TABLE OF CONTENTS

A Phenomenological Approach to Artistic Intention

Introduction

THE APPROACH IS TRIPARTITE, each part a stage transcending its predecessor: (1) artistic intention as the matter-of-fact ground of art, in the same way in which, as Husserl describes it, the “foundation of naive-objectivistic science” is something taken for granted;1 (2) the subjectivization of the perception of art through the deliberate introduction of a systematic doubt of the presumably self-evident objectivity of its ground—the doubt is designed to counteract the self-evidence—issuing in a phenomenological reduction of art, which, while it complicates the occupation of creating it with a preoccupation with its origin—at times the two exist in ironic interrelation, as in Duchamp—forces “the entrance” to a radical consciousness of art, to a critical consciousness of its foundation;2 (3) the reviewing, under the auspices of the phenomenological epoché of artistic intention

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