Poetic Experience

Abstract

T^H E subject I am discussing here deals with a very peculiar kind of knowledge -a kind of knowledge whose means is not concepts and reasoning, but affective inclination or affinity, and which is often disregarded by philosophers interested only in the rational kind of knowing. Henri Bergson liked to quote a sentence he found in the letters of a French philosopher; the sentence was as follows: "I have suffered from this friend enough to know him." When I know a friend to the core -not through having submitted him to a complete series of psychological tests, but because I have suffered from him and have got in myself the habit of his nature -then we may say in philosophical language that I know this man by connaturality.

The Sacred Object

“…24 Maritain similarly notes that things can "give more than they have, because from every side they are pervaded by the creative influx of the first cause." 25 Sacred objects in particular render this divine agency transparent. Given its function as an instrument, the sacred object is itself agential -we do not need to read agency back into it -but this agency does not originate in the object itself.…”

'The Poetic' as visual rhetoric in book design

“…Hence, the absence of feelings in design would likely render the work to mere functional or instructional aspects and does not further evoke the imagination of the user beyond its "use". According to Jacques Maritain (1944), poetic experience is conceived in the creative activity, as a poetic creation is subjective and lies within the mind of the creator, it remains only as thoughts not to be known unless materialized (which Maritain referred to as "object of poetic experience"). He further emphasized, the poetic experience should not be confined to poetry or activity of the poet but includes all kinds of artistic work, as poetic experience could happen in the absence of a poem, but not the other way round.…”

“…He further emphasized, the poetic experience should not be confined to poetry or activity of the poet but includes all kinds of artistic work, as poetic experience could happen in the absence of a poem, but not the other way round. Above all, this poetic experience does not relate to superficial sensations and affective emotions 11 , but at a deeper level in the unity of "imagination", "intellect" and "intuitive emotions" 12 (Maritain 1944). These notions suggested the alignment with resonance and self-reflexivity, which the 'the Poetic' aspires to achieve.…”

“…Such emotions are conceived from the artist's knowledge and experience of the world. (Maritain 1944) To evoke self-reflexivity, it is crucial to establish two-way communication between reader and design artefact, to create unique experiences and symbolic meanings through relation back to oneself (吕敬人 2017, 杉浦康平 2013). Conversely, Maritian's interpretation suggested a valuable perspective that this process should also be considered from a creator's view, where it first takes place in the creation process (Maritain 1944) before the completed work lands on another reader's hand.…”

“…(Maritain 1944) To evoke self-reflexivity, it is crucial to establish two-way communication between reader and design artefact, to create unique experiences and symbolic meanings through relation back to oneself (吕敬人 2017, 杉浦康平 2013). Conversely, Maritian's interpretation suggested a valuable perspective that this process should also be considered from a creator's view, where it first takes place in the creation process (Maritain 1944) before the completed work lands on another reader's hand. The notion of selfreflexivity to bring about the intended poetic experience with the design artefact was investigated from the designer's workspace -taking on both roles of a creator and user in this study.…”