Hans-Georg Gadamer on Erlebniskunst - Dictionary of Arguments
Erlebniskunst/Aesthetics/Art Experience/Aesthetic Experience/Gadamer: Initial problem: for Valéry(1), each encounter with the work has the rank and right of a new production.
Gadamer: Problem: this seems to me an untenable hermeneutic nihilism. For now he transfers to the reader and interpreter the power of absolute creation, which he himself does not want to perform.
Aesthetic Experience/Gadamer: The same aporia results if one starts from the concept of aesthetic experience instead of the concept of genius.
Lukacs(2): ascribes a Heraclitic structure to the aesthetic sphere and thus says:
the unity of the aesthetic object is not a real given one. The work of art is only an empty form, the mere node in the possible majority of aesthetic experiences in which the aesthetic object alone is present. As can be seen, absolute discontinuity, i.e. the disintegration of the unity of the aesthetic object into the multiplicity of experiences, is the necessary consequence of the aesthetics of experience.
Oskar Becker: Taking up the idea of Lukacs, Oskar Becker literally formulated: "Viewed temporally, the work is only a moment (i.e. now), it is "now" this work and it is "now" already no longer this work".(3)
Gadamer: That is indeed consistent. The foundation of aesthetics in experience leads to absolute punctuality, which suspends the unity of the work of art just as much as the identity of the artist with himself/herself and the identity of the understanding or enjoying person.(4)
KierkegaardVsErlebniskunst/Gadamer: It seems to me that Kierkegaard already proved the untenability of this position by recognizing the destructive consequences of subjectivism and being the first to describe the self-destruction of aesthetic immediacy. His doctrine of the aesthetic stage of existence is conceived from the standpoint of the ethicist, who has absorbed the sanctity and untenability of existence in pure immediacy and discontinuity.
Gadamer: The realization of the "frailty of beauty and the adventurousness of the
Artist" is (...) in truth a constitution of being that is not distinguished outside the "hermeneutic phenomenology" of existence, but rather formulates the task, in view of such discontinuity of aesthetic being and aesthetic experience, of proving the hermeneutic continuity that constitutes our being. >Aesthetic Experience/Gadamer, >See more entries for Erlebniskunst.
1. P. Valéry, Variété Ill, Commentaires de Charmes: »Mes vers ont le sens qu'on leur prete«.
2. G. Lukács, „Die Subjekt-Objekt-Beziehung in der Ästhetik“, In: „Logos“, Bd. Vll., 1917/18.
3. Oskar Becker, Die Hinfälligkeit des Schönen und die Abenteuerlichkeit des Künstlers, Husserl-Festschrift, 1928, S. 51. Jetzt in O. Becker, Dasein und Dawesen. Pfullingen 1963, S. 11-401.
4. Schon bei K. Ph. Moritz, Von der bildenden Nachahmung des Schönen, 1788, S. 26
lesen wir: »Das Werk hat seinen höchsten Zweck in seiner Entstehung, in seinem Werden
schon erreicht. «_____________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 [Author1]Vs[Author2] or [Author]Vs[term] is an addition from the Dictionary of Arguments. If a German edition is specified, the page numbers refer to this edition.
Wahrheit und Methode. Grundzüge einer philosophischen Hermeneutik 7. durchgesehene Auflage Tübingen 1960/2010
H. G. Gadamer
The Relevance of the Beautiful, London 1986
Die Aktualität des Schönen: Kunst als Spiel, Symbol und Fest Stuttgart 1977