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 capability for cognition, reputation, and affect—how artwork 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 expert within the visible arts and for extra informal audience, Figal unmasks paintings as a decentering event that opens additional probabilities for figuring out our lives and our international.
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Additional info for Aesthetics as Phenomenology: The Appearance of Things (Studies in Continental Thought)
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. Why should comprehension be reflected upon if not with respect to its meaning, that is, the comprehension of a matter? This matter first sets reflection in motion; it is only through the matter that reflection gains a point of reference. Reflection is only ever possible if what is to be grasped does not simply acquiesce to the concepts that are directed toward it.
In this topic, one sees freedom mediated with nature; it is considered a particularly evident manifestation of the one reality that unites freedom and nature. Hegel expressly takes this turn. He retains the term “aesthetics” but distances himself from that which it designates. . ”55 Yet because, according to Hegel’s conviction, artworks are not understood in their effects but only as a human activity that “has sprung forth from spirit” and thus also belongs “to the ground of spirit” (48), it is the sensible manifestation of spirit, accomplishing itself in human action, that centrally holds Hegel’s interest.
This does not mean, however, that the experience of art necessarily includes the expressly posed question of what art is. But this question does arise from the experience of art. It is not added onto this experience externally and after the fact. For this reason, the question also cannot be separated from the experience without losing its objective validity. The philosophical observation of art begins in the experience of art, and even when it leads to general determinations, it cannot sever its binding to the experience of art.