Philosophy Dictionary of ArgumentsHome
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| Aesthetic experience: The aesthetic experience in philosophy is a heightened, often pleasurable, encounter with art, nature, or objects, characterized by a appreciation of their beauty, form, or sensory qualities. It involves a mode of perception that transcends mere utility or intellectual understanding._____________Annotation: The above characterizations of concepts are neither definitions nor exhausting presentations of problems related to them. Instead, they are intended to give a short introduction to the contributions below. – Lexicon of Arguments. | |||
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Hans-Georg Gadamer on Aesthetic Experience - Dictionary of Arguments
I 75 Aesthetic Experience/Art Experience/Experience/Gadamer: The aesthetic experience is not just one kind of experience among others, but represents the essence of experience in general. Just as the work of art as such is a world of its own, so the aesthetic experience as an experience is removed from all contexts of reality. It seems to be the very purpose of the work of art to become an aesthetic experience (...). I 76 In the experience of art, a wealth of meaning is present that does not belong to this particular content or object alone, but rather represents the meaning of life as a whole. An aesthetic experience always contains the experience of an infinite whole. Its meaning is an infinite one precisely because it does not unite with others to form the unity of an open process of experience, but directly represents the whole. >Experience/Gadamer. On the limit of the art of experience: >Allegory/Gadamer. I 102 Aesthetic Experience/Gadamer: Insofar as we encounter the work of art in the world and the world in the individual work of art, this does not remain an alien universe which enchants us for time and moment. Rather, we learn to understand ourselves in it, and that means we eliminate the discontinuity and punctuality of the experience in the continuity of our existence. It is therefore necessary to take a standpoint on beauty and art that does not pretend to be immediate, but corresponds to the historical reality of the human being. I 103 The appeal to the immediacy, to the genius of the moment, to the significance cannot exist before the claim of human existence to continuity and unity of self-understanding. The experience of art must not be forced into the noncommittal nature of the aesthetic consciousness. Cf. >Erlebniskunst/Gadamer. This negative insight means something positive: art is insight and the experience of the work of art makes this insight part of it. I 105 The experience of art should not be falsified into a possession of aesthetic education and thus neutralized in its own claim. (...) therein [lies] a far-reaching hermeneutical consequence, insofar as all encounter with the language of art is an encounter with an unfinished event and itself a part of this event. This is what is to be accentuated against the aesthetic consciousness and its neutralization of the question of truth. >Aesthetic Consciousness, >Truth of Art/Gadamer._____________Explanation of symbols: Roman numerals indicate the source, arabic numerals indicate the page number. The corresponding books are indicated on the right hand side. ((s)…): Comment by the sender of the contribution. Translations: Dictionary of Arguments The note [Concept/Author], [Author1]Vs[Author2] or [Author]Vs[term] resp. "problem:"/"solution:", "old:"/"new:" and "thesis:" is an addition from the Dictionary of Arguments. If a German edition is specified, the page numbers refer to this edition. |
Gadamer I Hans-Georg Gadamer Wahrheit und Methode. Grundzüge einer philosophischen Hermeneutik 7. durchgesehene Auflage Tübingen 1960/2010 Gadamer II H. G. Gadamer The Relevance of the Beautiful, London 1986 German Edition: Die Aktualität des Schönen: Kunst als Spiel, Symbol und Fest Stuttgart 1977 |
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> Counter arguments against Gadamer
> Counter arguments in relation to Aesthetic Experience
Ed. Martin Schulz, access date 2024-04-16