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Format: 1 online resource (261 pages)

ISBN: 9783319140902

Series Statement: Contributions to Phenomenology Ser. ; v.81

Note: Intro -- Contents -- Introduction -- References -- Temporal Aspects of Literary Reading -- 1 Introduction -- 2 No Habituation -- 3 Intentionality Deferred -- 4 Thwarting of Prototypical Feeling -- 5 Bodily Alertness Underlies Representation -- 6 Animacy of Events and Objects -- 7 Sequence Issues -- References -- Memory and Mental States in the Appreciation of Literature -- 1 Introduction -- 2 Literary Studies -- 3 Evidence on Memory for Text -- 4 Text Processing in Context -- 5 Evidence on Mind Wandering and Engagement -- 5.1 Method -- 5.2 Results -- 5.3 Discussion -- 6 Conclusions -- References -- Temporal Conflict in the Reading Experience -- 1 Introduction -- 2 Presentation of Literary Artworks and the Reader's Temporal Perspective -- 3 Temporal Perspective in Memory -- 4 Temporal Perspective in Literature -- 5 Temporal Conflict in the Reading Experience: The Example of the Pseudo-Iterative -- 5.1 Flaubert's Éternel Imparfait -- 5.2 Kafka's Eternal Present -- 6 Conclusion -- References -- The Aesthetic Experience with Visual Art "At First Glance" -- 1 The Painting Gist -- 2 Early Investigations of the Nature of the Painting Gist -- 3 Pre-attentive Detection of the Collative Properties of Paintings -- 4 Pictorial Balance-A Perceptual Primitive -- 5 Meaningfulness Is Detectable in Painting Gist Perception -- 6 Categorization of a Painting's Content and Style at First Glance -- 7 Perceptual Processing of Paintings Across the Time-Course of an Aesthetic Experience -- 8 Conclusions -- References -- What Is a Surface? In the Real World? And Pictures? -- 1 Real Surfaces -- 2 Information and Surfaces -- 3 The Surface in the History of Perception Science -- 4 Perception and Elevation and Azimuth -- 5 Perception's Biases and Far Surfaces -- 6 Theories of Biases -- 7 Bias on a Picture Surface -- 8 Conclusion -- References. , The Idiosyncrasy of Beauty: Aesthetic Universals and the Diversity of Taste -- 1 Aesthetic Universals: Some Initial Issues -- 2 Three Meanings of "Beauty" -- 3 Aesthetic Response and Idiosyncrasy (I): Pattern Recognition and Endogenous Reward -- 4 Aesthetic Response and Idiosyncrasy (II): Prototype Approximation and Attachment -- 5 Conclusion -- References -- Why We Are Not All Novelists -- 1 Two Experiments from Stanford -- 2 The Phenomenology of Multiple Realities -- 3 Delusions -- 4 Delusion as an Alternative Reality -- 5 Welcome to the Hotel California -- 6 Why Everyone Is Not a Novelist -- References -- Aesthetic Relationship, Cognition, and the Pleasures of Art -- 1 Aesthetic Experience: A Preliminary Definition -- 2 The Artist and the Connoisseur -- 3 Aesthetic Attention -- 4 The Hedonic Component -- 5 Some Concluding Remarks -- References -- More Seeing-in: Surface Seeing, Design Seeing, and Meaning Seeing in Pictures -- 1 Preamble -- 2 The Strata of Artwork and Their Perceptual Correlates -- 2.1 Surface and Surface Seeing -- 2.2 Design and Design Seeing -- 2.3 Seeing-in and Design, Seeing-in and Surface -- 2.4 Seeing Something in Walls and Seeing Something in Paintings -- 2.4.1 Seeing-in and Awareness of the Depicting Surface -- 2.5 Surface Perception and Design Perception -- 2.6 Surface as Material Support vs. Surface as a Depicting Plane -- 2.7 Object Awareness -- 3 Multiply Depicting Design and Semiotic Design -- 3.1 Design That Depicts Multiple Objects -- 3.2 Design as a Platform for Meaning-Making -- 4 Conclusion -- References -- Depiction -- References -- Green War Banners in Central Copenhagen: A Recent Political Struggle Over Interpretation-And Some Implications for Art Interpretation as Such -- References -- The Appropriation of the Work of Art as a Semiotic Act -- 1 Two Methodological (or Epistemological) Preconditions. , 1.1 The Appropriation of Statements as a Semiotic Practice -- 1.2 Genetic Aesthetics and Instituted Aesthetics -- 2 The Functional Space of the Work -- 2.1 Focusing the Attention -- 2.1.1 Sensory Contrasts and Barysemy -- 2.1.2 Expectations and Semiotization -- 2.2 Artifacts -- 2.2.1 A General Theory of the Index -- 2.2.2 Index and Appropriation -- 2.3 Contextualization -- 2.4 Stylistic and Rhetoric of the Indexation -- 3 Strategies of Positioning: Four Configurations -- 4 Appropriation and Catasemiosis -- 5 Conclusion: From Semiotics to Aesthetics? -- References -- Sculpture, Diagram, and Language in the Artwork of Joseph Beuys -- 1 Introduction -- 2 Context and Development of Beuys' Artwork -- 3 Materials and Techniques in Beuys' Artwork -- 4 Visual Artwork and Language -- 5 Language as a Topic in His Visual Art -- 6 Diagrammatic Style in Beuys' Political Art -- 7 Beuys' Diagrams and Peirce's Theory of Diagrams -- 8 The Aesthetic "Value" of Beuys' Art -- 9 Conclusion -- References -- Internet Sources with Actions and Discussions -- Index.

Additional Edition: Print version: Bundgaard, Peer F. Investigations into the Phenomenology and the Ontology of the Work of Art Cham : Springer International Publishing AG,c2015 ISBN 9783319140896

Language: English

Keywords: Electronic books. ; Electronic books. ; Electronic books

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Format: VI, 264 S. , Ill.

ISBN: 9783319140896

Series Statement: Contributions to phenomenology 81

Additional Edition: 10.1007/978-3-319-14091-2

Additional Edition: ISBN 9783319140902

Additional Edition: Erscheint auch als Online-Ausgabe Investigations Into the Phenomenology and the Ontology of the Work of Art Cham : Springer, 2015 ISBN 9783319140902

Language: English

Keywords: Ästhetik ; Ästhetische Wahrnehmung ; Aufsatzsammlung

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Format: VI, 264 p. 40 illus., 8 illus. in color. , online resource.

ISBN: 9783319140902

Series Statement: Contributions To Phenomenology, In Cooperation with The Center for Advanced Research in Phenomenology, 81

Content: This book investigates the nature of aesthetic experience and aesthetic objects. Written by leading philosophers, psychologists, literary scholars and semioticians, the book addresses two intertwined issues. The first is related to the phenomenology of aesthetic experience: The understanding of how human beings respond to artworks, how we process linguistic or visual information, and what properties in artworks trigger aesthetic experiences. The examination of the properties of aesthetic experience reveals essential aspects of our perceptual, cognitive, and semiotic capacities. The second issue studied in this volume is related to the ontology of the work of art: Written or visual artworks are a specific type of objects, containing particular kinds of representation which elicit a particular kind of experience. The research question explored is: What properties in artful objects trigger this type of experience, and what characterizes representation in written and visual artworks? The volume sets the scene for state-of-the-art inquiries in the intersection between the psychology and ontology of art. The investigations of the relation between the properties of artworks and the characteristics of aesthetic experience increase our insight into what art is. In addition, they shed light on essential properties of human meaning-making in general.

Note: Introduction: Peer F. Bundgaard -- Temporal aspects of literary reading; David S. Miall -- Memory and mental states in the appreciation of literature; Marisa Bortolussi and Peter Dixon -- Temporal conflict in the reading experience; Cathrine Kietz -- The aesthetic experience with visual art “at first glance”; Paul J. Locher -- What is a surface? In the real world? And pictures?; John M. Kennedy and Marta Wnuczko -- The idiosyncrasy of beauty: Aesthetic universals and the diversity of taste; Patrick Colm Hogan -- Why we are not all novelists; Shaun Gallagher -- Aesthetic relationship, cognition, and the pleasures of art; Jean-Marie Schaeffer -- More seeing-in: surface seeing, design seeing, and meaning seeing in pictures; Peer F. Bundgaard -- Depiction; John Hyman -- Green war banners in central Copenhagen: A recent political struggle over interpretation — and some implications for art interpretation as such; Frederik Stjernfelt -- The appropriation of the work of art as a semiotic act; Francis Édeline and Jean-Marie Klinkenberg -- Sculpture, diagram, and language in the artwork of Joseph Beuys; Wolfgang Wildgen. Index.

In: Springer eBooks

Additional Edition: Printed edition: ISBN 9783319140896

Language: English

DOI: 10.1007/978-3-319-14090-2

URL: http://dx.doi.org/10.1007/978-3-319-14090-2

URL: http://dx.doi.org/10.1007/978-3-319-14090-2