Abstract

Günter Figal's conception of epochē expresses a fundamental divergence from dominant interpretations of Husserlian phenomenology. The hermeneutical notion of objectivity employed by Figal is different from the notion as it is employed in generic forms of epistemology. He assumes that the questions which shape epistemology about the legitimate constraints on our understanding can be clarified though phenomenological descriptions of how we acknowledge the objectivity of the subject matter. Insofar as the objects of fine art already in Objectivity were conceived as expressing a distinct kind of objectivity, Figal's aesthetics is developed in direct continuation of his hermeneutical philosophy. An audacious feature of Figal's aesthetic is the attempt to reinvigorate the classical discussion about how to distinguish between fundamental forms of art. Figal claims it is an indispensable task for a philosophical aesthetic to clarify why our always already practiced habit of categorizing works of art mirrors not just arbitrary conventions.