Visibility in the structure of intentional aesthetical subsistence

Abstract

In the article, the singularity of aesthetical act visualisation is analysed and stages of aesthetical imagination according to phenomenological methodology principles are disclosed. The question about the concept’s meanings and the interaction between visibility and evidence is raised. Aesthetical imagination is disclosed in the context of aesthetical theory of the Polish phenomenologist R. Ingarden whe describes the theory of aesthetical empathy, of intentional subsistence, of the concretization of a piece of art, of aesthetical values. These theories appeal to intuition which is accepted as a universal cognitive power and which takes the main part in direct practice and in scientific phenomenological research. Visibility and obviousness are amazing particular shapes of consciousness among which a continuum of multiple images is situated. The spotlight goes to visual contact with quality and its importance for the further development of an aesthetical act. Thoroughly described are stages of aesthetical visualisation: impression of sensual aesthetical quality, images of multiple aesthetical concretization and contemplative visualisation. The suggestion is made about aesthetical immanent
mono-subjectivity which depends on a particular flow of images and their possibility to become externally visible.
The article ends with findings about the essential role in an aesthetical act and its subsistent non-substance (heteronymity) dependent on the subject’s creative potency and observation process.