By Günter Figal
Connecting aesthetic adventure with our event of nature or with different cultural artifacts, Aesthetics as Phenomenology specializes in what artwork capability for cognition, attractiveness, 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 proposal confront one another. For these knowledgeable within the visible arts and for extra informal audience, Figal unmasks artwork as a decentering event that opens extra probabilities for realizing our lives and our world.
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Extra info for Aesthetics as Phenomenology: The Appearance of Things
In this sense, it would be a result of aesthetic differentiation, a manifestation of “aesthetic consciousness,”68 to have a museum in which one encounters Babylonian reliefs, Gothic altarpieces, courtly portraits, art nouveau vases, a felt-and-fat arrangement by Joseph Beuys, 32 Aesthetics as Phenomenology and finally a shoddy steel sofa by Franz West with a colorful cloth thrown over it. The museum shows that there are no limits for the aesthetic consciousness and for the aesthetic differentiation in which it constitutes itself.
Over against this, the exponent of the classical holds up the sustaining power of the normal case. Yet each needs the other if what they say is to be delimited. This does not mean that the concepts of the classical and the radically modern are useless in all respects. Yet with regard to the valuation of art, they can be understood, at most, as pragmatic approximations. They only answer preliminarily, in the sense of an initial and unproven orientation, the question of which artworks one should take into art-philosophical consideration.
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.