ABSTRACT This paper argues that the Husserlian notion of “passive synthesis” can make a substantial contribution to the understanding of aesthetic experience. The argument is based on two empirical cases of qualitative interview material obtained from museum visitors and a world-renowned string quartet, which show that aesthetic experience contains an irreducible dimension of passive undergoing and surprise. Analyzing this material through the lens of passive syntheses helps explain these experiences, as well as the sense of subject–object fusion that occurs in some of the most intense forms of aesthetic experience. These analyses are then contrasted with a potentially contradicting take on aesthetic experience from a recent trend in cognitive science, namely enactive aesthetics, which insists on the active subjective construction and sense-making of aesthetic experience. Finally we show that the two positions are in fact compatible.

中文翻译：

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审美体验中的被动：胡塞尔和积极的视角

摘要本文认为，胡塞尔的“被动综合”概念可以对理解审美经验做出重大贡献。该论点基于从博物馆参观者和世界知名的弦乐四重奏获得的两个定性采访材料的经验案例，这些案例表明，审美体验包含了一种不可还原的消极经历和惊奇。通过被动合成的角度来分析这种材料有助于解释这些经历，以及在某些最强烈的审美体验形式中发生的主客融合感。然后，将这些分析与认知科学的最新趋势（即，积极的美学，它坚持积极的主观建构和审美体验的感性认识。最后，我们表明这两个位置实际上是兼容的。