ABSTRACT
We offer a few brief comments on Husserl’s phenomenology of aesthetic consciousness overall, and the relative strength of his position compared with the aesthetics of Heidegger, Merleau-Ponty, Dufrenne, and Sartre. It is argued, that all across the board, Husserl’s account of aesthetic consciousness is probably the most inclusive one we have in terms of doing justice to its diversity vis-à-vis the kinds of object and idioms of apprehension involved. There is a wealth of highly original ideas throughout his treatments of the different individual media. Indeed, these are explored, finally, in relation to some key varieties of digital art notably the work of Gerhard Mantz and the immersive strategies of Char Davies. The work concludes by arguing that Husserl’s different idioms of apprehension, phantasy, and, in particular, the role of the Ego in aesthetic consciousness can be treated in far greater detail than we have been able to do here. In terms of solving problems in aesthetics, working with Husserl is a task only just begun.
