scholarly journals Spectators’ aesthetic experience of sound and movement in dance performance: A transdisciplinary investigation.

2016 ◽  
Vol 10 (1) ◽  
pp. 42-55 ◽  
Author(s):  
Matthew Reason ◽  
Corinne Jola ◽  
Rosie Kay ◽  
Dee Reynolds ◽  
Jukka-Pekka Kauppi ◽  
...  
Keyword(s):  
Aesthetic Experience ◽  
Dance Performance

Aesthetics of Dance

2021 ◽  
Author(s):  
Beatriz Calvo-Merino
Keyword(s):  
Cognitive Neuroscience ◽  
Experimental Psychology ◽  
Performing Arts ◽  
Expressed Emotion ◽  
Aesthetic Experience ◽  
Prior Experience ◽  
Dance Movement ◽  
Dance Performance ◽  
Embodied Aesthetics ◽  
The Brain

How does the brain see and experience dance? Performing arts have captured the attention of empirical aesthetics and neuroaesthetics. In this chapter, the author reviews studies from cognitive neuroscience and experimental psychology that have contributed to our understanding of the brain mechanisms for dance perception. The author introduces the concept of sensorimotor aesthetics, the process whereby the observer evokes an internal simulation of the perceived action of a dance performance, during its emotional and aesthetic experience. The author proposes an embodied aesthetics framework, in which the perception of the dancer’s body, the dance movement, and the expressed emotion are significantly influenced by an observer’s prior experience. Finally, the author discusses potential avenues for enhancing interactions between the science and artistic communities in pursuit of a deeper understanding of the aesthetics of dance.

The Body’s Memory Archives in the Process of Generating an Aesthetic Movement and `Flow Experiences` for the Audience in the Production of the Performance tXc -TOXIC (after F. Richter’s play Rausch)

2021 ◽  
Vol 66 (2) ◽  
pp. 173-185
Author(s):  
Raluca Lupan
Keyword(s):  
Aesthetic Experience ◽  
Focal Point ◽  
Dance Performance ◽  
Body Memory ◽  
Main Site ◽  
Aesthetic Movement ◽  
Contact Improvisation ◽  
Flow Experiences

"The present enquiry is particularly interested in the performer’s body archiving memory while generating poetic movement on stage. The main site of investigation is a theatre-dance performance and the work engaged by the performers of tXc-TOXIC (after the Falk Richter’s play Rausch, an Insula Creative Hub production, directed by Cristian Grosu, choreographed and co-directed by me). The focal point of my argument is that, with proper and sustained body training, performers can easily incite and produce aesthetic movement after engaging the CI (contact improvisation) means of accessing movement and body memory. Keywords: (Non-toxic) body archives, aesthetic experience, embodiment, dance, performance "

scholarly journals The relationship between the dancers’ and the audience’s aesthetic experience

Psihologija ◽  
2017 ◽  
Vol 50 (4) ◽  
pp. 465-481
Author(s):  
Maja Vukadinovic ◽  
Slobodan Markovic
Keyword(s):  
Aesthetic Experience ◽  
The Other ◽  
Live Performance ◽  
Dance Performance ◽  
Video Presentation ◽  
Other Hand ◽  
Custom Made ◽  
The Aesthetic ◽  
The Relationship ◽  
Higher Sensitivity

The study investigates the aesthetic experience of a dance performance from the perspective of both the dancers and the audience. The audience observed three short custom-made choreographies that were presented live and then watched the recorded versions, and judged them on an instrument designed to measure the aesthetic experience of dance. The choreographies were performed by six dancers. The dancers judged their own performances as well as the recorded versions of the performances. The analyses revealed that the dancers? aesthetic experience of a dance performance is similar when they perform choreography and watch it on video. On the other hand, the audience showed a higher sensitivity to live performance: they judged the live performance higher on all dimensions of aesthetic experience compared to their video presentation.

Aux frontières de l'expérience esthétique: le grotesque baudelairien

2019 ◽  
Vol 58 (2) ◽  
pp. 237-248
Author(s):  
Julien Weber
Keyword(s):  
Aesthetic Experience ◽  
A Priori ◽  
Intended Meaning ◽  
The Grotesque

This article is about the grotesque in Baudelaire. While Baudelaire's famous essay on laughter plays an important role in contemporary theories of grotesque aesthetics, his own poetic production is often left aside. In this article, I discuss how the grotesque manifests itself in works by Baudelaire that seem a priori irrelevant because of their ostensible use of ‘comique significatif’, a sort of antithesis of the grotesque. Through a discussion of Pauvre Belgique! And ‘Le Chien et le Flacon’, I argue that the baudelairian grotesque most powerfully intervenes in the mode of a distortion of the intended meaning, which leads me to distinguish its reading from a properly ‘aesthetic’ experience.

Haydn, meter, and listening in transition

2010 ◽  
Vol 51 (1-2) ◽  
pp. 141-152 ◽  
Author(s):  
Roger Grant
Keyword(s):  
Eighteenth Century ◽  
Aesthetic Experience ◽  
Recent Trend ◽  
Music And Literature ◽  
Late Works ◽  
The Way

In recent years, music theorists and analysts have devoted a great deal of attention to the phenomenon of hypermeter, drawing some of their most representative examples from the late works of Haydn. Although this recent trend in analysis has shed much light on Haydn’s music, it has left questions of history distinct from the mode of listening it engages. This article argues that the way we understand conceptualizations of listening and aesthetic experience can greatly inform the way that we understand hypermeter and the question of style in history. Drawing on eighteenth-century theories of music and literature, it recontextualizes Haydn’s hypermetric style with respect to a larger world of aesthetic experience.

Gadamer’s Concept of Aesthetic Experience as a Possibility for the Orthodox Biblical Theology

2014 ◽  
Vol 6 (3) ◽  
pp. 378-407
Author(s):  
Zdenko Š Širka
Keyword(s):  
Aesthetic Experience ◽  
Biblical Theology ◽  
Main Thesis ◽  
New Material ◽  
The Way

Abstract This article finds its inspiration in the new interpretations of Gadamer’s hermeneutics, which underline the turn in his later period, and which focus on the conception of aesthetic experience as an experience of transcendence. The main thesis is that the understanding of artworks, as Gadamer describes them in contrast to the Kantian subjectification of aesthetics, can be paralleled with the way Orthodox biblical theology struggles to approach Holy Scripture in the context of Church and Tradition. The aim of this article is to bring new material to the growing reception of Gadamer among Orthodox scholars, and to initiate further discussion on the topic by showing the parallels and areas where this reception could continue.

Film als Experiment der Animation

2012 ◽  
Vol 3 (1) ◽  
pp. 11-24
Author(s):  
Gertrud Koch
Keyword(s):  
Aesthetic Experience ◽  
Life Sciences

Im Zentrum steht der Begriff des Experiments, der mit Kants Begriff der Lebendigkeit als zentralem Topos der ästhetischen Erfahrung auf die 〉Animation〈 im Film bezogen wird, insoweit beide einen lebenswissenschaftlichen Kern haben. Insbesondere in einer Auseinandersetzung mit Eisensteins Poetik des 〉Plasmatischen〈 wird die experimentelle Übertragung einer lebenswissenschaftlichen Metapher in eine Ästhetik des Films diskutiert, die von der Animation ausgeht. </br></br>The paper discusses the notion of »experiment« and relates it – via Kant's concept of liveliness, which is a central topos of aesthetic experience – to »animation« in film, insofar as both essentially refer to »life sciences.« Drawing upon the example of Eisenstein's poetics of the »plasmic,« the paper discusses the transferal of a metaphor from life sciences to an aesthetics of cinema based on animation.

Ambient in Kunst, Musik und Theater

2009 ◽  
Vol 54 (1) ◽  
pp. 121-132
Author(s):  
Sabine Gebhardt Fink
Keyword(s):  
Aesthetic Experience ◽  
Complex Structure ◽  
Lived Space ◽  
Ästhetische Erfahrung ◽  
Point Of Departure

In performativen künstlerischen Projekten der Ambient Art werden Raum und Körper neu erzeugt. Diese These verdeutliche ich mit Beispielen aus den Bereichen Musik, Theater und Kunst, die das transdisziplinäre Phänomen Ambient als komplexe mediale Struktur erklären. Des weiteren gehe ich vom Modell des gelebten Raums aus, um auszuführen, wie der Ort eines künstlerischen Projekts die Art und Weise der Verkörperungen seiner Teilnehmer definiert. Umgekehrt wird deutlich, daß die immersive ästhetische Erfahrung von Ambient erst Präsenz und Raum konstituiert. During performative artistic projects in Ambient Art, both space and structures of embodiment are constituted. I illustrate this thesis with examples of performative works in music, theatre and art, in order to analyze the transdisciplinary phenomenon of Ambient Art as a complex structure. My point of departure is a model of lived space in which the bodily enactment in the performative artwork produces place and, vice versa, the place of the artwork determines the active body as an immersive aesthetic experience.

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