Aesthetics of appearing
著者
書誌事項
Aesthetics of appearing
（Cultural memory in the present）
Stanford University Press, 2005
- : cloth
- : pbk
- タイトル別名
-
Ästhetik des Erscheinens
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注記
Originally published in German in 2000 under the title Ästhetik des Erscheinens by Carl Hanser Verlag
Includes bibliographical references (p. [231]-238)
内容説明・目次
内容説明
This book proposes that aesthetics begin not with concepts of being or semblance, but with a concept of appearing. Appearing bespeaks of the reality that all aesthetic objects share, however different they may otherwise be. For Martin Seel, appearing plays its part everywhere in the aesthetic realm, in all aesthetic activity.
In his book, Seel examines the existential and cultural meaning of aesthetic experience. In doing so, he brings aesthetics and philosophy of art together again, which in continental as well as analytical thinking have been more and more separated in the recent decades. Within Seel's framework, to apprehend things and events with respect to how they appear momentarily and simultaneously to our senses represents a genuine way for human beings to encounter the world. The consciousness that emerges here is an anthropologically central faculty. In perceiving the unfathomable particularity of a sensuously given we gain insight into the indeterminable of our lives. Attentiveness to what is appearing is therefore at the same time attentiveness to ourselves. This is also the case when works of art imagine past or future, probable or improbable presences. Artworks develop their transgressive energy from their presence as sense-catching forms. They bring about a special presence in which a presentation of close or distant presences comes about.
目次
- @fmct:Contents @toc4:Preface @toc2:I.A Rough History of Modern Aesthetics @toc3:1.Eight Short Stories @toc3a:Baumgarten Kant Hegel Schopenhauer Nietzsche Valery Heidegger Adorno @toc3:2.Aesthetics as Part of Philosophy @toc2:II.Aesthetics of Appearing @toc3a:Time for the Moment A Situation of Perception The Basic Distinction The Course of Things @toc3:1.What Is Appearing @toc3a:Kinds of Perception Phenomenal Individuality Synaesthesia Recalling Presence Everything, at All Times A Minimal Concept @toc3:2.Being-so and Appearing @toc3a:A Definition Objects of Perception Appearance Appearing Logical and Phenomenal Order Limits of Knowledge Indeterminacy A Different Execution of Perception Event Objects @toc3:3.Appearing and Semblance @toc3a:Two Concepts, Two Steps Deceptive or Supportive Semblance James Turrell: Slow Dissolve Semblance Is Real Not Everything Is Semblance @toc3:4.Appearing and Imagination @toc3a:Imagination Objects of Sensuous Consciousness Aesthetic Imagination Imagination and Semblance An Asymmetry Objects of Imagination Imagination, Interpretation, Reflection Facultative and Constitutive Objects of Imagination A Primacy of Perception @toc3:5.Situations of Appearing @toc3a:Interim Results Three Dimensions Mere Appearing Atmospheric Appearing Artistic Appearing Presences Modes of Acquaintance Aesthetic Consciousness @toc3:6.Constellations of Art @toc3a:The Material and Medium of the Arts Constellational Presentation Valery's and Chandler's Sentence Levels of Sensuousness Danto's Objection Art as Idea as Idea Vertical Earth Kilometer Movements in Literature The Body of Texts The Father of the Thought @toc3:7.A Play for Presence @toc2:III.Flickering and Resonating: Borderline Experiences Outside and Inside Art 000 @toc3a:Kant Nietzsche Transcendence and Immanence Rauschen and Rausch Mere Versus Artistic Resonating An Occurrence Without Something Occurring Formless Reality An Enduring Passing Away Formed Formlessness Some Genres Christoph Marthaler's Faust Being and Revealing Energies of the Artwork Cinematic Resonating The Children of the Dead Elfriede Jelinek's Language A Limit Case of Consciousness @toc2:IV.Thirteen Statements on the Picture 000 @toc3a:Pictures Are Presentations Pictorial Signs Are Not (Just) Symptoms Pictures Are Compact Signs Subsidiary Forms of the Picture The Self-Referentiality of Art Pictures All Pictures Present
- Most Pictures Represent Representation and Similarity Pictures Are Sign Events The Phenomenological and the Semiotic Theory of the Picture Three Basic Instances of Seeing Cyberspace Is Not Pictorial Space Film, a Virtual Movement Space Picture and Reality @toc2:V.Variations on Art and Violence 000 @toc4:Notes 000 Bibliography 000
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