Question at hand
Kormin N.A. —
Color as a problem of phenomenological aesthetics
// Philosophy and Culture.
– 2020. – є 9.
– P. 9 - 33.
DOI: 10.7256/2454-0757.2020.9.33776 URL: https://en. nbpublish.com/library_read_article.php?id=33776
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The goal of this research is to clarify the aesthetic concept of color perception from the perspective of phenomenological reasoning of Edmund Husserl. Currently, the vector of phenomenological research is formed in various zoned: from theological to naturalistic. Which of these zones allocate the structure of phenomenological analysis of the color is quite difficult. The coloristic region is constituted in proportion to consciousness, including the aesthetic consciousness. It is extremely difficult to encounter the phenomenon of color, as its evidence is fulfilled by the passion of contemplative consciousness with its aesthetic pathos, consciousness that pursues parallels between the givenness of transcendent color and aesthetic “continent of the givenness”. According to Husserl, it refers to aureole of consciousness, which is associated with essence of perception, realized in the mode of turning to the beauty of color. This article is firs to determine the approaches towards studying a complex phenomenological topic, such as the description of the coloristic orientation, eidetics of color experiences in Husserl's philosophy, and reveal the importance of its development for comprehension of aesthetic and artistic consciousness. The main conclusions are associated with the philosophical interpretation of the idea of color as included by phenomenology in the philosophical experience of astonishment, which translates into acquisition of essence of the “phenomenological color” overall; in aesthetics, it directly correlates with the emergence of its structures on the horizon of harmonic synthesis of the acts of perceptive realization in imagination, “pristinely giving perception” of color, with creation of the pattern of color experiences as cognitive emotions, reduced pure color perception, with understanding of how the art clarifies the very conditions of visibility of color, and how its artistic synthesis is carried out, within the structure of which the correlation analysis can detect the analogue of the aprioristic empiricism – this determines in the national research fundamental characteristic of the truly Husserl’s synthesis and method.
color, creativity, painting, perception, consciousness, postphenomenology, phenomenology, aesthetics, Husserl, Kant
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