Philosophy Dictionary of ArgumentsHome
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| Seeing: In philosophy, the following questions related to seeing are interesting. The nature of perception, the relationship between perception and knowledge, the role of vision in human experience. See also Perception, Sensory impressions, Experience, Knowledge, Art, Artworks, Aesthetics, Aesthetic perception._____________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 Seeing - Dictionary of Arguments
I 96 Seeing/Art/Aesthetic Perception/Gadamer: Even perception that is conceived as adequate would never be a simple reflection of what is. For it would always remain a perception as something. Every perception as [something] articulates what is there by looking away from [something], looking at [something], seeing [something] together as [something] - and all this can again be in the centre of attention or become bare on the edge and in the background. Thus there is no doubt that seeing, as an articulated reading of what is there, looks away, as it were, so that it is no longer there for seeing; but also that it is guided by its anticipations of what is not there. Cf. >Aesthetic Perception/Hamann. Gadamer: This criticism of the doctrine of pure perception, which was practiced from pragmatic experience, was then turned into the fundamental by Heidegger. In this way, however, it also applies to aesthetic consciousness, although here seeing does not simply dwell on what is seen, e.g. its general usefulness for something, but dwells on the sight. Dwelling in looking and hearing is not simply seeing the pure sight, but remains itself an understanding as ... I 97 Art/perception: The mode of being of the perceived is not presence. Where it is a matter of meaningful representation, e.g. in the case of works of fine art, insofar as they are not abstract and non-representational, the meaningfulness is obviously serving as a guideline for the reading of the sight. Only when we "recognize" what is represented we are able to "read" a picture - yes, only then it is basically a picture. To see means to dissect. As long as we still try variable forms of structuring or fluctuate between them, as in certain picture puzzles, we do not yet see what is. The picture puzzle is, as it were, the artificial perpetuation of such fluctuation, the "agony" of seeing. ( Cf. >Rabbit-Duck Head.) Poetry/Literature/Gadamer: The linguistic work of art is similar. Only if we understand a text - that is, if we have at least mastered the language it is in - then it can be a linguistic work of art for us. >Music/Gadamer. The mere seeing, the mere hearing are dogmatic abstractions that artificially reduce the phenomena. Perception always captures meaning. >Form and Content/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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Ed. Martin Schulz, access date 2024-04-23