France Veber (1890–1975), Handbook of Phenomenological Aesthetics (original) (raw)
Related papers
Aesthetic mind, 2019
An aesthetic object should be understood and analyzed by the subject in accordance with its object characteristics, except that it is the subject of the subject. In this sense, the aesthetic object, rather than just an object, has all the cognitive characteristics of its artist. The aesthetic subject faces these cognitive characteristics. The perception-perception structure of the subject and the reciprocity relation with the object are examined in this thesis study in order to perceive the aesthetic object correctly and to judge about it. This study is also a study of what the subject can perceive in terms of their perception and interpretation abilities. Additionally, such an approach will enrich the perception-based aesthetic perspectives in the focus of discussions in the philosophy of art.
Introduction to an Issue on "Aesthetic Subjects"
Free Associations: Psychoanalysis and Culture, Media, Groups, Politics, 2019
Combining academic critical theoretical approaches with contemporary clinical psychoanalysts, all of the articles in this special issue pursue a dynamic historicity of subjectivity through psychoanalytic aesthetics. Although each article grapples with the often-complex entanglement of psychoanalysis with different forms of modern aesthetic representation, each moves beyond this to innovatively use psychoanalysis to envision a subjectivity that engages with a future not yet decided, with a historicity which is not yet. For each author, aesthetic representation produces a generative opening toward new horizons of possibility— individually, culturally, or politically conceived. In this way, the articles collected in “Aesthetic Subjects” undertake a larger theoretical agenda by implicitly rethinking the anachronistic bifurcation of “art/politics” that has characterized much Frankfurt School work and, consequently, much critical theory. As each author differently explores, the question of “representation” is key to this enterprise since representation is importantly both a political and an aesthetic concept; it names both how art mediates life and how governments stand in for people. Put differently, representation is both substitution and extension, both a degree of remove and a point of connection. Therefore, throughout the articles in this issue, “aesthetics” is understood not just as a symptomatic consequence of subjectivity, but rather as the very social, political, and historical grounding necessary for the emergence of subjectivity and political sociality itself. Each essay in “Aesthetic Subjects” formulates an alternative approach to the aesthetic life of psychoanalysis, proposing not simply that different psychologies of mind are represented in aesthetic form, but more radically that psychologies of mind are produced and often exceeded by the aesthetic form.
Vasily Sesemann's Phenomenological Aesthetics
The paper offers a systematic account of Vasily Sesemann's aesthetics. First, I argue that, due to the primacy this aesthetics grants to intuition, intentionality and the objectivity of aesthetic values, its underlying principles are decidedly phenomenologi-cal. Secondly, I offer an account of the general structures of perceptual acts and I contend that the distinctive nature of aesthetic perception lies in the unique disposition of the aesthetic attitude. Thirdly, I maintain that there are three fundamentally different ways in which one can speak of aesthetic truth: in terms of formal requirements, subjective material requirements, and objective material requirements. Fourthly, I open a short dialogue between Sesemann and Maurice Merleau-Ponty and argue that an artwork fulfills the objective requirements of material truth when it succeeds in disclosing those levels of experience, on which the theoretical and practical attitudes rest and from which they take their departure.
Phenomenology in Pure Aesthetics
Journal of Civil Engineering and Architecture, 2020
Theories of aesthetics have represented aesthetic object as a framed, distanced and contemplated individual piece to be appreciated. In particularly to be symbolized as pure, objects of appreciation must be approached with complete objectivity regardless of its function. In architecture, "purity" can be understood as the formal or structural elements visible, or pure of any ornament. But, in the philosophical-aesthetic sense, purity is of "disinterest" manner. Aesthetic concepts and values are "free" and "pure" in the Kantian sense that they are not derived from any priori grounds. This vision has been challenged by environmental and everyday aesthetics, in which they bring everyday environments and matters into consideration as possible objects of aesthetic appreciation. In this paper, I will discuss the importance of aesthetics in the dwelling sense and whether aesthetics is a matter of value in the reminiscent memory of the dweller. Moreover, question the ambiguous term "pure" in architecture and whether this term is correct in the dwellers sense.
"Aesthetics and Affectivity”, The Polish Journal of Aesthetics N. 60 (1/2021)
"Aesthetics and Affectivity”, The Polish Journal of Aesthetics N. 60 (1/2021), 2021
This paper investigates the emotional import of literary devices deployed in fiction. Reflecting on the often-favored approach in the analytic tradition that locates fictional characters, events, and narratives as sources of readers' emotions, I attempt to broaden the scope of analysis by accounting for how literary devices trigger non-cognitive emotions. I argue that giving more expansive consideration to literary devices by which authors present content facilitates a better understanding of how fiction engages emotion. In doing so, I also explore the somatic dimension of reading fiction.
BildGestalten. Topographien medialer Visualität [Bewegtbilder], hg. v. Lars Christian Grabbe, Patrick Rupert-Kruse, Norbert M. Schmitz, Büchner: Marburg, 2020
The paper follows the thesis, that the perception of real or virtual media shares the anthropological state of "Ausdruckswahrnehmung" or perception of expression (Ernst Cassirer). This kind of perception does not represent a distant, neutral point of view, but one that is guided by feelings or "vitality affects" (Daniel N. Stern). The prerequisites, however, for triggering these feelings/"vitality affects" are not recognizable objects or motifs, but rather their sensually evaluable “abstract representations” or their formal logical structures. In contrast to aesthetic feelings, however, they affect not only our feelings of lust or unlust or our knowledge (formal aesthetics) but also our actions (semiotics). So, when I extend aesthetic experiences to semiotic effects, I will talk about vitality semiotics. This new concept is of consequence, because the thesis of the responsibility of the producer is based on these effects. This is to be carried out by analyzing and presenting the approach of the Bauhaus master Josef Albers.