in temporal respects in the classical and the avant-garde. It remains open how evidence and incommensurability are themselves to be understood. The concept of the classical, just as the concept of the avant-garde, remain external to the essence of art. They project concepts onto history and historical experience that purport to determine the essence of art without clarifying these concepts. It is only through this projection that the concepts of the classical and the radically modern acquire their meaning.
This can be demonstrated well with the example that Heidegger selects, the Greek temple; the temple opens the “view” of a historical life, provided that “in the work-like setting-up, the holy is opened up as holy and the god is called into the openness of its presence” (30). ”78 Van Gogh’s painting is certainly opening—in a still rather imprecise sense; it lets something appear, not by referring to something but instead by itself being there. But what is opened up is certainly no historical world.
It is obvious for many artworks that they do not fall under one type. All forms of theater combine poetry with the imagistic character [Bildcharakter] of the stage; in opera, this occurs under the dominance of music. Word and image come together in titles and in writing, especially when the latter is a moment of the image itself, as in Paul Klee, Cy Twombly, or Anselm Kiefer. Lyric poetry is word art and sound art at the same time; in general, the sound of language belongs to poetry even when it is spoken and not sung.
Aesthetics as Phenomenology: The Appearance of Things by Günter Figal