Passivity in Aesthetic Experience: Husserlian and Enactive Perspectives

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Standard

Passivity in Aesthetic Experience : Husserlian and Enactive Perspectives. / Høffding, Simon; Roald, Tone.

I: Journal of Aesthetics and Phenomenology, Bind 6, Nr. 1, 01.05.2019, s. 1-20.

Publikation: Bidrag til tidsskrift › Tidsskriftartikel › Forskning › fagfællebedømt

Harvard

Høffding, S & Roald, T 2019, 'Passivity in Aesthetic Experience: Husserlian and Enactive Perspectives', Journal of Aesthetics and Phenomenology, bind 6, nr. 1, s. 1-20. https://doi.org/10.1080/20539320.2019.1589042

APA

Høffding, S., & Roald, T. (2019). Passivity in Aesthetic Experience: Husserlian and Enactive Perspectives. Journal of Aesthetics and Phenomenology, 6(1), 1-20. https://doi.org/10.1080/20539320.2019.1589042

Vancouver

Høffding S, Roald T. Passivity in Aesthetic Experience: Husserlian and Enactive Perspectives. Journal of Aesthetics and Phenomenology. 2019 maj 1;6(1):1-20. https://doi.org/10.1080/20539320.2019.1589042

Author

Høffding, Simon ; Roald, Tone. / Passivity in Aesthetic Experience : Husserlian and Enactive Perspectives. I: Journal of Aesthetics and Phenomenology. 2019 ; Bind 6, Nr. 1. s. 1-20.

Bibtex

@article{96d673af4530494f87d0a0f2485860af,
title = "Passivity in Aesthetic Experience: Husserlian and Enactive Perspectives",
abstract = "This paper argues that the Husserlian notion of “passive synthesis” can make a substantial contribution to the understanding of aesthetic experience. The argument is based on two empirical cases of qualitative interview material obtained from museum visitors and a world-renowned string quartet, which show that aesthetic experience contains an irreducible dimension of passive undergoing and surprise. Analyzing this material through the lens of passive syntheses, helps explain these experiences as well as the sense of subject-object fusion that occurs in some of the most intense forms of aesthetic experience. These analyses are then contrasted with a potentially contradicting take on aesthetic experience from a recent trend in cognitive science, namely enactive aesthetics, which insists on the active subjective construction and sense-making of aesthetic experience. Finally we show that the two positions are in fact compatible.",
keywords = "Faculty of Social Sciences, Husserlian phenomenology, passive synthesis, enactive aesthetics, artworks in museums, musical absorption",
author = "Simon H{\o}ffding and Tone Roald",
year = "2019",
month = may,
day = "1",
doi = "10.1080/20539320.2019.1589042",
language = "English",
volume = "6",
pages = "1--20",
journal = "Journal of Aesthetics and Phenomenology",
issn = "2053-9320",
publisher = "Taylor & Francis",
number = "1",

}

RIS

TY - JOUR

T1 - Passivity in Aesthetic Experience

T2 - Husserlian and Enactive Perspectives

AU - Høffding, Simon

AU - Roald, Tone

PY - 2019/5/1

Y1 - 2019/5/1

N2 - This paper argues that the Husserlian notion of “passive synthesis” can make a substantial contribution to the understanding of aesthetic experience. The argument is based on two empirical cases of qualitative interview material obtained from museum visitors and a world-renowned string quartet, which show that aesthetic experience contains an irreducible dimension of passive undergoing and surprise. Analyzing this material through the lens of passive syntheses, helps explain these experiences as well as the sense of subject-object fusion that occurs in some of the most intense forms of aesthetic experience. These analyses are then contrasted with a potentially contradicting take on aesthetic experience from a recent trend in cognitive science, namely enactive aesthetics, which insists on the active subjective construction and sense-making of aesthetic experience. Finally we show that the two positions are in fact compatible.

AB - This paper argues that the Husserlian notion of “passive synthesis” can make a substantial contribution to the understanding of aesthetic experience. The argument is based on two empirical cases of qualitative interview material obtained from museum visitors and a world-renowned string quartet, which show that aesthetic experience contains an irreducible dimension of passive undergoing and surprise. Analyzing this material through the lens of passive syntheses, helps explain these experiences as well as the sense of subject-object fusion that occurs in some of the most intense forms of aesthetic experience. These analyses are then contrasted with a potentially contradicting take on aesthetic experience from a recent trend in cognitive science, namely enactive aesthetics, which insists on the active subjective construction and sense-making of aesthetic experience. Finally we show that the two positions are in fact compatible.

KW - Faculty of Social Sciences

KW - Husserlian phenomenology

KW - passive synthesis

KW - enactive aesthetics

KW - artworks in museums

KW - musical absorption

U2 - 10.1080/20539320.2019.1589042

DO - 10.1080/20539320.2019.1589042

M3 - Journal article

VL - 6

SP - 1

EP - 20

JO - Journal of Aesthetics and Phenomenology

JF - Journal of Aesthetics and Phenomenology

SN - 2053-9320

IS - 1

ER -

ID: 210058088