By Günter Figal
Connecting aesthetic event with our event of nature or with different cultural artifacts, Aesthetics as Phenomenology specializes in what paintings ability for cognition, popularity, 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 artwork, response and inspiration confront one another. For these knowledgeable within the visible arts and for extra informal audience, Figal unmasks paintings as a decentering event that opens additional chances for knowing our lives and our world.
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Additional info for Aesthetics as Phenomenology: The Appearance of Things
But not every house, image, poem, or sound is an artwork, and certainly not every standing stone. The determination that this thing here is an artwork joins with the answer to the question of what it is. The determination demonstrates that this thing here is not just something, not even just something made (and thus a work), but a work of art, and this in turn means, in an initial and very preliminary answer: it is “artful” or “artistically” made. By calling something an artwork, one accordingly does not say what something is, but instead how it is.
38 This does not indicate the work that is still to come, but instead the work whose formative possibilities have become free from those of the respective present. The artwork of the future does not belong to the present, but instead comes toward it, and thus, measured by the standards of its respective present, it is irritating or disturbing; it violates the established forms of creation and the reigning taste. 22 Aesthetics as Phenomenology Its “authenticity” certainly does not stem from its unconventionality, but solely from a promise: the promise of being the actual, real artwork whose possibilities cannot be reached by the respective present, let alone be exhausted.
It contains possibilities of understanding that cannot even be intimated in the present. 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 by Günter Figal