scholarly journals Театр как «образ жизни» человека с инвалидностью: антропологические наблюден

2021 ◽  
pp. 50-60
Author(s):  
Любовь Андреевна Торлопова
Keyword(s):  
Pilot Study ◽  
Fictional Characters ◽  
Social Drama ◽  
Life Narratives ◽  
Imaginary World ◽  
Individual Life ◽  
Equal Footing ◽  
Social Theater ◽  
The Aesthetic ◽  
The Way

В статье на основании пилотного исследования методом кейс стади прослеживаются связи инвалидности с искусством: какой путь проходит человек с инвалидностью, стремясь к театральному творчеству? Ответ на этот вопрос строится через попытку рассмотреть жизнь человека с инвалидностью как своеобразную социальную драму, и увидеть то, какие трансформации происходят при взаимодействии реальных жизней с реальным театром. Контекст привычного нам театра смещается от формата выдуманных персонажей и их историй, упакованных в рамки воображаемого мира одного автора, в сторону персонажей, со-творящих художественный проект реалистичными деталями своих индивидуальных жизненных нарративов. Это становится возможным благодаря феномену социального театра. Он, как и его форма – инклюзивный театр, вмещает в себя, помимо эстетической составляющей, иную иерархию – горизонтальную, где каждый участник – творец на равных, имеющий свои зоны ответственности. Образ инклюзивного театра раскрывается на конкретном примере крупного российского проекта «Инклюзион», работающего в семи городах России. На Новосибирском кейсе этой сети театральных школ иллюстрируется, какие ценности позиционируются артистами с инвалидностью как те, что делают жизнь человека «наполненной», несмотря на «ограниченные возможности». Based on a pilot study, the article traces the links between disability and art: what path does a person with a disability take on the way to theatrical creativity? The answer to this question is built through an attempt to consider the life of a person with a disability as a kind of social drama, and to see what transformations occur when real lives interact with real theatre. The usual context of a theatre is shifting from the format of fictional characters and their stories, packed in the framework of the imaginary world of one author, towards characters who co-create an artistic project with realistic details of their individual life narratives. This is made possible by the phenomenon of social theater. Social and inclusive theater contains, in addition to the aesthetic component, a horizontal hierarchy, where each participant is a creator on an equal footing, with his/her own areas of responsibility. The image of an inclusive theater is revealed in the article on the concrete example of the big Russian project “Incluzion”, which works in seven cities of Russia. The Novosibirsk case of a theater network demonstrates which values are positioned by artists with disabilities as those that make a person’s life “fulfilled”, despite “limited opportunities”.

scholarly journals Being Towards Death: Tragic Aesthetics and Stoicism in W. B. Yeats’s Men Improve With The Years

2020 ◽  
Vol 11 (4) ◽  
pp. 1
Author(s):  
Shilong Tao
Keyword(s):  
Human Existence ◽  
Human Beings ◽  
Individual Life ◽  
The Aesthetic ◽  
The Way

Men Improve With The Years was written by W. B. Yeats in 1916 by the time he had turned 50 years old. This paper argues that in this poem, Yeats presents his philosophical thoughts of the tragic life among human beings, highlighting that the joy in tragedy is “the way to survive” while the sorrow in tragedy is “being towards death”. Influenced by Nietzsche’s aesthetic notions of the Apollonian and Dionysian art, Yeats holds a kind of tragic aesthetic view towards death—“the unity of being” of individual life and nature, and aims to seek the joy of growing old and the freedom to create life out of life. As Apollonian dream covers the tragedy of life and Dionysian intoxication discloses it, the nameless old protagonist in the poem or Yeats himself attempts to bear the plight with stoicism and fortitude like a marble Triton so as to conquer and welcome all the sorrows in the process of aging and dying. Since men improve with the years, “being towards death” is the nature of living. Yeats hopes to achieve the aesthetic redemption from the tragic life in his early fifties, thus giving enlightenment to the predicament of human existence.

Seeing Depicted Space (Or Not)

2018 ◽  
Author(s):  
Mikael Pettersson
Keyword(s):  
Empty Space ◽  
Material Objects ◽  
Pictorial Perception ◽  
The Aesthetic ◽  
Pictorial Experience ◽  
The Way

What is it to see something in a picture? Most accounts of pictorial experience—or, to use Richard Wollheim's term, ‘seeing-in’—seek, in various ways, to explain it in terms of how pictures somehow display the looks of things. However, some ‘things’ that we apparently see in pictures do not display any ‘look’. In particular, most pictures depict empty space, but empty space does not seem to display any ‘look’—at least not in the way material objects do. How do we see it in pictures, if we do? This chapter offers an account of pictorial perception of empty space by elaborating on Wollheim's claim that ‘seeing-in’ is permeable to thought. It ends by pointing to the aesthetic relevance of seeing—or not seeing—empty space in pictures.

scholarly journals Remix in the age of ubiquitous remix

2021 ◽  
pp. 135485652199445
Author(s):  
Abby S. Waysdorf
Keyword(s):  
Point Of View ◽  
Archival Material ◽  
History Of ◽  
Accepted Part ◽  
The Media ◽  
Contemporary Media ◽  
The Aesthetic ◽  
The Way

What is remix today? No longer a controversy, no longer a buzzword, remix is both everywhere and nowhere in contemporary media. This article examines this situation, looking at what remix now means when it is, for the most part, just an accepted part of the media landscape. I argue that remix should be looked at from an ethnographic point of view, focused on how and why remixes are used. To that end, this article identifies three ways of conceptualizing remix, based on intention rather than content: the aesthetic, communicative, and conceptual forms. It explores the history of (talking about) remix, looking at the tension between seeing remix as a form of art and remix as a mode of ‘talking back’ to the media, and how those tensions can be resolved in looking at the different ways remix originated. Finally, it addresses what ubiquitous remix might mean for the way we think about archival material, and the challenges this brings for archives themselves. In this way, this article updates the study of remix for a time when remix is everywhere.

Time and Truth: The Presentism-Eternalism Debate

Philosophy ◽  
2009 ◽  
Vol 84 (2) ◽  
pp. 201-218 ◽  
Author(s):  
Tom Stoneham
Keyword(s):  
Open Future ◽  
Equal Footing ◽  
The Past ◽  
The Future ◽  
Future Events ◽  
Growing Block ◽  
The Open Future ◽  
Block Universe ◽  
The Way

AbstractThere are many questions we can ask about time, but perhaps the most fundamental is whether there are metaphysically interesting differences between past, present and future events. An eternalist believes in a block universe: past, present and future events are all on an equal footing. A gradualist believes in a growing block: he agrees with the eternalist about the past and the present but not about the future. A presentist believes that what is present has a special status. My first claim is that the familiar ways of articulating these views result in there being no substantive disagreement at all between the three parties. I then show that if we accept the controversial truthmaking principle, we can articulate a substantive disagreement. Finally, I apply this way of formulating the debate to related questions such as the open future and determinism, showing that these do not always line up in quite the way one would expect.

scholarly journals Aesthetics and Creativity. Identity Configurations

2022 ◽  
Author(s):  
Livia Durac ◽  
Keyword(s):  
Cultural Evolution ◽  
Human Action ◽  
Two Dimensions ◽  
The Other ◽  
Mutual Understanding ◽  
State Of Mind ◽  
Human Attitude ◽  
The Aesthetic ◽  
Nature And Society ◽  
The Way

Reflecting on human attitude towards reality, together with deciphering the emotional code that accompanies it, has configured - in time – the aesthetic universe, open to human reflection, creation, and evaluation. Aesthetics appears through the way in which consciousness reacts and capitalises upon things in nature and society, or which belong to human subjectivity, including on artistic work, which have an effect on sensitiveness due to their harmony, balance and grandeur. As a fundamental attribute of the human being, creativity is the engine of cultural evolution, meaning the degree of novelty that man brings in his ideas, actions, and creations. Aesthetical values, together with the other types of values, contribute to what society represents and to what it can become, hence motivating human action and creation. Their role is to create a state of mind that encourages the cohesion, cooperation, and mutual understanding of the society. Integrating a chronological succession of the evolution of the concepts that objectify its structure, its aesthetics and creativity, this article stresses the synergetic nature of the two dimensions of human personality, paving the way to beauty, as a form of enchantment of the human spirit.

scholarly journals Aesthesis decolonial y los tiempos relacionales Entrevista a Rolando Vázquez

2016 ◽  
Vol 11 (18) ◽  
pp. 76
Author(s):  
Rolando Vazquez ◽  
Miriam Barrera Contreras
Keyword(s):  
Contemporary Art ◽  
The Arts ◽  
Palabras Clave ◽  
The Creation ◽  
The Senses ◽  
The Difference ◽  
The Aesthetic ◽  
Arte Contemporáneo ◽  
The Way

RESUMEN Hay que pensar la decolonialidad en relación a las artes. En esta entrevista exploramos cómo las artes decoloniales se diferencian de la estética moderna/colonial. La decolonización de la estética conlleva la liberación de a la aiesthesis, es decir de las formas de relacionarnos con el mundo y de hacer mundo a través de los sentidos. La aiesthesis decolonial se distingue de los principios del arte contemporáneo y en particular de su sujeción a la temporalidad moderna, abriéndonos hacia las temporalidades relacionales. Los artistas decoloniales ejercen una temporalidad distinta que conlleva no sólo una crítica radical al orden de la representación y de la visualidad modernas sino que también nos dan la posibilidad de entender a la decolonialidad cómo un movimiento cargado de esperanza, cargado de la posibilidad de nombrar y vivenciar los mundos interculturales que han sido negados. PALABRAS CLAVE Decolonialidad, tiempo relacional, esperanza, cuerpo, interculturalidad KAI SUTI AESTHESIS ÑAGPAMANDA KAUSAKUNA TUKUIKUNAWA TAPUCHI SUG RUNATA ROLANDO VÁSQUEZ SUTITA SUGLLAPI Kaipi kawachinakumi iska ruraikuna ñugpamanda chasallata kunaurramanda. Kai suti aiesthesis, kawachiku imasami pai kawa kawachimanda ukusinama paipa iuaikunawa. Aiesthesis kame tukuikunamanda sugrigcha.Lsx artistxs kawachinakumi ñugpamanda kausikuna munankuna kawachingapa charrami kausanakunchi parlanakumi ñugpata imasami mana lisinsiaskakuna allí ruraikuna tukuikunamanda. IMA SUTI RIMAI SIMI: Ñugpamanda, parlaikuna sullai, nukanchi kikin, tukuikuna. DECOLONIAL AESTHESIS AND THE RELATIONAL TIMES. INTERVIEW WITH ROLANDO VÁSQUEZ ABSTRACT We have to hink the decoloniality in relation with the arts. This interview explores the difference between the modern/colonial aesthetic and the decolonial arts. The aesthetic decolonization leads to the release of the aesthesis, ergo it relates in every way to the connection and creation of a world through the senses. The decolonial aesthesis is particularly different from the contemporary art principles in the way it grasps the modern temporality consenting the creation of a path toward relational temporalities. The decolonial artists exercise a different temporality that results in not only a radical criticism to the modern representation and visuality but it makes possible to understand the decolonialization as a hopeful movement, full of possibilities for naming and experiencing neglected intercultural worlds. KEYWORDS Decolonialization, relational time, hope, body, interculturality ESTEHÉSIE DÉCOLONIALE ET LE TEMPS RELATIONNELS. ENTRETIEN À ROLANDO VASQUEZ RÉSUMÉ Il faut penser la décolonisation en relation aux arts. Dans cet entretien on explore comment les arts décoloniaux sont différents de l’esthétique moderne-coloniale. La décolonisation de l’esthétique entraîne la libération de l’estehésie, c’est-à-dire, la libération des façons de nous mettre en relation avec le monde et d’en créer un nouveau à travers les sens. L’estehésie décoloniale se différence des principes de l’art contemporain, principalement pour son fixation à la modernité en nous emmenant vers les temporalités relationnelles. Les artistes décoloniaux exercent avec une temporalité qui n’implique pas juste une critique radicale à l’ordre de la représentation et de la vision moderne, mais aussi de la possibilité de comprendre la décolonisation comme un mouvement plein d’espoir, chargé d’une possibilité de nommer et de mettre en relief les interculturalités qu’ont été niées. MOTS-CLEFS Décolonisation, temps relationnels, espoir, corps, interculturalité ESTESIA DESCOLONIAL E O TEMPO RELACIONAL ENTREVISTA A ROLANDO VAZQUEZ RESUMO Temos que pensar a descolonização em relação as artes. Nesta entrevista é explorado como as artes descoloniais são diferentes da estética moderna-colonial. A descolonização da estética conduz a emancipação da estesia, isto é, das formas de relacionamento com o mundo e da fôrma de fazer mundo a partir dos sentidos. A estesia descolonial distinguese dos princípios da arte contemporânea particularmente pela fixação o tempo moderno, abrindo-nos para a temporalidades relacionales. Os artistas descoloniais exercem uma temporalidade diferente que implica não só uma crítica radical à ordem da representação e à visão moderna, mas também à possibilidade de entender a descolonização como um movimento cheio de esperança, carregado da possibilidade de designar e viver os mundos interculturais que foram negados. PALAVRAS CHAVES Descolonização, esperança, tempo relacional, fôrma, intercultural.   Recibido el 20 de enero de 2015 Aceptado el 26 de febrero de 2015

scholarly journals Computer Gameplay and the Aesthetic Practices of the Self: Game Studies and the Late Work of Michel Foucault

2018 ◽  
Vol 3 (3) ◽  
Author(s):  
Feng Zhu
Keyword(s):  
Michel Foucault ◽  
Computer Games ◽  
The Self ◽  
Game Studies ◽  
The Other ◽  
Late Work ◽  
Practices Of The Self ◽  
The Aesthetic ◽  
The One ◽  
The Way

This paper aims to critically introduce the applicability of Foucault’s late work, on the practices of the self, to the scholarship of contemporary computer games. I argue that the gameplay tasks that we set ourselves, and the patterns of action that they produce, can be understood as a form of ‘work on the self’, and that this work is ambivalent between, on the one hand, an aesthetic transformation of the self – as articulated by Foucault in relation to the care or practices of the self – in which we break from the dominant subjectivities imposed upon us, and on the other, a closer tethering of ourselves through our own playful impulses, to a neoliberal subjectivity centred around instrumentally-driven selfimprovement. Game studies’ concern with the effects that computer games have on us stands to gain from an examination of Foucault’s late work for the purposes of analysing and disambiguating between the nature of the transformations at stake. Further, Foucault’s tripartite analysis of ‘power-knowledge-subject’, which might be applied here as ‘game-discourse-player’, foregrounds the imbrication of our gameplay practices – the extent to which they are due to us and the way in which our own volitions make us subject to power, which is particularly pertinent in the domain of play.

Place, Meaning, Comunity, and In-Betweenness

2017 ◽  
Author(s):  
Lee Bidgood
Keyword(s):  
Motivating Factors ◽  
Place Meaning ◽  
Master Musician ◽  
The Aesthetic ◽  
The Way

The author presents bluegrass as a practice of in-betweenness, a way of dealing with authenticity, place, and genre. Scenes from a bluegrass workshop, a Prague pub jam, and an analysis of the the way musicians talk about their musical goals shows that Czech bluegrassers' projects are rooted in reality, nostalgia, imagination, and a mix of all three. The frame of musical pragmatics provides a way to consider these motivating factors, and how they play out socially. The author explains the methodology bi-musicality gained not as the disciple of a master musician, but as a student of the aesthetic, interpersonal, and transnational aspects of Czech bluegrass.

Painting, aesthetics of

2018 ◽  
Author(s):  
Robert Hopkins
Keyword(s):  
Picture Plane ◽  
Essential Elements ◽  
Two Dimensional ◽  
Art Forms ◽  
The Aesthetic ◽  
Aesthetic Values ◽  
Dimensional Picture ◽  
Do So ◽  
The Way

Why care about painting as an art? Does it offer to engage our aesthetic interest in ways that other art forms do not, or does it merely reproduce the aesthetic satisfactions they provide? Most paintings involve both marks on a surface, and something represented by those marks. Some attempts to say what is distinctive about painting concentrate on the former feature, understanding the art as an exploration of the two-dimensional picture plane. Others concentrate on the representational aspect, seeking to find something special about the things painting can represent, or the way in which it achieves this. The most promising approaches acknowledge both aspects, and do so as essential elements in the experiencewe have of painting. One such approach turns on the idea that the configurational aspect ‘inflects’ the representational, so that what we see in the picture itself somehow involves the marks from which the painting is composed. Another sees painting as offering aesthetic values found elsewhere, but in a distinctive form. Taking seriously the idea of our experience of painting also helps us to say something about a set of paintings we are otherwise in danger of ignoring - abstract works.

Painting, aesthetics of

2018 ◽  
Author(s):  
Robert Hopkins
Keyword(s):  
Picture Plane ◽  
Essential Elements ◽  
Two Dimensional ◽  
Art Forms ◽  
The Aesthetic ◽  
Aesthetic Values ◽  
Dimensional Picture ◽  
The Way

Why care about painting as an art? Does it offer to engage our aesthetic interest in ways that other art forms do not, or does it merely reproduce the aesthetic satisfactions they provide? Most paintings involve both marks on a surface, and something represented by those marks. Some attempts to say what is distinctive about painting concentrate on the former feature, understanding the art as an exploration of the two-dimensional picture plane. Others concentrate on the representational aspect, seeking to find something special about the things painting can represent, or the way in which it achieves this. The most promising approach acknowledges both aspects, and does so as essential elements in the experience we have of painting. If successful, this allows us to see painting as offering aesthetic values found elsewhere, but in a distinctive form. It also helps us to say something about a set of paintings we are otherwise in danger of ignoring – abstract works.

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