By Günter Figal
Connecting aesthetic event with our adventure of nature or with different cultural artifacts, Aesthetics as Phenomenology specializes in what paintings potential for cognition, reputation, and affect—how artwork 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 idea 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 percentages for knowing our lives and our global.
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Additional resources for Aesthetics as Phenomenology: The Appearance of Things (Studies in Continental Thought)
It goes without saying that the creative interventions of the photographer are of deciding importance for an artistic assessment of photographic images; however, they do not represent a necessary prerequisite for the production of an image. with which one falsifies photos at will by turning them into statements tinged with undeniable personal interest [in bestimmt gefärbte Aussagen]”makes clear that the emphasis on automatism does not necessarily include a theory of photographic objectivity (37).
Such an attempt would fare no better than the hero of Sterne’s novel Tristram Shandy, who in the narration of his life story does not even reach adolescence because he believes he needs to expound on the circumstances of his procreation, the midwife, and so on. It would therefore be a mistake to accuse the numerous published histories of photography’s emergence of not reaching such completeness and developing their genealogical concepts from a specific standpoint. Indeed, it is worth remembering that the search for a datable beginning of photography was connected to establishing photography, which was initially neither self-evident nor resistant to further analysis.
As is well known, Peirce classified photographs under the “index” sign-type in his sign theory. Such signs stand in direct physical continuity with the object that they signify. The index is reduced to its own singularity; it appears as a brute and opaque fact, wedded to contingency. 7 In this respect, the photographic image is the perfect manifestation of the index. “In photography, for the first time, an aesthetic or spatial representation could be made by chance, by accident, without human control” (95).