scholarly journals Fabric Philosophy: The “Texture” of Theatricality and Performativity

2017 ◽  
Vol 2 (2) ◽  
pp. 172 ◽  
Author(s):  
Teemu Paavolainen
Keyword(s):  
Everyday Life ◽  
Global Scale ◽  
Human Existence ◽  
Cultural Value ◽  
Ecological Anthropology ◽  
Its Analysis ◽  
Art Form ◽  
The World ◽  
Art Forms ◽  
Philosophical Pragmatism

As metaphors of human existence, the idioms of theatricality and performativity both fluctuate between values of novelty and normativity: theatricality, between the essence of an art form and a cultural value variously opposed or embraced, performativity, between doing and dissimulation. To revert from drawing too sharp boundaries, either between the two phenomena or between their cognate art forms and everyday life, the article pursues to analyse them in “textural” terms specifically inspired by Tim Ingold’s ecological anthropology and Stephen C. Pepper’s philosophical pragmatism from the 1940s. Where Ingold’s ecology of lines admits to “no insides or outsides,” “trailing loose ends in every direction,” Pepper’s “contextualistic world” of events admits “no top nor bottom” to its strands and textures. After introducing Ingold’s networks of connected objects and meshworks of interwoven lines as shorthand terms for specifically theatrical and performative textures, their various dynamics are considered in terms of absorption and abstraction: on a global scale – I briefly consider the Anthropos(c)ene as theatrum mundi – seeing all the world as a stage indeed depends on something of a theatrical inversion of its lines of becoming. From the tensions of novelty and normativity, noted above, what emerges is a fabric philosophy of weaving and zooming between overlapping textures: if the performative names a dramaturgy of becoming, then the theatrical provides an optic for its analysis.

Editorial Foreword: Applying Existential Social Psychology to Mental Health

2020 ◽  
Vol 39 (4) ◽  
pp. 229-237
Author(s):  
Kenneth E. Vail ◽  
Daniel Sullivan ◽  
Mark J. Landau ◽  
Jeff Greenberg
Keyword(s):  
Mental Health ◽  
Social Psychology ◽  
Everyday Life ◽  
Social Functioning ◽  
Meaning In Life ◽  
Human Existence ◽  
Special Issue ◽  
The World ◽  
Editorial Foreword ◽  
Existential Concerns

Human existence is characterized by some rather unique psychological challenges. Because people can reflect on their lives and place in the world, they are regularly confronted with a variety of existential concerns: death and mortality; the burdens of freedom; uncertainty regarding one's identity; isolation from others; and indeterminate meaning in life. Existential social psychology (Greenberg, Koole, & Pyszczynski, 2004; Vail & Routledge, 2020) investigates whether and how such existential concerns shape everyday life and, as highlighted in the present special issue, how such processes impact mental health and social functioning.

IMPACT OF THE COVID-19 PANDEMIC ON REGIONAL AND LOCAL MEDIA – CASE STUDY

2021 ◽  
Author(s):  
Ján Višňovský ◽  
Alexandra Mathiasová ◽  
Juliána Mináriková
Keyword(s):  
Everyday Life ◽  
Global Scale ◽  
The Other ◽  
Media Content ◽  
Local Media ◽  
The Everyday ◽  
The World ◽  
Event Managers

COVID-19 pandemic, and its several waves with different intensity, and also stronger or weaker restrictions, has influenced the everyday life of people all around the world. Pandemic hitted media indeed. People needed the newest information about the evolution of the SARS-CoV-2 virus, which is the virus that causes COVID-19. Organisations, events and businesses were stopped or closed, so media content was directed to outbreak info. And if organisations, events and businesses were stopped, creators, event managers and business makers didn‘t even need advertising or other propagation of their activities. It wasn‘t happening on a global scale only, but also in the local. So the local and regional media, financially dependent on advertising, was hardly hitted by the outage of this type of income. This paper explores how COVID-19 pandemic impacted the functioning of smaller local and regional media. The paper looks at the content of regional media, impacted by the pandemic, at the amount of advertising and covers the other changes, which the coronavirus outbreak made

scholarly journals To wszystko i sto innych czynności, i sto tysięcy innych czynności. Codzienność w poezji Tadeusza Różewicza

2021 ◽  
pp. 136-157
Author(s):  
Michał Bolek
Keyword(s):  
Everyday Life ◽  
Religious Experience ◽  
Reference Point ◽  
Human Existence ◽  
Main Topic ◽  
Human Mortality ◽  
Wide Range ◽  
New Meanings ◽  
The World ◽  
The Subject

The main topic of the article is everyday life depicted in the poetry by Tadeusz Różewicz. Its reference point is the concept of everyday life constructed by Bernhard Waldenfels. He distinguishes three ways of perceiving it – it entails regular order, embraces everything that is palpable and tangible, as well as is closed-in-itself and restricted. According to Grażyna Borkowska, everyday life is synonymic to both daunting prose of life and heart-warming  familiarness. Thus, everyday life embraces a wide range of human experiences and is valuated both positively and negatively. The category of everyday life understood as above functions as a frame for interpretation of selected Różewicz’s poems which represent different topics – religion and faith, humanity, death, and writing. Everyday life functions in Różewicz’s poetry as a space for religious experience; it enables formulating diverse universal conclusions about humanity and their relations with the world, allows the subject to speak about human mortality, and is the platform for self-referential deliberation about poetry and creating. Interpreting selected poems from the perspective of everyday life lets the reader capture deeper, ambiguous meaning of faith, perceive human existence in its double sense – both ordinary and extraordinary, bind everyday life with death and present it as a space for creating poetry. Those measures make discussed issues clearer and more concrete and combine them with human experience. Showing a specific tension between them and everyday life makes the interpretation richer and opens perspectives for discovering new meanings.  

Butoh: Granting Art Status to an Indefinable Form

2021 ◽  
Author(s):  
◽  
Shane Caldwell
Keyword(s):  
Performance Art ◽  
Narrative Theory ◽  
Art Form ◽  
The World ◽  
Art Forms ◽  
And Performance

<p>Butoh is a kind of art, but exactly what kind of art is not so easy to see. While traditionally considered a type of dance, there are a number of butoh works that are not readily identifiable as dance works, if in fact they count as dance at all. Through the use of Noël Carroll’s narrative theory of art, I will show how butoh comes to be thought of as art even if it fails to match up exactly with any one pre-existing art form. I will show how the context in which butoh came into being is sufficient for granting butoh art status due to its relation to existing art forms. I compare butoh to its two most similar analogues, dance and performance art, and examine how it resembles and differs from each of them. I also show how the reason categorising butoh as only one kind of art form is problematic due to its being part of a non- Western aesthetic tradition that does not break the world up into such easily separable pieces.</p>

Women Painters of Mithila

2018 ◽  
pp. 370-381
Author(s):  
Sudha Jha Pathak
Keyword(s):  
Traditional Knowledge ◽  
Women Artists ◽  
Social Structures ◽  
Economic Deprivation ◽  
Traditional Art ◽  
Art Form ◽  
The World ◽  
Art Forms ◽  
Set Up ◽  
Cultural Origins

The region of Mithila has become synonymous with the beautiful and vibrant Madhubani paintings which are very much coveted by the connoisseurs of art the world over. The women from Mithila have been making these paintings and it is admirable that they have been able to carve out a space and name for themselves amidst the patriarchal set-up of society. Indeed, there is no other parallel anywhere else in the world of a folk-painting being mastered exclusively by women. The progressive commercialization of this art has resulted in the corrosion of this pristine variety of art - in form as well as content. Except a miniscule number of artists, economically the plight of the vast majority of these women painters has remained quite miserable who are forced to sell their artistic pieces for a pittance while a huge profit is earned by the middlemen. The commodification and commercialization of this traditional art form has caused much alarm to the anthropologists, art historians and connoisseurs of art who are sensitive to the cultural origins and solemnity of these art forms, and also made them empathetic to the economic deprivation of the women artists who produce them. These women artists are undermined by the patriarchal social structures of the community and family and also by the market that expropriates traditional knowledge and cultural expressions.

scholarly journals Expansion and Contraction: The Play Spaces of Todd and the Vampire

2020 ◽  
pp. 163-170
Author(s):  
Erin Heisel
Keyword(s):  
New Media ◽  
Virtual World ◽  
Visual Artists ◽  
Media Technologies ◽  
Music Production ◽  
Production Processes ◽  
Art Form ◽  
The World ◽  
Art Forms ◽  
The Relationship

What happens when the music production processes and spaces of a traditionally live art form such as opera are digitized? What is the relationship between community and isolation for artists when their workspace is lifted from the theatre—with its interpersonal connections—and placed in the virtual world? What opportunities and what risks does this pose for performers? Are there parallels to other art forms that developed or expanded as the result of new media technologies? This article will explore these issues by considering the production processes of the animated YouTube opera/movie Todd and the Vampire, composed and created by Ronen Shai, with contributions by musicians and visual artists working simultaneously, but independently, around the world. How does this piece utilize technology to challenge and transcend traditional notions of space and identity? What are the implications of this somewhat disembodied process for performers, audiences, and for the art form itself?

Butoh: Granting Art Status to an Indefinable Form

2021 ◽  
Author(s):  
◽  
Shane Caldwell
Keyword(s):  
Performance Art ◽  
Narrative Theory ◽  
Art Form ◽  
The World ◽  
Art Forms ◽  
And Performance

<p>Butoh is a kind of art, but exactly what kind of art is not so easy to see. While traditionally considered a type of dance, there are a number of butoh works that are not readily identifiable as dance works, if in fact they count as dance at all. Through the use of Noël Carroll’s narrative theory of art, I will show how butoh comes to be thought of as art even if it fails to match up exactly with any one pre-existing art form. I will show how the context in which butoh came into being is sufficient for granting butoh art status due to its relation to existing art forms. I compare butoh to its two most similar analogues, dance and performance art, and examine how it resembles and differs from each of them. I also show how the reason categorising butoh as only one kind of art form is problematic due to its being part of a non- Western aesthetic tradition that does not break the world up into such easily separable pieces.</p>

scholarly journals O pensamento geográfico e as aproximações com o humanismo: mundo e lugar nas letras das canções de Chico Buarque

2016 ◽  
Vol 10 (1) ◽  
pp. 95
Author(s):  
Carolina Machado Rocha Busch Pereira
Keyword(s):  
Everyday Life ◽  
Cultural Geography ◽  
Space Time ◽  
Human Existence ◽  
Vie Quotidienne ◽  
The World ◽  
Song Lyrics ◽  
Geographical Perspective ◽  
The Individual ◽  
The Way

ResumoAs letras das canções de Chico Buarque são portadoras de sentidos, revelam o mundo e possuem potência geográfica para dialogar com o mundo, o lugar e o cotidiano a partir das relações que emolduram a vida. Este ensaio tem o objetivo de refletir sobre a potência das letras das canções de Chico Buarque pela perspectiva geográfica humanista. O lugar tem um sentido e constitui parte essencial da existência humana. Consequentemente, a experiência no mundo-lugar está ligada à forma como se percebe o mundo a partir do espaço-tempo-sentido. Desta forma o ensaio apresenta as geografias reveladas pela letra das canções, a partir do tripé espaço-tempo-sentido, que desvenda o lugar do sujeito, a existência e as possibilidades. As letras das canções de Chico Buarque dialogam com o lugar enquanto elo do mundo, expressão das relações, aproximações com o mundo a partir do espaço-tempo-sentido. As geografias de mundo reveladas nas letras das canções de Chico Buarque apresentam as relações vividas em referências espaciais e temporais.Palavras-chave: Geografia Cultural, Fenomenologia, Música. AbstractChico Buarque’s lyrics convey meanings and bring the world to light. They also have geographical strength to dialogue with the world, places and everyday life, starting from the relations that make up life. The aim of this essay is to reflect on the strength of Chico Buarque’s song lyrics from a humanistic geographical perspective. The place has a meaning and constitutes an essential part of human existence. Consequently, the experience in the place-world depends on the way by which the individual perceives the world from the space-time-sense. In this way the .the essay proposes the geographies shown in the song lyrics from the tripod space-time-sense. Chico Buarque’s song lyrics dialogue with the place as world link, expression of relationships, approaches to the world from the space-time-sense. The world geographies revealed in the lyrics of Chico Buarque songs show relationships lived in spatial and temporal references.Key-words: Cultural Geography, Phenomenology, Music. RésuméLes paroles des chansons Chico Buarque sont porteurs de significations, révéler le monde et ont le pouvoir géographique pour le dialogue avec le monde, le lieu et la vie quotidienne des relations que la vie de cadre. Cet essai vise à réfléchir sur la puissance des paroles de chansons de Chico Buarque point de vue géographique humaniste. L'endroit a un sens et une partie essentielle de l'existence humaine. Par conséquent, l'expérience dans le monde place est liée à la façon dont ils perçoivent le monde à partir de l'espace-temps-sens. De cette façon, le test montre géographiques révélés par la lettre des chansons du trépied espace-temps-sens, qui révèle la place du sujet, l'existence et les possibilités. Les paroles de chanson de Chico Buarque dialogue avec l'endroit comme lien de monde, l'expression de relations, les approches dans le monde de l'espace-temps-sens. Les géographies du monde révélés dans les paroles des chansons Chico Buarque montrent relations vivaient dans les références spatiales et temporelles.Mots-clés: Géographie Culturelle, la Phénoménologie, Musique. 

Pendidikan Islam dan Pluralisme Beragama

1970 ◽  
Vol 13 (1) ◽  
pp. 3-14
Author(s):  
M Slamet Yahya
Keyword(s):  
Everyday Life ◽  
Global Scale ◽  
Islamic Education ◽  
Religious Texts ◽  
Life Orientation ◽  
Religious Plurality ◽  
Prophetic Mission

Islam is a religion that has prophetic mission, namely rahmatan lil ‘alamin, blessing to universe. To realize this mission, Islamic education must able to produce outputs that have inclusive character, pluralist, and appreciative to pluralism. Pluralism in Islam not only normatively supported by religious texts, but also on praxis-empiric level. Islam also has practiced life orientation that reflected religious plurality. Therefore, on global scale, acknowledgment to religious plurality became essential and significant matter. To realize this, it’s urgently needed wisdom to suppress emotional and radical attitude on everyday life. 

Frustrating Absences

Disputatio ◽  
2019 ◽  
Vol 11 (53) ◽  
pp. 45-62
Author(s):  
André J. Abath
Keyword(s):  
Everyday Life ◽  
Alternative Account ◽  
The World

Abstract Experiences of absence are common in everyday life, but have received little philosophical attention until recently, when two positions regarding the nature of such experiences surfaced in the literature. According to the Perceptual View, experiences of absence are perceptual in nature. This is denied by the Surprise-Based View, according to which experiences of absence belong together with cases of surprise. In this paper, I show that there is a kind of experience of absence—which I call frustrating absences—that has been overlooked by the Perceptual View and by the Surprise Based-View and that cannot be adequately explained by them. I offer an alternative account to deal with frustrating absences, one according to which experiencing frustrating absences is a matter of subjects having desires for something to be present frustrated by the world. Finally, I argue that there may well be different kinds of experiences of absence.

Sign in / Sign up

Export Citation Format

Share Document