A critical evaluation of Heidegger’s criticism of aesthetics in ‘The Origin of the Work of Art’

2016 ◽  
Vol 47 (1) ◽  
pp. 21-33
Author(s):  
Ahmet Süner
Keyword(s):  
Significant Contribution ◽  
Aesthetic Experience ◽  
Critical Evaluation ◽  
Work Of Art ◽  
Alternative Approach ◽  
Subjective Element ◽  
The Aesthetic

This paper examines and critiques Heidegger’s repudiation of aesthetics in his essay ‘The Origin of the Work of Art’ and claims that his alternative approach to artworks in the essay must be understood as a theory of aesthetics and, more particularly, of aesthetic use, which delineates the inseparability of senses and sensations. The paper analyses Heidegger’s explicit remarks on aesthetics in the epilogue, discusses his criticism of the aesthetic thing-interpretation at the beginning of the essay and concludes with some critical observations on Heidegger’s own aesthetics. While critical of Heidegger’s separation of the equipment from the artwork, the paper claims that Heidegger’s significant contribution to the field of aesthetics must be sought in his focus on the attenuation of the subjective element in aesthetic experience.

scholarly journals La experiencia estética y los estratos de la obra de arte. La estética como la esencia del arte

2014 ◽  
pp. 265
Author(s):  
Pau Pedragosa
Keyword(s):  
Lived Experience ◽  
Aesthetic Experience ◽  
Phenomenological Approach ◽  
Philosophy Of Art ◽  
Work Of Art ◽  
The Difference ◽  
Siglo Xix ◽  
The Aesthetic ◽  
Xix Century ◽  
Siglo Xx

El contenido de este artículo consiste en mostrar que la experiencia estética es la esencia de la experiencia de la obra de arte. Argumentaré en contra de la concepción del arte de Arthur C. Danto según la cual el arte moderno ya no requiere de la experiencia estética y este hecho determina el fin del arte. La experiencia estética permitiría dar cuenta del arte desde el Renacimiento hasta el siglo XIX pero el arte moderno del siglo XX solo puede ser explicado conceptualmente y, por tanto, la filosofía del arte es necesaria para explicitar ese contenido.Para defender el estatuto estético de la obra de arte mostraré que la experiencia estética se identifica con la experiencia fenomenológica. Esto quiere decir que la experiencia estética nos hace concientes de la diferencia entre el contenido de la obra (lo que aparece ) y el medio de la experiencia sensible en el que este contenido se da (el aparecer). El “aparecer” y “lo que aparece” se corresponden en la experiencia estética con los dos polos de la relación intencional y constituyen los dos estratos fundamentales de la obra de arte. A través de la aproximación fenomenológica intentaré mostrar que la obra de arte no excluye el contenido conceptual, pero este contenido ha de estar necesariamente incorporado. No es la filosofía la que tiene que comprender este contenido sino exclusivamente la experiencia estética.The subject of this paper is to claim that the aesthetic experience is the essence of the experience of the work of art. I argue against the view hold by Arthur C. Danto, according to which modern art does not require the aesthetic experience any more and that this fact means the end of art. The aesthetic experience allows explaining only the art made be-tween the Renaissance and the XIX century. The modern work of art of the XX century can only be explained conceptually and therefore a philosophy of art is required to make that content explicit and clear.To defend the aesthetic status of the work of art I will show that the aesthetic experience identifies itself with the phenomenological ex-perience. This means that the aesthetic experience makes us aware of the difference between the content of the work (what appears) and the sensible lived experience in which this content appears (the appearance). The “appearance” and “what appears” are the two poles of Intentionality and the two fundamental layers of the work of art. Through the phenomenological approach I will make clear that the work of art does not exclude the conceptual content at all. This content has to be necessarily embodied. It is not philosophy that has to disclose this con-tent but the aesthetic experience alone.

scholarly journals The Imperceptibility of Style in Danto's Theory of Art: Metaphor and the Artist's Knowledge

CounterText ◽  
2015 ◽  
Vol 1 (3) ◽  
pp. 366-381 ◽  
Author(s):  
Stephen Snyder
Keyword(s):  
Work Of Art ◽  
Theoretical Concepts ◽  
Alternative Approach ◽  
Aesthetic Style ◽  
Artistic Interpretation ◽  
History Of ◽  
Artistic Theory ◽  
The Aesthetic ◽  
The Mind

Arthur Danto's analytic theory of art relies on a form of artistic interpretation that requires access to the art theoretical concepts of the artworld, ‘an atmosphere of artistic theory, a knowledge of the history of art: an artworld’. Art, in what Danto refers to as post-history, has become theoretical, yet it is here contended that his explanation of the artist's creative style lacks a theoretical dimension. This article examines Danto's account of style in light of the role the artistic metaphor plays in the interpretation of the artwork, arguing that it is unable to account for the metaphorical power he claims is embedded within the work of art. An artist's style issues from a unique perspective, the way an artist inhabits a specific spot in history. Though each person has such a perspective, when applied aesthetically, it is the key to the articulation of a unique historical meaning in the work of art. At the same time, artists' knowledge of their contribution remains cut off from this perspective, for they are unaware of their self-manifestation of the historical concept of style. This article makes the case that Danto's notion of style, based on Sartre's notion of being-for-itself, cannot fulfil the role he allots it in his theory because, at some level, artists must apprehend their style to create a work of art capable of functioning critically as a countertext. It is only through the apprehension of their style, and dialogical activity that takes place between the artist and the beholders, that the unseen body of artworld theory is formed. Without this, when oriented to the aesthetic, style provides no concept or theory for the mind to behold. This article presents an alternative approach to style that recognizes the role of theory in the creation of metaphor, which would circumvent this problem.

scholarly journals Musikalsk-estetisk erfaring som tilsynekomsthendelse

2020 ◽  
pp. 41-60
Author(s):  
Hanne Rinholm
Keyword(s):  
Aesthetic Experience ◽  
Musical Experience ◽  
Work Of Art ◽  
Late Modernity ◽  
The Status ◽  
The Subject ◽  
The Aesthetic

The essay examines the notion of musical–aesthetic experience as an event of appearance in the light of the aesthetic theories of Heidegger, Gadamer, Adorno, Seel, and Gumbrecht. Despite their radically different responses to the challenges posed by late modernity and their distinctive ways of rethinking metaphysics, some underlying common concerns and insights can be detected. What appears in aesthetic experience is, for all of them, not merely a construction by the subject, as implied by Kant’s aesthetics, but rather ‘something’ that arises from the work of art itself. For Heidegger, this happens through the process of ‘enowning’ (Ereignis), while Gadamer speaks of ‘presentation’ (Vollzug), Adorno of ‘epiphanies’ of the ‘non-identical,’ Seel of ‘appearance,’ and Gumbrecht of the ‘production of presence’. There is a common insight that the status of the subject must be changed by such experiences. Instead of ‘using violence against the object’ (Adorno), a certain passivity is appropriate. Gumbrecht suggests applying Heidegger’s notion of ‘releasement’ (Gelassenheit) to aesthetic experience as a response to the ‘loss of world’ in late modernity. The essay shows how the event of appearance points towards features typically associated with the notion of musical experience as existential experience.

scholarly journals Conversation as a Work of Art: Will it Hang in a Museum?

2008 ◽  
Vol 9 (4) ◽  
pp. 297-305 ◽  
Author(s):  
Jeanne Marie Iorio
Keyword(s):  
Early Childhood ◽  
Young Children ◽  
Visual Art ◽  
Aesthetic Experience ◽  
Art Music ◽  
Human Response ◽  
Work Of Art ◽  
Aesthetic Experiences ◽  
Music Drama ◽  
The Aesthetic

Arts are an expectation in early childhood classrooms — traditionally, visual art, music, drama, and movement. The variety of understandings of art and aesthetic experiences shape approaches to arts education, particularly with young children. Attempts to define the aesthetic experience refer to the presence of an object, most commonly a work of art. The object becomes central to the human response within the aesthetic experience. Through the analysis of data documenting conversations between a child and an adult, the author have previously proposed child — adult conversations as aesthetic experiences. In this article, she re-examines excerpts from child—adult conversations from her research, negotiating the possibility of naming child—adult conversation as art, in order to recognise child—adult conversation as an aesthetic experience. This article continues the conversation around thinking of conversation as art, and the art of conversation — an integral component of pedagogy with young children.

scholarly journals The performative turn at Inhotim: installation art and Baudelairean modernity

2013 ◽  
Vol 23 (3) ◽  
pp. 13-30
Author(s):  
Lauren S. Weingarden
Keyword(s):  
Aesthetic Experience ◽  
Installation Art ◽  
Charles Baudelaire ◽  
Art Museum ◽  
Transformative Experience ◽  
Work Of Art ◽  
Botanical Gardens ◽  
The Spectator ◽  
The Aesthetic ◽  
The Individual

This article explores the participatory turn in installation art as part of a trajectory from Baudelairean modernity to twentyfirst-century postmodernity, as represented at Inhotim, the outdoor contemporary art museum and botanical gardens in Brumadinho, MG. In his 1862 essay “The Painter of Modern Life,” Charles Baudelaire defined modernity as fleeting, transitory and fragmentary. Baudelairean modernity initiated a breakdown of boundaries between art and life and between high art aesthetics and popular culture, which continues in the work of installation artists. In the sites of installation art, the spectator is compelled to extend – rather than complete – the work of art in his/her own time, prior experiential encounters and transformative afterthoughts. The shift from the isolated work of art to the experiential one not only complicates how and where works of art are viewed, but also radicalizes the materials that constitute the work of art – whether those materials are extracted from the quotidian sphere or complex technologies, each undergoes a process of defamiliarization and reactivation to produce the transformative aesthetic experience. The individual installations in Inhotim’s “outdoor museum” engage the spectator in a dynamic/participatory experience with spatial, temporal and material relationships that define the very essence of art’s reciprocity, or contrast with the natural and man-made worlds. It is the rarefied setting of Inhotim’s botanical gardens that makes the participatory and transformative experience central to the aesthetic encounter with installation art.

“Tangled in a Golden Mesh”: Virginia Woolf and the “Deceptiveness” of Beauty

2017 ◽  
Author(s):  
Matthew Mutter
Keyword(s):  
Virginia Woolf ◽  
Aesthetic Experience ◽  
Moral Order ◽  
Work Of Art ◽  
Political Criticism ◽  
The Sublime ◽  
The World ◽  
Secular Modernity ◽  
The Aesthetic

There has been a small movement among recent critics and philosophers to rehabilitate the reputation of beauty, which suffered under the modernist fascination with ugliness, Romantic and postmodern prejudice in favor of the sublime, and political criticism of beauty as elitist, inefficacious, and complicit with injustice. This chapter seeks to reframe these debates by examining the link between beauty and religious ontologies. Weber, following Nietzsche, insisted that secular modernity had broken sympathetic relations between beauty and goodness, but in Woolf’s novels the beautiful cannot shed its theological aura: its promise of reconciliation, peace, and divine benevolence. Woolf’s famous conception of “the world as a work of art”—which has, nevertheless, no “creator”—remains entangled in the aesthetic theodicies she repudiates. Her novels struggle to conceptualize secular, mundane models of beauty while simultaneously clinging to intimations of a metaphysical and moral order implicit in aesthetic experience. Beauty is, in her writing, the last and most intractable stronghold of mystical feeling.

Feeling is Movement: Damasio's Neural Model of Dance Expression

2017 ◽  
Vol 35 (2) ◽  
pp. 258-273
Author(s):  
Susan Pashman
Keyword(s):  
Significant Contribution ◽  
Aesthetic Experience ◽  
Emotional Experience ◽  
Neural Model ◽  
The Aesthetic

This article deals with Antonio Damasio's significant contribution to clarifying the precise way expression works in dance. Damasio's neural model of consciousness, I believe, supplies the precision of terminology that allows aestheticians to link an observed object, the artwork, to the emotional experience of observing it. Damasio's ‘double’ notion of kinaesthesia provides a clear and useful way of distinguishing the neural aspects of the aesthetic experience from those best left to phenomenology.

scholarly journals The Existential Relevance of Art for Human Life

Itinera ◽  
2021 ◽  
Author(s):  
Giovanna Caruso
Keyword(s):  
Aesthetic Experience ◽  
Human Life ◽  
Fundamental Difference ◽  
Human Being ◽  
Human Beings ◽  
Work Of Art ◽  
Structural Correspondence ◽  
The Aesthetic

What is the relevance of art for human life? This question can be answered if life is understood from life-performance and art from artworks. From this perspective, the human being – understood as a being in a self-researching process – and the work of art – conceived as an experience-figure – show a structural correspondence: a constitutive unfathomability. Both, human being and art, can only be adequately understood as open processes of their respective self- realization. Because of this correlation and, at the same time, considering their fundamental difference, the aesthetic experience enables the human being to objectify the process of self-research. Thus, the existential relevance of art to life becomes concrete in that the aesthetic experience that makes the artwork the unique unfathomability that it is, reveals itself as an excellent path to the process of self-research, which makes human beings the unique unfathomability that he or she is.

Toward an Aesthetical Approach to Screendance

2016 ◽  
pp. 498-514
Author(s):  
Susana Temperley
Keyword(s):  
Aesthetic Experience ◽  
The Body ◽  
Aesthetic Appreciation ◽  
Work Of Art ◽  
Aesthetic Object ◽  
Starting Point ◽  
The Aesthetic

Technological objects which materialize the permanent emergence of the new and define one of the manifestations of present-day screendance need to be revalued in terms of aesthetic approach. Considering as a starting point Immanuel Kant’s opposition to any standards of taste—that is to say to any criteria of beauty considered as an objective foundation for the aesthetic appreciation—the chapter examines the notion of aesthetic behavior, which involves rediscovering the question of the pleasure connected with the reception of the work of art, as well as the notion of the aesthetic object as a substitute for a work of art, thus judging art in terms of strength and not institutional acceptability. Examining aspects of the piece such as the body, the movement of the camera, and the place of the narrative and fiction, the chapter then inquires into the resulting status of the aesthetic experience.

scholarly journals EMPATHY AND THE EMOTIONAL COEXPERIENCING IN THE AESTHETIC EXPERIENCE

2020 ◽  
Vol 9 (2) ◽  
pp. 495-512
Author(s):  
JEFF MITSCHERLING ◽  
Keyword(s):  
Aesthetic Experience ◽  
Literary Work ◽  
Work Of Art ◽  
Philosophy Of Psychology ◽  
Psychological Literature ◽  
Literary Work Of Art ◽  
The Aesthetic

After briefly remarking on previous treatments of empathy in the philosophical and psychological literature, I outline Stein’s treatment of this concept in On the Problem of Empathy and Philosophy of Psychology and the Humanities, illustrating the problematic breadth of her application of the term ‘empathy,’ a breadth that Stein herself calls to our attention. After a brief discussion of Stein’s treatment of empathy and the experience of value, I turn to certain features of Roman Ingarden’s analyses of aesthetic experience found in The Literary Work of Art and The Cognition of the Work of Art that deal with what he refers to as the reader’s ‘emotional coexperience’ of situations and events represented in the work of art. I conclude by comparing Stein’s account of empathy with Ingarden’s account of aesthetic experience, both of which deal at length with the subjective activities of “feeling with” and emotional coexperience.

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