Historical Musicology and Philosophy

2020 ◽  
pp. 9-26
Author(s):  
Julian Johnson
Keyword(s):  
Aesthetic Experience ◽  
Contemporary Music ◽  
The Body ◽  
Musical Thought ◽  
Key Issues ◽  
The Aesthetic ◽  
Embodied Practice ◽  
Key Terms ◽  
Conceptual Language

This chapter begins from the failure of both musicology and philosophy to grasp the aesthetic experience afforded by music. It argues instead for an approach that explores the gap between the sensuous particularity of musical thought and the kinds of language brought to it. This hinges on recognising that key terms are not absolute but historically constructed – issues of musical beauty, taste, expression, representation, meaning, ontology – and that the aesthetic experience of music resists the generality of conceptual language. It proposes four key issues for rethinking the relation of music and philosophy: (1) the persistence of the aesthetic (what is not reducible in music to either history or philosophy); (2) the restoration of the body (music as an embodied practice that resists being the object of language); (3) the particularity of listening; (4) the challenge of contemporary music to ahistorical ‘normative’ ideas about music.

Embodied Aesthetics

2018 ◽  
pp. 890-910
Author(s):  
Barbara Gail Montero
Keyword(s):  
Aesthetic Experience ◽  
The Body ◽  
Traditional View ◽  
Bodily Experience ◽  
Aesthetic Pleasure ◽  
Embodied Aesthetics ◽  
The Aesthetic ◽  
Bodily Movements

Although great art frequently revers the body, bodily experience itself is traditionally excluded from the aesthetic realm. This tradition, however, is in tension with the experience of expert dancers who find intense aesthetic pleasure in the experience of their own bodily movements. How to resolve this tension is the goal of this chapter. More specifically, in contrast to the traditional view that denigrates the bodily even while elevating the body, I aim to make sense of dancers’ embodied aesthetic experience of their own movements, as well as observers’ embodied aesthetic experience of seeing bodies move.

The General Impact of Context on Aesthetic Experience

2020 ◽  
Author(s):  
Matthew Pelowski ◽  
Eva Specker
Keyword(s):  
Aesthetic Experience ◽  
General Consideration ◽  
Present Knowledge ◽  
Future Studies ◽  
The Social ◽  
History Of ◽  
Key Issues ◽  
The Aesthetic ◽  
Key Aspects ◽  
Empirical Approaches

This chapter discusses the general impact of context on the aesthetic experience. It is designed to anticipate the other chapters’ discussions of context’s specific areas—the social, the physical or institutional, information and framing, museums, background or personality-related features. Here, the authors offer a more general consideration discussing key aspects such as: What even is context? How can it best be thought about? What are the key issues that might be considered? And, especially, how can it be generally integrated into present knowledge of models of aesthetic processing experience? Beginning with the interest in context throughout the history of aesthetics, the chapter builds a presentation of empirical approaches and especially theory, focusing on context’s main layers and points of influence. It then discusses how key context issues might be considered in models of aesthetic processing, with the goal of providing a framework for better approaching context aspects in this book and in one’s own future studies. This is also interspersed with what the authors consider to be some of the more intriguing studies in order to spur readers’ thinking about the potential for studying context. The chapter concludes with some major issues, some candidates for future consideration, and suggestions for further reading and education.

scholarly journals AESTHETICAL EXPERIENCE AS PATHOLOGICAL DISCOURSES OF ABJECTION AND MELANCHOLIA IN THE BEKSINSKI' ART

2020 ◽  
pp. 55-59
Author(s):  
H.O. Verbivska
Keyword(s):  
Aesthetic Experience ◽  
A Priori ◽  
The Body ◽  
Symbolic Order ◽  
Body Of Christ ◽  
Symbolic Space ◽  
The Common ◽  
The Aesthetic ◽  
Maternal Authority ◽  
First Time

This article tackles the issue of aesthetic experience from the pathologized everyday discourse viewpoint in the system of relations between I and symbolic order, where transgressed and close to symbolic death I is predominant. The stage, in which I, crossing the symbolic borders, stay readable, appears to be the process of continuous constituting the aesthetic experience and its transforming into the primordial a priori structure of everyday discourse. The problem lies deeply in the preserving of evanescent borders which are said to exist in the cultural palpability and simultaneously to be exiled from the system. The article exemplifies pathological discourses by referring to the Beksinski' works, namely his numerous ways of articulating the ineffable. However, articulated ineffable, similarly to such culturally conditioned reactions as abjection and melancholia, declares double death of the discursive subject: the first time when the separation from primordial presymbolic world takes place and the second time during problematizing the symbolic borders and paradoxical immortalization concerning postulated frontiers. The aim of this article is to dig out kaleidoscope of images and sub-images from Beksinski' works through the motive of crucifixion resulting in the specific value of Christ's body and chimerical things inside the dehumanized catastrophic space. It is demonstrated how pathological discourse of melancholia could be intertwined with the discourse of abjection in the common point of transgressing the limits, making the symbolic space full of details indicating the risk of Ego being disintegrated, staying inside the transgressed limits as constituting aesthetical experience. Inexplicability of terrible post-apocalyptic world is readable via symbolic coordinates insofar as the main primal object (the body of Christ) occurs to be banished. Appearing of aesthetic experience is paralleled to the stages of psychosexual development in the existence of symbolic being where in opposition to classical freudism maternal authority is accentuated. That's how Kristevan style of psychoanalytic ruminations looks like.

«Oj, skal vi gjøre dette i dag?» Lærerstudenter og lærerutdanneres meningsdanning i en estetisk workshop med fokus på skapende dans

2016 ◽  
Vol 7 (1) ◽  
pp. 28-41
Author(s):  
Birgitte Nordahl Husebye ◽  
Kristine Høeg Karlsen
Keyword(s):  
Student Teachers ◽  
Teacher Educators ◽  
Aesthetic Experience ◽  
The Body ◽  
Aesthetic Quality ◽  
Creative Processes ◽  
Bodily Expression ◽  
Physical Education Students ◽  
Group Interviews ◽  
The Aesthetic

Abstract This study aim to investigate the perceptions and experiences of student teachers and teacher-educators when participating in an interdisciplinary workshop in which they were to create and explore their own expressive movements and others’ bodily expression. The study employed a qualitative approach, and in order to acquire access to the informants’ lifeworld and their immediate and mediated experiences, open focus group interviews were conducted after the workshop. We base our analysis on inductive coding (Corbin & Strauss, 2015), which then were interpreted in the light of Dewey’s (1934) understanding of the aesthetic experience and Merleau-Ponty’s (1994) phenomenological notion of the body. Our analysis demonstrates that the informants are unfamiliar with using bodily expression, nor do they believe that they have the knowledge or skills needed to create movement and dance, which may explain why they struggle to engage with the creative process. By observing the dances others had created, the informants discovered that there was no right or wrong way of expressing movement. They became a little more open and the experience acquired what Dewey (1934) describes as an aesthetic quality. The music students and teacher-educators are inquisitive and open to using these kinds of creative processes in school. The physical education students have a more reserved attitude to the inclusion of dance, confirming findings in other studies. Based on these results there seems to be a need to create more room for processes that aim for aesthetic abilities in teaching-education.

scholarly journals Fenomenologia i performatyka gestu w tańcu współczesnym

2019 ◽  
Author(s):  
Teresa Fazan
Keyword(s):  
Aesthetic Experience ◽  
The Body ◽  
Postmodern Dance ◽  
The Aesthetic

The paper covers the problem of gestural expression and the role of the body in the aesthetic experience analysed in the Maurice Merleau-Ponty’s phenomenology of art and Erika Fischer-Lichte’s theory of performance. The author compiles these theorists’ conclusions and contextualizes them in the field of modern and postmodern dance. The ultimate goal is to analyse the artists’ statements in the context of formulated conclusions and syntheses. In summary, the author draws attention to current aesthetic research on dance and pinpoints the benefits of philosophical  phenomenological) interest in the modern and postmodern dance.

The Practice and Promise of Virtual Project Management

2008 ◽  
pp. 177-184
Author(s):  
Ilze Zigurs ◽  
Deepak Khazanchi ◽  
Azamat Mametjanov
Keyword(s):  
Project Management ◽  
Virtual Teams ◽  
Relevant Literature ◽  
The Body ◽  
Future Trends ◽  
Body Of Knowledge ◽  
Key Issues ◽  
Virtual Project ◽  
Key Terms ◽  
Virtual Project Management

The relevant literature on this topic comes from many areas, including studies of virtual teams as well as the body of knowledge in project management. In this article, we bring together disparate fields and provide an integrated view of virtual project management. We begin by defining key terms and concepts in the context of an overall framework and briefly describe relevant knowledge from current research. We then discuss key issues and future trends for research, and conclude with overall observations and implications.

The Practice and Promise of Virtual Project Management

2011 ◽  
pp. 472-478
Author(s):  
Ilze Zigurs ◽  
Deepak Khazanchi ◽  
Azamat Mametjanov
Keyword(s):  
Project Management ◽  
Virtual Teams ◽  
Relevant Literature ◽  
The Body ◽  
Future Trends ◽  
Body Of Knowledge ◽  
Key Issues ◽  
Virtual Project ◽  
Key Terms ◽  
Virtual Project Management

The relevant literature on this topic comes from many areas, including studies of virtual teams as well as the body of knowledge in project management. In this article, we bring together disparate fields and provide an integrated view of virtual project management. We begin by defining key terms and concepts in the context of an overall framework and briefly describe relevant knowledge from current research. We then discuss key issues and future trends for research, and conclude with overall observations and implications.

Naturalizing Aesthetic Experience

Projections ◽  
2018 ◽  
Vol 12 (2) ◽  
pp. 50-59 ◽  
Author(s):  
Vittorio Gallese
Keyword(s):  
Aesthetic Experience ◽  
The Body ◽  
Third Culture ◽  
Embodied Simulation ◽  
New Model ◽  
The Third ◽  
The World ◽  
The Aesthetic ◽  
The Brain

The naturalization of the aesthetic experience of film and art can benefit from the contribution of neuroscience because we can investigate empirically the concepts we use when referring to it and what they are made of at the level of description of the brain-body. The neuroscientific subpersonal level of description is necessary but not sufficient, unless it is coupled with a full appreciation of the tight relationship that the brain entertains with the body and the world. In this article, I will discuss aspects of Murray Smith’s proposal on the aesthetic experience of art and film as presented in his Film, Art, and the Third Culture against the background of a new model of perception and imagination: embodied simulation.

Toward an Aesthetical Approach to Screendance

2016 ◽  
pp. 498-514
Author(s):  
Susana Temperley
Keyword(s):  
Aesthetic Experience ◽  
The Body ◽  
Aesthetic Appreciation ◽  
Work Of Art ◽  
Aesthetic Object ◽  
Starting Point ◽  
The Aesthetic

Technological objects which materialize the permanent emergence of the new and define one of the manifestations of present-day screendance need to be revalued in terms of aesthetic approach. Considering as a starting point Immanuel Kant’s opposition to any standards of taste—that is to say to any criteria of beauty considered as an objective foundation for the aesthetic appreciation—the chapter examines the notion of aesthetic behavior, which involves rediscovering the question of the pleasure connected with the reception of the work of art, as well as the notion of the aesthetic object as a substitute for a work of art, thus judging art in terms of strength and not institutional acceptability. Examining aspects of the piece such as the body, the movement of the camera, and the place of the narrative and fiction, the chapter then inquires into the resulting status of the aesthetic experience.

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