The paper offers a systematic account of Vasily Sesemann’s aesthetics. First, I ar-gue that, due to the primacy this aesthetics grants to intuition, intentionality and the objectivity of aesthetic values, its underlying principles are decidedly phenomenologi-cal. Secondly, I offer an account of the general structures of perceptual acts and I con-tend that the distinctive nature of aesthetic perception lies in the unique disposition of the aesthetic attitude. Thirdly, I maintain that there are three fundamentally different ways in which one can speak of aesthetic truth: in terms of formal requirements, subjec-tive material requirements, and objective material requirements. Fourthly, I open a short dialogue between Sesemann and Maurice Merleau-Ponty and argue that an artwork ful-fills the objective requirements of material truth when it succeeds in disclosing those levels of experience, on which the theoretical and practical attitudes rest and from which they take their departure.
The paper offers a phenomenological interpretation of the temporality of chronic pain. First, I maintain that the field of presence constitutes the exhaustive horizon within which chronic pain is lived. Secondly, I argue that chronic pain is a form of depersonal-ization in that it cuts the field of presence from the past and the future. Thirdly, drawing on some recent phenomenological and neurological findings, I argue that the past and the future, despite their apparent irreality, continue to affect the present “behinds its back”: either through implicit bodily memory, or through implicit bodily anticipation. Thus despite its depersonalizing effects, chronic pain is a deeply personal experience. In my conclusion, I turn to the therapeutic significance of such a phenomenology of tem-porality. I maintain that if chronic pain is nested in implicit temporality, then to confront it, one must become conscious of its effects and, if possible, neutralize their meaning.
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