Vasily Sesemann’s manuscript Self-Knowledge, Self-Consciousness and Objectification explores the relationship of consciousness with self-consciousness and the subconscious, as well as various forms of objectification of consciousness. This manuscript can be attributed to a group of manuscript texts that discuss the origin of consciousness and the metaphysical relationship between matter and spirit. Sesemann studied consciousness, describing it as an intentional experience and rejecting its naturalistic explanations. Sesemann revealed the irreducibility of life to physiological chemical processes and, at the same time, rejected (...) the dualistic opposition of spirit and matter, soul, and body. The article aims to show that the concept of consciousness formulated by Sesemann is phenomenological. The philosopher rejects naturalistic and objectivist explanations of consciousness. Consciousness must be explored as an experiential subjectivity, not as an object. Sesemann criticizes naturalistic psychology and argues that consciousness is an intentional activity in the world. Consciousness is embodied self-awareness and empathic connection with other living beings. (shrink)

Vasily Sesemann’s aesthetics is a transcendental philosophy that seeks to answer the question of how an experience of beauty is possible. Sesemann insists that aesthetics should focus on the study of the aesthetic object itself, and through it go to the problematics of the act of perception and creativity. Sesemann states that not only the relationship between the work of art and the perceiver is important in order to understand the aesthetic object, but also the relationship between the work of (...) art and the creator. The aesthetic object in its sedimented form not only retains indications of the act of creation, but also makes demands on the perceiving subject. Aesthetic objects are sedimented passive structures that can be activated by the performative actions of the perceiver when she discovers the appropriate way of perception. Sesemann, like Moritz Geiger, claims that aesthetics is impossible without an analysis of feelings. He, like Geiger, recognizes the importance of empathy in aesthetic experience. However, Sesemann develops the concept of aesthetic empathy using Max Scheler’s arguments. Empathy is necessary, because the perceiver must be able to understand expressions. The aim of this paper is to analyse the phenomenological aspects of Vasily Sesemann’s aesthetics. Firstly, this paper analyzes the Sesemann’s phenomenology of aesthetic experience. Secondly, it shows that the analysis performed by Sesemann demonstrates why empathy plays a leading role in aesthetic experience. (shrink)