Through an atmospherological approach, primarily inspired by the Aisthetik and the New Phenomenology, the paper investigates the relationship between atmosphere and lived space, defines what kind of perception the atmospheric one is and examines the space we experience in the lifeworld and to which plane geometry turns out to be completely blind. Sketching briefly the history of lived space, we assume that atmospheres function as affordances that permeate the lived space, i.e. as ecological invites or meanings that are ontologically rooted (...) in things and quasi-things. (shrink)

뵈메의 시각으로 서포터즈의 퍼포먼스에 주목해서 프로 축구경기의 미학적 의미를 고찰하고, 이를 통해서 축구 미학은 물론 더 나아가서 스포츠 미학을 새로운 관점에서 접근하는 길을 환기시키는 것이 논문의 목적이다. 이러한 목적에 상응하는 연구의 내용은 다음과 같다. 먼저 ‘분위기’ 및 ‘분위기 머금은 현상’ 개념을 중심으로 뵈메의 ‘지각학으로서의 미학’의 핵심이 검토된다. 이는 축구경기의 미학적 의미를 전통미학의 틀에서 벗어나서 논구할 수 있는 기초를 다지는 것을 의미한다. 다음으로 축구경기에서 만들어지는 분위기, 즉 축구경기의 특정 상황에서 형성되는 경기장 전체의 분위기가 ‘극적인 골’ 사건에 초점을 맞춰 검토된 뒤, 그것이 (...) 어떻게 미학적 대상이 되는가 하는 점이 구명된다. 다시 말해서 극적인 골 직후 조성되는 경기장 분위기가 기본적으로 목적성취 혹은 욕구충족에 기인하는 것임에도 불구하고, 어째서 미학적 사건이라고 할 수 있는가 하는 점, 어째서 욕구충족과 무관한 지각경험의 대상이라 할 수 있는가 하는 점이 해명된다. 아울러 그 사건이 ‘분위기 머금은 현상’으로 표현되고 전달될 때, 그것은 이른바 직관 팬뿐만 아니라 모든 사람에게 미학적 대상이 되는데, 이것이 구체적으로 무엇을 의미하는 것인가 하는 점도 밝혀진다. 마지막으로 ‘축구경기의 미학적 의미’를 새로운 관점에서, 좀 더 정확히 말해서 뵈메의 관점에서 조망하고자 할 경우, 욕구대상으로서의 축구경기가 지각의 대상으로 전환될 때 일반 팬이 감지하게 되는 ‘성과사회의 그물코를 벗어나지 못한 삶에 처해있음’의 의미가 다각도로 논구되는 것이 무엇보다도 필요가 있다는 사실이 언급된다. 이러한 내용을 담고 있는 본 논문은 몇 가지 한계에도 불구하고 전통 미학의 틀에서 벗어나서 스포츠 미학 담론을 새로운 시각에서 새롭게 논의하는 것이 필요하고 또 충분히 가능하다는 사실을 환기시켜주는 데에는 기여할 수 있을 것이다. (shrink)

Through an approach primarily inspired by the Aisthetik (Gernot Böhme) and the Neue Phänomenologie (Hermann Schmitz) I define the atmospheric perception as the first pathic impression and investigate the relationship between this kind of perception (possibly initially immersive, then reflective) and the expressive qualities of our lifeworld. Pathic aesthetics therefore ceases to be just a theory of works of art. It considers the perceiver as a being first of all emotionally and felt-bodily touched by atmospheric feelings widespread in her (lived) (...) space but these atmospheric feelings are also affordances, ontologically rooted in things and quasi-things of her lifeworld. By exploring how she unintentionally exposes herself to what happens in this lifeworld, man turns out to be not a “subject of something” but rather a “subject to something”: a human being who is “sovereign” to the extent she is free from the claim of rational autonomy imposed by the western Modernity. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Directions in Contemporary German AestheticsMatthew PritchardÄsthetisches Denken, 6th ed., by Wolfgang Welsch. Stuttgart: Reclam, 1990 (2003), 223 pp.Aisthetik: Vorlesungen Über Ästhetik Als Allgemeine Wahrnehmungslehre, by Gernot Böhme. Munich: Wilhelm Fink, 2001, 199 pp.Ästhetische Korrespondenzen: Denken Im Technischen Raum, by Reinhard Knodt. Stuttgart: Reclam, 1994, 166 pp.The relationship between the Anglo-American and German aesthetic traditions is a paradoxical one. On the one hand, acquaintance with one or more figures from (...) the “great tradition” in German aesthetic thought over the last 250 years is a given for most philosophically oriented writers on aesthetics in Britain and America. Thinkers such as Kant or Adorno form a real and abiding part of our background. In some cases the connection with German intellectual lineages goes a good deal further. As an extreme case, take Terry Eagleton’s The Ideology of the Aesthetic,1 whose engagement with German thought is so deep that I have come across it as a set text for aesthetics courses in German universities (despite the fact that none of the dozen authors Eagleton analyzes are cited in their original language). On the other hand, interest in contemporary German aesthetics in English and American circles appears to be relatively slight. One would have little idea, from reading any of the philosophical journals in English, of just how much activity there is in this area, only a small proportion of which has been translated, cited, or reviewed. And yet the past two decades have seen the publication of dozens of relevant books by German authors, many proposing independent theoretical approaches. Among these—aside from the books reviewed here—are the substantial work done on performance and performativity by Erika Fischer-Lichte (Ästhetik des Performativen, 2004) and Dieter Mersch (Ereignis und Aura, 2002); the theoretical oeuvre of the prize-winning literary critic Karl Heinz Bohrer, of which Suddenness: On the Moment of Aesthetic Appearance, originally published in 1981, has made it into English; Ruth Sonderegger’s Romantic-leaning plea Für eine Ästhetik des Spiels (2000); Dieter Heinrich’s work on the philosophy of art and subjectivity, Fixpunkte: Aufsätze [End Page 117] und Essays zur Theorie der Kunst (2003); Martin Seel’s Aesthetics of Appearing (2004); the traditional neo-Kantian perspective of the late Rüdiger Bubner as set out in his Ästhetische Erfahrung (1989); Gábor Paál’s Was ist schön?—Ästhetik und Erkenntnis (2003); Konrad Paul Liessmann’s Reiz und Rührung: Über ästhetische Empfindungen (2003)... the list could be continued. And this is not to mention empirical-psychological approaches, works on the history of aesthetics, the reception accorded to analytical aesthetics and American philosophers such as Goodman and Danto, or the continuation of European poststructuralist and Frankfurt School traditions (for example, in the work of Albrecht Wellmer and Christoph Menke).Given this large “backlog” of writing not yet assimilated into Anglo-American discussion, it makes sense to be selective and range a little further than the most recently published texts. Owing to sheer diversity, I cannot honestly claim that the three books I am going to discuss here are “representative” of the interests driving contemporary German aesthetics. But I have chosen them for certain common traits, traditions, and emphases that seem to me to present a stimulating contrast with the approach of Anglo-American philosophical aesthetics, while retaining many points of contact with non-German thought. That the contrast does not come down to the crass standoff of “analytical” vs. “Continental,” and all the clichés about academic style that go with it, should become obvious. It is more interesting than that, and although I want to leave the details to the discussion of the three books, I can mention at the outset a few aspects I regard as important. One is that none of these authors addresses themselves exclusively to either the philosophy of art or to the aesthetics of nature and the environment. Instead they tend to make points relating to both, or to regard both as aspects of a single situation. “Environmental aesthetics” in Anglo-American philosophy—for instance, the work of Allen Carlson—is not only of recent date but is still a subdiscipline separated from aesthetics... (shrink)

Charles E. SCOTT, Susan M. SCHOENBOHM, Daniela VALLEGA-NEU, Alejandro VALLEGA, Companion to Heidegger’s Contributions to Philosophy, IndianaUniversity Press, Bloomington & Indianapolis, 2001 ; Gernot BÖHME, Aisthetik. Vorlesungen über Ästhetik als allgemeine Wahrnehmungslehre, Wilhelm Fink Verlag, München, 2001 ; Dean KOMEL, Osnutja k Filozofski in Kulturni Hermenevtiki [Outlines to Philosophical and Cultural Hermeneutics], Nova revija, Ljubljana, 2001 ; Marc RICHIR, L’institution de l’idéalité. Des schématismes phénoménologiques, Association pour la promotion de la Phénoménologie, Paris, 2002 ; Fred EVANS & Leonard LAWLOR, Chiasms. (...) Merleau-Ponty's Notion of Flesh, State University of New York Press, 2000 ; Udo TIETZ, Ontologie und Dialektik. Heidegger und Adorno über das Sein, das Nichtidentische, die Synthesis und die Kopula, Passagen Verlag, Wien, 2003 ; Etienne FERON, Phénoménologie de la mort. Sur les traces de Levinas, Kluwer Academic Publishers, Dordrecht, Boston, London, 1999. (shrink)

Charles E. SCOTT, Susan M. SCHOENBOHM, Daniela VALLEGA-NEU, Alejandro VALLEGA, Companion to Heidegger’s Contributions to Philosophy, IndianaUniversity Press, Bloomington & Indianapolis, 2001 ; Gernot BÖHME, Aisthetik. Vorlesungen über Ästhetik als allgemeine Wahrnehmungslehre, Wilhelm Fink Verlag, München, 2001 ; Dean KOMEL, Osnutja k Filozofski in Kulturni Hermenevtiki [Outlines to Philosophical and Cultural Hermeneutics], Nova revija, Ljubljana, 2001 ; Marc RICHIR, L’institution de l’idéalité. Des schématismes phénoménologiques, Association pour la promotion de la Phénoménologie, Paris, 2002 ; Fred EVANS & Leonard LAWLOR, Chiasms. (...) Merleau-Ponty's Notion of Flesh, State University of New York Press, 2000 ; Udo TIETZ, Ontologie und Dialektik. Heidegger und Adorno über das Sein, das Nichtidentische, die Synthesis und die Kopula, Passagen Verlag, Wien, 2003 ; Etienne FERON, Phénoménologie de la mort. Sur les traces de Levinas, Kluwer Academic Publishers, Dordrecht, Boston, London, 1999. (shrink)