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The play here is not only on the absence and presence of consciousness which weaves in and out of the art experience but this is signified by the rhythms of the trampoline.
Here, and in Gasset's essay, the trampoline imagery is used as token of consciousness as an instant, as an ascension 'into' the art experience, a step- ping stone of consciousness (a 'coming down to earth') between two nonconscious states of artistic rapture: ascending and descending.
I would suggest that there is a feeling of simultaneiety experiencing both kinds of seeing during the art experience, this has also been called convergence (Church 2000: 99).
This is precisely an interaction because the organisation of pictorial space into a picture-in-a-picture alerts reflexive self-consciousness, and this is no mere reading of the story of the painting but a reading of the story of how we become self- aware of our viewing as part of the art experience.
It is the task of art historians to mediate this phenomenology with transcultural and material specificities for more nuanced readings of what happens in the art experience, not merely what happens 'in' the painting as
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