Phenomenology Of Aesthetic Experience Research Articles

Aesthetic Experience and Empathy in Vasily Sesemann’s Phenomenological Aesthetics

ABSTRACTVasily Sesemann’s aesthetics is a transcendental philosophy that seeks to answer the question of how an experience of beauty is possible. Sesemann insists that aesthetics should focus on the study of the aesthetic object itself, and through it go to the problematics of the act of perception and creativity. Sesemann states that not only the relationship between the work of art and the perceiver is important in order to understand the aesthetic object, but also the relationship between the work of art and the creator. The aesthetic object in its sedimented form not only retains indications of the act of creation, but also makes demands on the perceiving subject. Aesthetic objects are sedimented passive structures that can be activated by the performative actions of the perceiver when she discovers the appropriate way of perception. Sesemann, like Moritz Geiger, claims that aesthetics is impossible without an analysis of feelings. He, like Geiger, recognizes the importance of empathy in aesthetic experience. However, Sesemann develops the concept of aesthetic empathy using Max Scheler’s arguments. Empathy is necessary, because the perceiver must be able to understand expressions. The aim of this paper is to analyse the phenomenological aspects of Vasily Sesemann’s aesthetics. Firstly, this paper analyzes the Sesemann’s phenomenology of aesthetic experience. Secondly, it shows that the analysis performed by Sesemann demonstrates why empathy plays a leading role in aesthetic experience.

Affectivity of New Media Art Based on the Phenomenology of Aesthetic Experience

With the development of both media and technology, new media technology has cast a significant influence on art creation, creating an aesthetic paradigm different from that of traditional art. Meanwhile, owing to the different aesthetic appeals of the new era, basic components of art, such as content and form, are constantly changing. The ultimate goal of art is to express the artist’s emotions and communicate with the spectator in the same aesthetic flow. Additionally, new media art attempts to convey emotions to the appreciators and provide them a multidimensional aesthetic approach by subverting traditions and innovating in artistic expressions and aesthetic experience. This study aims to explore the aesthetic perception and perception-based emotions in new media art from the perspective of aesthetic experience. Specifically, it applies Dufrenne’s phenomenological aesthetic theory to analyze the aesthetic process. Through the analysis of affectivity in aesethics, the creator’s aprroaches of constructing the emotional aesthetic space, as well as the role of emotions in art creation, is reflected upon to inspire the future affective creation of new media art.

Being Moved by Art: A Phenomenological and Pragmatist Dialogue

This article integrates John Dewey’s <em>Art as Experience</em>, Mikel Dufrenne’s <em>Phenomenology of Aesthetic Experience</em>, and phenomenological interviews with museum visitors to answer what it means to be ‘moved by art’. The interviews point to intense affective and existential experiences, in which encounters with art can be genuinely transformative. We focus on Dufrenne’s notion of ‘adherent reflection’ and Dewey’s notions of ‘doing and undergoing’ to understand the intentional structure and dynamics of such experiences, concluding that being moved contains two merged forms of intentionality: one overt aspect of perceptual intentionality directed at the work, and a covert affective intentionality directed back at oneself in one’s situated existence. These are operational simultaneously but can work in loops, one leading to an intensification of the other and vice versa. As such, these analyses emphasize the value of phenomenological interviews and advance the integration of phenomenological and pragmatist thinking in the context of aesthetic experience.

Emotions and the content of aesthetic experience

In this article, I will draw a parallel between the phenomenology of aesthetic experience and the concept of affective intentionality. One of my aims is to show that ?component? approach is not appropriate both for aesthetic and emotional experience. I will lay emphasis on issues of the shaping of aesthetic content and its non-conceptuality. I will respond to the first problem by introducing the elements of affective intentionality account, particularly by referring to Goldie?s argument concerning the intentionality of feelings. Furthermore, I will clarify that attitude/content distinction cannot stand for aesthetic and emotional experience. The second issue will be addressed by referring to one of interpretations regarding Kant?s account of the judgment of taste. Even if the drawn parallels don?t provide a clear argument for equating aesthetic and emotional experience, the more modest aim of the paper is to point out the lessons of affective intentionality account, which could be helpful in understanding the aesthetic experience.

Reflecting on the phenomenology of aesthetic experience: the case of theater

Art, a fundamentally human subject, has become an important field of study in both philosophy and psychology. It is deemed relevant to think of it from a phenomenological perspective, that regards artistic activities not as a representation, but as an expression. This study aims to consider the actor's/actress's activities based on the book Phénoménologie de l'experience esthétique, the main work by Mikel Dufrenne, a phenomenologist who wrote the most extensive study regarding aesthetics in phenomenology. This task has been accomplished in two stages: a possible explanation about the aesthetic experience as proposed by Dufrenne and, from it, the construction of a reflection about a theater artist's work. The role that art and, above all, the artist plays in the resignification of the world becomes evident, as he is the one who offers the viewer, through an immanent intersubjectivity, a world expressed as a novelty. It is understood that, in addition to the study of specific topics, the study of aesthetic experience in phenomenology, from the Dufrennian perspective, may prove relevant to the comprehension of the human phenomenon in general. Palavras-chave : Aesthetic experience; Phenomenology; Art; Theater.

“Seeing the World with Fresh Eyes”

In this article, I draw on Gurdjieff’s philosophy to initiate a phenomenology of aesthetic experience, which I define as any intense emotional engagement that one feels in encountering or creating an artistic work, whether a painting, poem, song, dance, sculpture, or something else. To consider how aesthetic experience might be understood in a Gurdjieffian framework, I begin with an overview of phenomenology, emphasizing the phenomenological concepts of lifeworld and natural attitude, about which Gurdjieff said much, though not using phenomenological language. I then discuss Gurdjieff’s “psychology of human beings” as it might be interpreted phenomenologically, emphasizing three major claims: first, that, human beings are “asleep”; second, that they are “machines”; and, third, that they are “three-centered beings.” I draw on the last claim—human “three-centeredness”—to highlight how aesthetic experiences might be interpreted via Gurdjieff’s philosophy. Drawing on accounts from British philosopher and Gurdjieff associate J. G. Bennett, I end by considering how a Gurdjieffian perspective understands the role of the artistic work in contributing to aesthetic experience.

Las ilustraciones en los medios impresos contemporáneos: hibridaciones estéticas e imágenes complejas

This article discusses the presence of the illustration on the press from the concepts of hybridization and complex image, using the phenomenology of aesthetic experience and hermeneutics. Conceptualizes elements of language iconographic and printing processes and discusses links between aesthetic and complex images hybridizations, the confrontation between the meaning contained in the aesthetic object and meaning produced in aesthetic perception, by a shift from mediummessage to the cultural mediations that characterize the processes of reception. The theoretical and methodological formulations of Josep Maria Catala and Nestor Garcia Canclini are here mainly present.

«Феноменология эстетического опыта»

«Феноменология эстетического опыта»

Judgement and Experience in the Language of Confessional Sports

Hans-Ulrich Gumbrecht's In praise of athletic beauty (2006) powerfully thematises some of the most important connections between aesthetics and sport. This essay responds to Gumbrecht's book by analysing the language in which it articulates its central philosophical presuppositions. The discussion begins by describing how In praise forms part of a contemporary trend of writings on aesthetics (and aesthetic experience) that is articulated in an autobiographical, even confessional, mode. Gumbrecht draws on biographical experience as evidence to illustrate his argument, and to explain the source of his concern and investment into the subjects of aesthetics and sport. A detailed textual analysis reveals how Gumbrecht employs various literary and rhetorical strategies, which are immediately linked to his argument. Thus I show how the literary quality of In praise results in its particular claims about aesthetics, focussing especially on Gumbrecht's positive epideictic vocabulary. Secondly, the essay scrutinises one of the central methodological moves of In praise, namely its reliance on Immanuel Kant's account of aesthetic judgement. I suggest that Gumbrecht's text unwittingly blurs the initial distinction between aesthetic judgement and aesthetic experience. Ultimately the language and argument of In praise advocate a description of the link between aesthetics and sport that fully relies on the force of experience rather than judgement. In other words, the phenomenology of aesthetic experience becomes the central issue in relation to athletics. It thus emerges that Gumbrecht's book is an attempt to find a vocabulary, a language, that allows us to articulate this phenomenology of athletic beauty. The concluding section of the essay discusses the implications of Gumbrecht's emphasis on the concepts of agon and arete. The essay closes by offering some reasons why Gumbrecht turns to these terms, showing that, ultimately, In praise suggests a hidden link between aesthetics and sports that is located in ethics.

Michel Henry's Phenomenology of Aesthetic Experience and Husserlian Intentionality

In Voir l’invisible Michel Henry applies his philosophy of autoaffection (which is both inspired by, and critical of, Husserl) to the realm of aesthetics. Henry claims that autoaffection, as non‐objective experience, is essential not only to self‐experience, but also to the experience of objects and their qualities. Intentionality tempts us to experience objects merely from the ‘outside’, but aesthetic experience returns us to the inner life of objects as a lived experience. On the basis of an examination of Henry’s aesthetic theory in the light of Husserl’s analysis of our experience of visible objects, I conclude that revisions are required in both Husserl’s and Henry’s approaches: Husserl’s noema must be considered to be a lived‐through experience, and non‐objective lived‐through experience must be recognized as primordial evidence; Henry’s claim that intentionality makes unreal all that it objectifies must be replaced by a recognition of the interdependence between autoaffection and heteroaffection.

Creative Writing as Dialectical Interplay: Multiple Viewings of a Painting

As teach creative writing, attempt to have my students draw upon their own experiences, imaginations, memory, dreams, conversations, close friends, relatives, as well as their aesthetic environment for literary source material. For one two-week period, had my upper school students view a single painting, Picnic by Kier, and complete a rather elaborate process of literary transformation from brainstorming to final draft. hoped that all of their perceptions, as expressed in their writings, would add to depth and complexity of painting's being. wanted painting, as a result of their multiple viewings, to become as real and as close to them as a friend or relative might be. My approach to viewing a painting been influenced by aesthetic philosophy of Mikel Dufrenne. A brief summary of some of his terms and ideas, as elaborated in his massive book, The phenomenology of aesthetic experience, follows as a necessary background for discussion of my students' creative writing based on single painting. Dufrenne makes a distinction between a work of art and an aesthetic object. It is only as work is transformed through of spectator that becomes an aesthetic object. The spectator, I, initiates this transformation by approaching work of art with adherent reflection, submit myself to work instead of submitting to my jurisdiction, and allow work to deposit its meaning within (Dufrenne, 1973, p. 393). The spectator and work of art are inextricably bound to each other: the aesthetic object does not really belong to me unless belong to it (Dufrenne, p. 404). The aesthetic experience derived from of perception (Dufrenne, p. 92) has depth not only because unifies (me) but also because opens (me) up (Dufrenne, p. 405). The work of art can only be known as an aesthetic object, according to Dufrenne, through continuous dialectical interplay, that is, through a movement back and forth between 'critical' (shapes, colors, light, proportion: analytic) and 'adherent' (immersion, participation, emotion, feelings: nonanalytic) viewings. Through such a process, spectator transforms work of art into an aesthetic object. wanted students to experience painting, to move back and forth between their 'critical' and 'adherent' viewings, to put their thoughts down, at first, quickly and impulsively, and through a process of literary transformation culminating in their poems, to complete aesthetic cycle or journey that Dufrenne so elaborately talks about. Through their own dialectical interplay, they would transform work of art into an aesthetic object. wanted them to feel as if they had had an important role as co-creators with painter in actual painting of Picnic. wanted students to adhere to work, to submit to through their multiple viewings, to pay tribute to in their own poems, and finally, to experience freedom and openness possible through such a transformation. Through dialectical interplay, they, as spectators, became inextricably bound to work of art and original creator, painter. The products of that process, poems, when read and shared, enriched and extended students' own separate moments of epiphany, setting in motion infinite possibilities for other spectators, future readers of their poems, to experience their own dialectical interplay and also become creators. The following poems are students' tributes to painting. am convinced that all these perceptions and images add to depth and complexity of painting. Through their writing, students brought about a metamorphosis in painting and themselves; they achieved authenticity or aesthetic experience. They found that through their creative poems, painting became close to them as a friend, enemy, or relative. Because they recognized painting as being, would be forever open to further examination, probing, and questioning. It would never cease to grow, develop, and change as long as they viewed and paid tribute to it. One girl began her poem, I am standing in a gallery, alone, painting and me. Certainly, an existential presencing. A second girl attempted to pay tribute to painting of a naked woman hesitantly reaching for a bowl of red plums or apples by accurately describing psychological uncertainty expressed in visual portrayal of woman's face, hand, and body when tempted by fruit.

Adorno's Critique of Stravinsky

I have three reasons for writing this paper. One is that I have a love both for Schoenberg and Stravinsky and am challenged by Adorno's interpretation of their relationship. Can one learn to live with Adorno and still love Stravinsky? The second is that Adorno's Asthetische Theorie is a significant work in 20th-century aesthetics, as important as works like Ingarden's The Literary Work ofArt, Langer's Feeling and Form, and Dufrenne's Phenomenology ofAesthetic Experience. The third reason is that Adorno's critical social theory is significant and enlightening. To see how well the general social and aesthetic theories work in practice and how they are instantiated, we could usefully test them against Adorno's interpretations of particular artists.' To read any ofAdorno's works is to confront a text initially bewildering in its complexity and opacity. If one reads him according to the dominant mode of thinking in Anglo-American culture, calculative, analytic, rigorous, committed to clear-cut distinctions between concepts as the main task in philosophy, one is going to be frustrated; and such frustration is deliberately intended by Adorno. He brings into question not only the content but the form of bourgeois rationality, a method that conceives thinking as easily getting hold of something, testing it, verifying it, possessing it, controlling it. To one committed to such a model, Adorno's concepts seem to slip and slide and dovetail into one another. His Socratic Marxism aims to force bourgeois thought into disillusionment with itself, to help it see that it knows nothing. Most thought-provoking in this thought-provoking time is that we are still not thinking.' For reasons different from Heidegger's

The Phenomenology of Aesthetic Experience

The Phenomenology of Aesthetic Experience

The Phenomenology of Aesthetic Experience.

The Phenomenology of Aesthetic Experience.

"The Phenomenology of Aesthetic Experience," by Mikel Dufrenne, trans. Edward S. Casey, Albert A. Anderson, Willis Domingo, and Leon Jacobson

"The Phenomenology of Aesthetic Experience," by Mikel Dufrenne, trans. Edward S. Casey, Albert A. Anderson, Willis Domingo, and Leon Jacobson

The Phenomenology of Aesthetic Experience

The Phenomenology of Aesthetic Experience

The Aesthetic Field: A Phenomenology of Aesthetic Experience

The Aesthetic Field: A Phenomenology of Aesthetic Experience

The Aesthetic Field: A Phenomenology of Aesthetic Experience

The Aesthetic Field: A Phenomenology of Aesthetic Experience

The Aesthetic Field: A Phenomenology of Aesthetic Experience.

The Aesthetic Field: A Phenomenology of Aesthetic Experience.

The Aesthetic Field: A Phenomenology of Aesthetic Experience

The Aesthetic Field: A Phenomenology of Aesthetic Experience