In this article, I draw on Gurdjieff’s philosophy to initiate a phenomenology of aesthetic experience, which I define as any intense emotional engagement that one feels in encountering or creating an artistic work, whether a painting, poem, song, dance, sculpture, or something else. To consider how aesthetic experience might be understood in a Gurdjieffian framework, I begin with an overview of phenomenology, emphasizing the phenomenological concepts of lifeworld and natural attitude, about which Gurdjieff said much, though not using phenomenological language. I then discuss Gurdjieff’s “psychology of human beings” as it might be interpreted phenomenologically, emphasizing three major claims: first, that, human beings are “asleep”; second, that they are “machines”; and, third, that they are “three-centered beings.” I draw on the last claim—human “three-centeredness”—to highlight how aesthetic experiences might be interpreted via Gurdjieff’s philosophy. Drawing on accounts from British philosopher and Gurdjieff associate J. G. Bennett, I end by considering how a Gurdjieffian perspective understands the role of the artistic work in contributing to aesthetic experience.

中文翻译：

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“以崭新的眼光看世界”

在本文中，我将借鉴葛吉夫（Gurdjieff）的哲学，以期引发审美体验现象学，我将其定义为人们在遇到或创作艺术作品时所感受到的任何强烈的情感参与，无论是绘画，诗歌，歌曲，舞蹈，雕塑还是其他东西别的。为了考虑如何在Gurdjieffian框架中理解审美经验，我首先对现象学进行了概述，着重强调了生活世界和自然态度的现象学概念，尽管没有使用现象学语言，但葛吉夫还是对此发表了很多看法。然后，我讨论葛吉夫的“人类心理学”，它可能是现象学上的解释，强调了三个主要主张：第一，人类在“睡着了”；第二，人类在“睡着了”。第二，它们是“机器”；第三，他们是“三个中心的人。“我借鉴了人类的“三个中心”这一最后主张，以强调如何通过葛吉夫的哲学来诠释审美体验。最后，我以英国哲学家和葛吉夫（Gurdjieff）的同事JG贝内特（JG Bennett）的论述为基础，首先考虑一下葛吉夫的观点如何理解艺术作品在促进审美体验方面的作用。