Investigations into the Phenomenology and the Ontology of the Work of Art : : What Are Artworks and How Do We Experience Them?

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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Bibliographic Details
Superior document:Contributions to Phenomenology Series ; v.81
:
Bundgaard, Peer F.
TeilnehmendeR:
Stjernfelt, Frederik.
Place / Publishing House:Cham : : Springer International Publishing AG,, 2015.
©2015.
Year of Publication:2015
Edition:1st ed.
Language:English
Series:Contributions to Phenomenology Series
Online Access:
Physical Description:1 online resource (261 pages)
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Table of 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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