Appreciation of Art as a Perception Sui Generis: Introducing Richir’s Concept of “Perceptive” Phantasia

Work Of Art ◽

The World ◽

In the Origin of the work of art, Heidegger claimed that the work of art opens to us the truth of Being, the opening of the world. Two problematics arise from this. First, his idea of “world-disclosure” evoked a sense of everydayness (which captures, for me, the idea of credulism in perception). Second, the senses of truth, Being, and world are metaphysically condensed. Hence the question: how then could the “truth of Being” or the “world” that artworks reveal be experienced? Among other ways (mimesis, imagination, perception, etc.) by which artworks are experienced, I choose to examine perception since it confirms this idea of everydayness. The questions that confront us to this effect are: can perception lead us into, to encounter, this world opened by artworks? Does the nervous/visual system suffice to enter into that world in which the artist invites us? This is where Richir becomes important. In response to the first problem, he shows that the “perception” (experience) of artworks is beyond mere everydayness since artworks open for us a world that “never was” and “never will be” (i.e., “virtuality” and not a veridical sense of everydayness as captured in the perceptive act that is object-related). This is because the material stuff or object given in perception is neutralized by the phantasia to become what Richir calls Sache. This Sache is in itself a phenomenon that is disclosed in artworks. In response to the second problem, Richir shows how artworks cannot disclose just metaphysical categories of Being, truth, or world. The disclosure has to be phenomenological, corporeal, and affective. He therefore proposes another mode of “perception” beyond mere perception in a revolutionary interpretation of the husserlian “perceptive” phantasia. With this, he shows how the aforementioned metaphysical condensations are liveable in experience. I concretize this with an illustration from the theater. Finally, I suggest participation as a phenomenological approach that can make both Heidegger’s and Richir’s intuitions meaningful.

Erfahrung ohne Erfahrenden

Phänomenologische Forschungen ◽

10.28937/1000107958 ◽

2009 ◽

Vol 2009 (1) ◽

pp. 61-78

Author(s):

Petr Kouba

Keyword(s):

Work Of Art ◽

New Beginning ◽

Individual Structure ◽

The World ◽

Il Y A ◽

Individual Existence ◽

The Moment ◽

The Individual ◽

Intentional Structure

This article examines the limits of Heidegger’s ontological description of emotionality from the period of Sein und Zeit and Die Grundbegriffe der Metaphysik along the lines outlined by Lévinas in his early work De l’existence à l’existant. On the basis of the Lévinassian concept of “il y a”, we attempt to map the sphere of the impersonal existence situated out of the structured context of the world. However the worldless facticity without individuality marks the limits of the phenomenological approach to human existence and its emotionality, it also opens a new view on the beginning and ending of the individual existence. The whole structure of the individual existence in its contingency and finitude appears here in a new light, which applies also to the temporal conditions of existence. Yet, this is not to say that Heidegger should be simply replaced by Lévinas. As shows an examination of the work of art, to which brings us our reading of Moravia’s literary exposition of boredom (the phenomenon closely examined in Die Grundbegriffe der Metaphysik), the view on the work of art that is entirely based on the anonymous and worldless facticity of il y a must be extended and complemented by the moment in which a new world and a new individual structure of experience are being born. To comprehend the dynamism of the work of art in its fullness, it is necessary to see it not only as an ending of the world and the correlative intentional structure of the individual existence, but also as their new beginning.

Non-Taster: A Photo Essay About a Loss of Taste and Breakfast

Orbit Writing Around Pynchon ◽

10.20919/exs.11.2021.268 ◽

2021 ◽

Vol 11 (1) ◽

pp. 147-153

Author(s):

Burong Zeng

Keyword(s):

Food Packaging ◽

The World ◽

The Senses ◽

Immigrant Experience ◽

Scanned Images ◽

Photo Essay

Non-taster is a photo essay exploring the elusive connections between the change of taste and the immigrant experience based on my story of losing taste at the beginning of the Covid-19 pandemic outbreak. The world, which used to be dirty, viscous, and alive has rapidly become hygienic, distanced, and virtual. I documented the packaging and food sauce for breakfast via a series of scanned images and photographs during the second and third lockdown in London. The photos of spicy sauce and food packaging reveal the desire to reconnect with the senses. Alongside apathy, nostalgia, and homesickness, Non-taster laments the changes of the senses and desires in the post-pandemic period.

Synesthesia: From Cross-Modal to Modality-Free Learning and Knowledge

Leonardo ◽

10.1162/leon_a_00937 ◽

2015 ◽

Vol 48 (1) ◽

pp. 48-54 ◽

Cited By ~ 2

Author(s):

Roy Williams ◽

Simone Gumtau ◽

Jenny Mackness

Keyword(s):

Case Studies ◽

Perception And Action ◽

Action Learning ◽

Whole Body ◽

Learning Design ◽

Autistic Spectrum ◽

Enactive Perception ◽

The World ◽

Innovative Learning ◽

In an integrated view of perception and action, learning involves all the senses, their interaction and cross-modality, rather than multi-modality alone. This can be referred to as synesthetic enactive perception, which forms the basis for more abstract, modality-free knowledge and a potential underpinning for innovative learning design. The authors explore this mode of learning in two case studies: The first focuses on children in Montessori preschools and the second on MEDIATE, an interactive space designed for children on the autistic spectrum that offers a “whole-body” engagement with the world.

Postscript: charismatic things and social transaction in Renaissance Italy

Urban History ◽

10.1017/s0963926810000581 ◽

2010 ◽

Vol 37 (3) ◽

pp. 474-482

Author(s):

THOMAS V. COHEN ◽

ELIZABETH S. COHEN

Keyword(s):

Cultural Production ◽

Urban Culture ◽

New Age ◽

Italian Renaissance ◽

Low Countries ◽

Work Of Art ◽

Cultural Products ◽

The World ◽

Renaissance Italy ◽

The Individual

In 1860, Jacob Burckhardt published his view, still influential today, of an artful, urban Italian Renaissance that launched Europe on its passage to modernity. A lively revisionary scholarship has challenged Burckhardt on many points, but his famous formulae still resonate: the state as work of art; the development of the individual; the discovery of the world and of man. Although we now know that Italy did not alone invent the new age, it was for many years a trendsetter, especially in the domains of cultural production at the centre of this collection of essays. Republican and princely polities alike framed these developments, but, whoever ruled, Italy's unusually intense urbanization (paired with that in another well-spring of culture in the Low Countries) fostered innovation. In Renaissance cities, people and groups invested heavily in special actions, objects and places – charismatic cultural products empowered by holiness, beauty, fame and ingenuity – that fortified solidarity and resilience in uncertain times. This essay collection addresses a conjunction of urban culture and society distinctive to Renaissance Italy: an array of encounters of artifacts with ways of living in community.

King Leur: A Psychological Study

Journal of Mental Science ◽

10.1192/bjp.5.29.301 ◽

1859 ◽

Vol 5 (29) ◽

pp. 301-348

Author(s):

J. C. B.

Keyword(s):

Deep Foundations ◽

Very Old ◽

Psychological Study ◽

Distinctive Features ◽

Moral Personality ◽

The World ◽

Single Moment ◽

Small Gauge ◽

Mountain Summit ◽

Aye, every inch a King, in all his pompous vanity, his reckless passion, his unstable judgment, a thorough king, whom even madness could not dethrone from the royal habits of authority, of strenuous will, and of proud predominance. As the highest mountain summit becomes the fearful beacon of volcanic flame, testifying in lurid characters to the world's deep heart-throes, so this kingliest of minds—he who in his little world has been the summit and the cope of things—becomes, in the creative hand of the poet, the visible outlet of those forces which devastate the soul. We stand by in reverential awe, despairing, with our small gauge of criticism, to estimate the forces of this human Etna. Oppressed by the power and magnitude of the passions, as depicted in this most sublime and awful of poetic creations, it is only after the senses have become accustomed to the roar and turmoil that we throw off the stupor, and dare to look down upon the throes of the Titan, and begin to recognize the distinctive features of the fierce commotion. Even then we must stand afar off; for not in Lear, as in others of the poet's great characters, can one for a single moment perform the act of mental transmutation. In Hamlet, for instance, the most complex of all, many a man may see reflected the depths of his own soul. But Lear is more and less than human in its isolated grandeur, in the force and depths of its passions, in its abstraction from accidental qualities. In the breadth of his strength and weakness he is painted like one of those old gods, older and greater than the heathen representatives of small virtues and vices—the usurping vulgarities of polytheism. The true divinities of Lear were old, like himself very old and kingly—Saturn and Rhea, the autochthones of the heavens; even as his qualities are laid upon the dark and far off, yet solid and deep foundations of moral personality. Well might this King of sorrows exclaim, in the words of the World-spirit, to those who attempt to tear his passions to tatters before the footlights; yea, even to the more reverent efforts of critics— “Du gleichst dem Geist den du begreifst, Nicht mir!”

Mengenal Epistemologi Ilmu Huduri dalam Tradisi Tasawuf Falsafi

ESOTERIK ◽

10.21043/esoterik.v4i1.4502 ◽

2018 ◽

Vol 4 (1) ◽

pp. 170

Author(s):

Fatkhul Mufid

Keyword(s):

Data Sources ◽

Classical Text ◽

Library Research ◽

Epistemologically, the science of huduri is a form of knowledge acquired by humans directly from Allah SWT, without having to involve the work of mind conceptually and the work of the senses visually, but through the heart (qalb) which is clean of various impurities and hijab. This article is the result of library research with a hermeneutics-phenomenological approach, considering that the source of the data is in the form of a classical text that has been published. The unit of problem of this research is "recognizing the epistemology of the science of huduri in the tradition of philosophical Sufism". The data sources in this study are literature related to the epistemological concept of the science of hu danuri, and the works of others related to the discussion. The findings from the results of this study are that the concept of huduri science is much influenced by various concepts that have developed before, both philosophy, mysticism, and kalam, which are then harmonized with the Qur'an and al-Hadith by Mulla Sadrā.

The Absurd Man in camusiana philosophy and poetry drummondiana: language as a source of (trans)formation

Revista Fragmentos de Cultura - Revista Interdisciplinar de Ciências Humanas ◽

10.18224/frag.v27i3.5039 ◽

2017 ◽

Vol 27 (3) ◽

pp. 361

Author(s):

Sara De Castro Cândido ◽

Nàvia Regina Ribeiro da Costa ◽

Ruzileide Epifânio Nogueira

Keyword(s):

Discourse Analysis ◽

Interdisciplinary Approach ◽

Albert Camus ◽

Dialectical Materialism ◽

Anglo Saxon ◽

Work Of Art ◽

Carlos Drummond De Andrade ◽

The World ◽

Poetic Text ◽

The Subject

This article seeks to an approach between the poetry of Carlos Drummond de Andrade, in Feeling of the world (1940), and the philosophy of Albert Camus, in The Myth of Sisyphus - the work of art as adventure of a spiritual destiny (2012), for, to think through by the language praticed by Drummond in two poems – Poem of necessity and Holding hands –, the be in the world and the passing of the man's condition of the being ontic to the be ontological, using also Durand (2012) and another theorists. Making use, as methodology, by the bibliographical research, and theory express of poetic text, concepts and analysis based on the phenomenological critique. Still in an interdisciplinary approach, to reflect the subject and its constitution as speech, will use theories of French line of discourse analysis (DA) and the line Anglo-Saxon (ADC), whose leading exponents are respectively, Michel Pêcheux and Norman Fairclough, relying on the concept of dialectical materialism. O Homem Absurdo na filosofia camusiana e na poesia drummondiana: a linguagem como fonte da (trans)formação Este artigo busca aproximações entre a poesia de Carlos Drummond de Andrade, em Sentimento do Mundo (1940), e a filosofia de Albert Camus, em O mito de Sísifo – a obra de arte como aventura de um destino espiritual (2012), para, por meio da linguagem praticada por Drummond em dois poemas – Poema da necessidade e Mãos dadas –, pensar o estar no mundo e a passagem do homem da condição de ser ôntico para ser ontológico, valendo-se, também, de Durand (2012) e de outros teóricos. Utiliza, como metodologia, a pesquisa bibliográfica e expressa teorias do texto poético, conceitos e análises com base na crítica fenomenológica. Ainda, numa atitude interdisciplinar, para refletir sobre o sujeito e sua constituição como discurso, baseia-se nas teorias da Análise de Discurso de linha francesa (AD) e de linha anglo-saxã (ADC), cujos principais expoentes são, respectivamente, Michel Pêcheux e Norman Fairclough, apoiando-se na concepção do materialismo dialético.

Exhibiting an Unapologetic Fascist: Mario Sironi

Perceptions ◽

10.15367/pj.v4i2.106 ◽

2018 ◽

Vol 4 (2) ◽

pp. 20

Author(s):

Fiona Fackler

Keyword(s):

Public Perceptions ◽

The Political ◽

Contemporary Culture ◽

National History ◽

Work Of Art ◽

The Public ◽

Public Displays ◽

Contemporary Politics ◽

The World ◽

Primary Focus

Benito Mussolini's Fascist dictatorship over Italy in the period between world wars remains a troubling element of the nation's history. It has heavily affected the contemporary politics and public displays of in addition to scholarship about the thriving artistic scene of that time, yet, the weight of Italy's Fascist legacy has either comprised the primary focus of or been entirely absent from studies on art in the 1920s-1930s until a recent academic interest in reinvestigating the political and cultural atmosphere of the period. This paper underlines the importance of such renewed critical interests in chapters of painful history and how those interests can influence public perceptions of national history and its outreach into contemporary culture. Specifically, I will examine the written and exhibited discrepancies between the life of the painter Mario Sironi under the regime and the life of selected paintings that perpetuate his existence in contemporary Italy. By comparing La Famiglia del Pastore in "Roma Anni Trenta: La Galleria d'Arte Moderna e Le Quadriennali (1931 - 1935 - 1939)" at the Galleria d'Arte Moderna and La Solitudine in "Time is Out of Joint" at the Galleria Nazionale I will analyze how exhibitions of art shape the Italian public's reception of this period. I contend that certain exhibiting styles can either deepen public reception and consideration for a work of art and the time from which it stems or can reduce understanding to that inspired by instantaneous connections, dependent on the institution's or curator's approach to context. For, no trip to a museum is simply a trip to a museum – whether actively or passively, museums shape how the public approaches the works in its halls and through these works, how the public approaches themselves and the world surrounding them.

Painting as a prayer of the spirit

Scientific and analytical journal Burganov House. The space of culture ◽

10.36340/2071-6818-2020-16-4-113-132 ◽

2020 ◽

Vol 16 (4) ◽

pp. 113-132

Author(s):

Petr Dobrolyubov

Keyword(s):

Fine Arts ◽

Work Of Art ◽

General Process ◽

Russian School ◽

Russian Art ◽

Short Period ◽

The World ◽

Artistic Images ◽

Moscow School ◽

Artistic Image

The article is devoted to the work of the Russian painter Dobrolyubov Vladimir Petrovich, who in 2020 marks the centenary of his birth. Special attention is paid to the presentation of his ideals, which inspired the artist to create wonderful paintings depicting the world around him, landscapes and landscapes, urban environment, monuments of ancient Russian architecture, decoration and interiors of the oldest churches from Moscow to Yaroslavl, Pereslavl Zalessky, Staraya Ladoga. From the Russian North to the Crimean mountains and Tsemeskiy Bay. Vladimir Petrovich Dobrolyubov (05.07.1920-24.02.1975) - a student of I.I. Mashkov, N.P. Krymov, G.G. Ryazhskiy, K.F. Yuon, V.V. Krainev, P.I. Kotov, V.I. Finogeev, K.G. Dorokchov. Dobrolyubov V.P., was the veteran of the Great Patriotic war (1941-1945), - the 75th anniversary of the Victory which we celebrate this 2020 year. The author analyzes the paintings of V.P. Dobrolyubov - a natural colorist, nugget, artist, philosopher and citizen of his country. His thoughts on the art of painting based on the beauty and traditions of the Russian school of iconography were the Foundation, the spiritual platform, for all of his painting, created in a short period of life. The author's paintings Dobrolyubov V.P. is of well-deserved interest for art studies and make a worthy, significant contribution to it not only by their high appreciation of color, color spot, and lyrical appearance, but also as works of the history of Russian painting and in particular, the Moscow school of painting, 30-60-ies of XX century, of which he was a representative. Also noteworthy is his understanding of art, his creative pictorial, original, author's handwriting, and also an amazing vision of color and color spot, his own, individual. As well as the interpretation of personal perception, the attitude and understanding of the fundamental foundations of realism in the domestic and world fine arts, expressed and approved in their own, no one repeats, coloristic pictorial language. Dobrolyubov V.P. considered icons, the Russian icon, as a work of art, which following the tradition of Byzantine masters of iconography, undoubtedly constitutes the core of the soul of the artistic creative process, and especially the work of iconographers such as Andrei Rublev, Theophanes the Greek, Vladimir-Suzdal, Moscow, Yaroslavl school of icon-painting as an objective reality of the world of spiritual images in their own work. Artistic creativity, in his opinion, as a representative of the Moscow school of painting, is not an abstract search and self-expression of the artist's beliefs and ideas, but the result of a deep, divine transformation of the soul, its path to truth and to the foundations of realistic art, through the perception of artistic images. Russian iconography of the XIV-XVII centuries, brought to Russia from Byzantium, Dobrolyubov V. P. considered the Russian school of iconography the main, unsurpassed, imperishable Foundation and a masterpiece of Russian fine art. Everywhere in his memories, in his understanding of the basics of art, the artist renounces the concept of copying the image and the icon for him is like a conditional historical symbol, indicating the spiritual image of past centuries. An artistic image is born in the soul of the painter and of course exists outside of iconography, but then it can appear in the minds of other people who contemplate the master's canvases, in which the image of the universal universe and the beauty of the universe is encoded, if you want, encrypted in the very deep images of Russian iconography. Therefore, the icon itself, its image and composition, as a work of art created once in the depths of past centuries, is personified in the mind of the author, as grace and inspiration sent from heaven. Dobrolyubov V.P. confirms the aesthetic and spiritual platform created for any person. Therefore, Russian icons created as spiritually and artistically perfect, self-sufficient works of Russian culture are inextricably linked to the General process for Russian art history, its ability to testify to its highest level in the hierarchy of world art. For the artist Dobrolyubov, Russian iconography is an inseparable part of his spiritual platform, and his works of painting – and, temple art, in conjunction with ancient Russian architecture, with the interiors of churches and their decoration, as well as the sacrament of divine services, baptisms, weddings and funerals, and are the most essential foundation, being, as the very artistic image of all his art work and now, in 2020. Today, 45 years after his death in 1975, his artistic paintings are just as beautiful and heartfelt.

Could coronavirus 2019-infected disease patients get cope with the treatment?: A qualitative study

International Journal of Public Health Science (IJPHS) ◽

10.11591/ijphs.v10i4.20912 ◽

2021 ◽

Vol 10 (4) ◽

pp. 880

Author(s):

Fery AM Mendrofa ◽

Umi Hani ◽

Yuni Nurhidayat

Keyword(s):

Data Collection ◽

Qualitative Study ◽

Coping Strategies ◽

Cross Infection ◽

Psychological Aspect ◽

Future Research ◽

The World ◽

Novel Coronavirus ◽

Depth Interviews

A pandemic of a novel coronavirus-infected disease is currently ongoing in the world. Most patients have to be isolated due to the treatments. This study aimed to make sense of how patients with coronavirus-infected disease understand and experience infectious isolation. The research used a qualitative design with a phenomenological approach. Data collection was conducted with in-depth interviews of nine patients with coronavirus disease-2019 (COVID-19) confirmed who had been in the isolation room. The analysis was conducted on interview transcripts by organizing keywords found into categories, sub-themes, and themes based on Colaizzi's approach. The results indicated that the participants experienced fright due to the isolation and attempted to integrate their isolation experiences. Isolation highlighted a sense of threat posed by cross-infection, a threat that participants experienced as originating from others and from themselves to others. Participants described feeling changes experienced after several days of treatment. Participants reported various symptoms of the disease and received careful care while in isolation. They still communicate with family. Isolated patients are able to deal with the treatment by improving their coping strategies. Participants reported the most support from their families, even from a distance. Future research could explore experiences of isolation from family and staff perspectives and identify the psychological aspect in caring for the COVID-19 patients.