Investigations into the Phenomenology and the Ontology of the Work of Art : : What Are Artworks and How Do We Experience Them?
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Superior document: | Contributions to Phenomenology Series ; v.81 |
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Place / Publishing House: | Cham : : Springer International Publishing AG,, 2015. ©2015. |
Year of Publication: | 2015 |
Edition: | 1st ed. |
Language: | English |
Series: | Contributions to Phenomenology Series
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Physical Description: | 1 online resource (261 pages) |
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Bundgaard, Peer F. Investigations into the Phenomenology and the Ontology of the Work of Art : What Are Artworks and How Do We Experience Them? 1st ed. Cham : Springer International Publishing AG, 2015. ©2015. 1 online resource (261 pages) text txt rdacontent computer c rdamedia online resource cr rdacarrier Contributions to Phenomenology Series ; v.81 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. Description based on publisher supplied metadata and other sources. Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, 2024. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries. Electronic books. Stjernfelt, Frederik. Print version: Bundgaard, Peer F. Investigations into the Phenomenology and the Ontology of the Work of Art Cham : Springer International Publishing AG,c2015 9783319140896 ProQuest (Firm) Contributions to Phenomenology Series https://ebookcentral.proquest.com/lib/oeawat/detail.action?docID=6422795 Click to View |
language |
English |
format |
eBook |
author |
Bundgaard, Peer F. |
spellingShingle |
Bundgaard, Peer F. Investigations into the Phenomenology and the Ontology of the Work of Art : What Are Artworks and How Do We Experience Them? Contributions to Phenomenology Series ; 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. |
author_facet |
Bundgaard, Peer F. Stjernfelt, Frederik. |
author_variant |
p f b pf pfb |
author2 |
Stjernfelt, Frederik. |
author2_variant |
f s fs |
author2_role |
TeilnehmendeR |
author_sort |
Bundgaard, Peer F. |
title |
Investigations into the Phenomenology and the Ontology of the Work of Art : What Are Artworks and How Do We Experience Them? |
title_sub |
What Are Artworks and How Do We Experience Them? |
title_full |
Investigations into the Phenomenology and the Ontology of the Work of Art : What Are Artworks and How Do We Experience Them? |
title_fullStr |
Investigations into the Phenomenology and the Ontology of the Work of Art : What Are Artworks and How Do We Experience Them? |
title_full_unstemmed |
Investigations into the Phenomenology and the Ontology of the Work of Art : What Are Artworks and How Do We Experience Them? |
title_auth |
Investigations into the Phenomenology and the Ontology of the Work of Art : What Are Artworks and How Do We Experience Them? |
title_new |
Investigations into the Phenomenology and the Ontology of the Work of Art : |
title_sort |
investigations into the phenomenology and the ontology of the work of art : what are artworks and how do we experience them? |
series |
Contributions to Phenomenology Series ; |
series2 |
Contributions to Phenomenology Series ; |
publisher |
Springer International Publishing AG, |
publishDate |
2015 |
physical |
1 online resource (261 pages) |
edition |
1st ed. |
contents |
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. |
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9783319140902 9783319140896 |
callnumber-first |
B - Philosophy, Psychology, Religion |
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B829 |
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Electronic books. |
genre_facet |
Electronic books. |
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https://ebookcentral.proquest.com/lib/oeawat/detail.action?docID=6422795 |
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Not Illustrated |
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100 - Philosophy & psychology |
dewey-tens |
140 - Philosophical schools of thought |
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142 - Critical philosophy |
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142.7 |
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3142.7 |
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142.7 |
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142.7 |
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