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Download Aesthetics as Phenomenology: The Appearance of Things by Günter Figal PDF

By Günter Figal

ISBN-10: 0253015650

ISBN-13: 9780253015655

Connecting aesthetic event with our adventure of nature or with different cultural artifacts, Aesthetics as Phenomenology specializes in what paintings capacity for cognition, attractiveness, 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 artwork, response and proposal 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 resources for Aesthetics as Phenomenology: The Appearance of Things (Studies in Continental Thought)

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I, 1964, 56-66. 48 JOHN B. "29 My modified compassion is the appropriate intentional correlate of the image-wretchedness with which I am confronted. My compassion is not itself in the image. On the other hand, the image may well contain an image-person who is presented as experiencing compassion. That person's compassion is present in the image while my compassion is not. Finally, Husserl observes that images can also possess moods or an overall emotional tone, and can do so even when no person-whether one showing an emotion or one calling forth an emotion-is presented there.

Many of us have signed Living Wills and given trusted friends power of attorney to make sure we will not live on past the time when life has value. Aestheticians try to understand our valuing of beauty. One plausible explanation of our valuing of beauty is that it gives us a richly rewarding kind of experience. We do not value beauty very THE CONCEPT OF OBJECTIVE VALUE 25 highly in certain adverse circumstances. Health is valued because it enables us to do things we want to do and it enables us to avoid pain.

It is image-ambiguity, and the "doubt" it awakens in the spectator is a quasi-doubt, the doubt of one contemplating an image, not real doubt. The idea of liberation in and through the image points to further dimensions of human experience that artistic images can accommodate and that differ from the subject matter of persons, places, and things. Certain artistic images, for example, can liberate us from our immediate absorption in the act of perceiving so that we can contemplate the act itself.

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