Visual Art and the Rhythm of Experience
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Visual Art and the Rhythm of Experience. / Levin, Kasper; Roald, Tone; Funch, Bjarne Sode.
In: The Journal of Aesthetics and Art Criticism, Vol. 77, No. 2, 2019, p. 281-293.Research output: Contribution to journal › Journal article › Research › peer-review
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TY - JOUR
T1 - Visual Art and the Rhythm of Experience
AU - Levin, Kasper
AU - Roald, Tone
AU - Funch, Bjarne Sode
PY - 2019
Y1 - 2019
N2 - The concept of rhythm is frequently used by art historians, critics, and philosophers as a way of describing central features of visual art. Since rhythm is generally considered to be a temporal phenomenon associated with music, it is far from clear how visual art, composed of fixed lines, figures, and color, can be associated with rhythmicity. Linked to a temporal ordering or structure in music, the notion of rhythm in visual art leads to a claim that the aesthetic aspect of a painting does not consist in, or emerge from, its spatial structures, but rather its temporal ordering of the visual field. Recently this account of rhythm in visual art has been criticized by philosopher Jason Gaiger, who argues that visual art does not comprise movement and therefore cannot be associated with a temporal rhythm. Through a discussion of temporality and rhythm in Edmund Husserl, Erwin Straus, and Henri Maldiney, this article maintains that rhythmicity is a central aspect of experiences with visual art. It is shown that the phenomenological account of rhythm in the experience of visual art is fundamentally linked to a different notion of time.
AB - The concept of rhythm is frequently used by art historians, critics, and philosophers as a way of describing central features of visual art. Since rhythm is generally considered to be a temporal phenomenon associated with music, it is far from clear how visual art, composed of fixed lines, figures, and color, can be associated with rhythmicity. Linked to a temporal ordering or structure in music, the notion of rhythm in visual art leads to a claim that the aesthetic aspect of a painting does not consist in, or emerge from, its spatial structures, but rather its temporal ordering of the visual field. Recently this account of rhythm in visual art has been criticized by philosopher Jason Gaiger, who argues that visual art does not comprise movement and therefore cannot be associated with a temporal rhythm. Through a discussion of temporality and rhythm in Edmund Husserl, Erwin Straus, and Henri Maldiney, this article maintains that rhythmicity is a central aspect of experiences with visual art. It is shown that the phenomenological account of rhythm in the experience of visual art is fundamentally linked to a different notion of time.
U2 - 10.1111/jaac.12647
DO - 10.1111/jaac.12647
M3 - Journal article
VL - 77
SP - 281
EP - 293
JO - The Journal of Aesthetics and Art Criticism
JF - The Journal of Aesthetics and Art Criticism
SN - 0021-8529
IS - 2
ER -
ID: 209517183