scholarly journals El arte y la desapropiación del mundo

2021 ◽  
Vol 18 ◽  
Author(s):  
Sergio Espinosa Proa
Keyword(s):  
Aesthetic Experience ◽  
Three Dimensions ◽  
One Dimension ◽  
Material Objects ◽  
Human Being ◽  
Works Of Art ◽  
The World ◽  
The Aesthetic

Las obras de arte son objetos materiales que al mismo tiempo y de modos misteriosos son objetos espirituales (a saber: inmateriales). Utilizando a Kant y a Schiller, en este artículo se opone a la calificación platónica y aristotélica una concepción distinta del arte, que sería una manufactura humana no sometida a la lógica de la apropiación, sino de su contraria. El hombre es un ser racional, pero Kant le otorgó tres dimensiones a esta idea: la razón es conocimiento, mas también compasión y contemplación. Un ser humano tiene intereses teóricos, intereses prácticos... y desintereses múltiples. El "temple estético" al que Schiller hace referencia apunta a esta facultad de no hacer nada, a este aflojamiento de las tensiones, ocupaciones y preocupaciones, al puro deleite (o pavor) de estar meramente en el mundo. La experiencia o la emoción estética aflora cuando no esperamos nada —ni bueno ni malo— de las cosas. Es paradójico que una dimensión de nuestra racionalidad sea la facultad de no esperar, de no buscar, de no modificar o sustituir, de no mover un dedo, de simple y llanamente no hacer nada: es la facultad de dejar llegar, de dejar aparecer (y desaparecer), de dejar ser a las cosas; es la facultad de desactivar —momentáneamente— nuestras otras facultades. Works of art are material objects that at the same time and in mysterious ways are spiritual objects (i. e. immaterial). Using Kant and Schiller, this article opposes the Platonic and Aristotelian qualification with a different conception of art, which would be a human manufacture not subject to the logic of appropriation, but of its opposite. Man is a rational being, but Kant gave this idea three dimensions: reason is knowledge, but also compassion and contemplation. A human being has theoretical interests, practical interests… and multiple interests. The “aesthetic temper" to which Schiller refers points to this faculty of doing nothing, to this loosening of tensions, occupations and worries, to the pure delight (or dread) of being merely in the world. Aesthetic experience or emotion comes to the surface when we expect nothing —neither good nor bad— from things. It is paradoxical that one dimension of our rationality is the faculty of not waiting, of not seeking, of not modifying or substituting, of not moving a finger, of simply doing nothing: it is the faculty of letting come, of letting appear (and disappear), of letting things be; it is the faculty of deactivating —momentarily— our other faculties.

Schopenhauer and the Paradox of the Sublime

2020 ◽  
pp. 237-255
Author(s):  
Bart Vandenabeele
Keyword(s):  
Aesthetic Experience ◽  
Human Being ◽  
Aesthetic Object ◽  
Human Reason ◽  
The Sublime ◽  
The World ◽  
The Aesthetic

Schopenhauer explores the paradoxical nature of the aesthetic experience of the sublime in a richer way than his predecessors did by rightfully emphasizing the prominent role of the aesthetic object and the ultimately affirmative character of the pleasurable experience it offers. Unlike Kant, Schopenhauer’s doctrine of the sublime does not appeal to the superiority of human reason over nature but affirms the ultimately “superhuman” unity of the world, of which the human being is merely a puny fragment. The author focuses on Schopenhauer’s treatment of the experience of the sublime in nature and argues that Schopenhauer makes two distinct attempts to resolve the paradox of the sublime and that Schopenhauer’s second attempt, which has been neglected in the literature, establishes the sublime as a viable aesthetic concept with profound significance.

Towards a Rewilding of the Ear

2017 ◽  
Vol 22 (1) ◽  
pp. 51-60 ◽  
Author(s):  
André G. Pinto
Keyword(s):  
Aesthetic Experience ◽  
Human Life ◽  
Point Of View ◽  
Human Being ◽  
Semiotic System ◽  
The World ◽  
Human World ◽  
The Aesthetic ◽  
Deep Listening

In this article I outline the idea of an empirical/experiential reconnection to the natural non-human world through the practice of deep listening. I believe that the aesthetic experience is central to a more ecological positioning of the human being on earth and that aesthetic experience should involve a ‘rewilding of the ear’. To discuss this concept, I build an argument from Edgard Varèse’s music as ‘organised sound’ and approach it from a perceptual point of view. This leads to the discussion of other concepts, such as David Dunn’s ‘grief of incommunicability’ (Dunn 1997) and Jean-François Augoyard and Henry Torgue’s ‘sharawadgi effect’ (Bick 2008). Further to this I discuss parallels between Truax’s continuum (Speech–Music–Soundscape) and Peirce’s semiotic system. Taking points from these theories, we can discuss the possibility of the re-tuning of our ears to the wider sound palette of the world. I consider George Monbiot’s concepts of ‘rewilding’ and ‘rewilding of the human life’ (Monbiot 2014), in order to create a parallel to our relationship with the soundscape.

Hearing the Contradictions: Aesthetic Experience, Music and Digitization

2018 ◽  
Vol 12 (3) ◽  
pp. 289-302
Author(s):  
Nancy Weiss Hanrahan
Keyword(s):  
Aesthetic Experience ◽  
Cultural Practice ◽  
Aesthetic Judgment ◽  
Thick Description ◽  
Cultural Form ◽  
Social Forms ◽  
Primary Object ◽  
The World ◽  
Digital Environments ◽  
The Aesthetic

If, as Susan Buck-Morss (2003) suggests, aesthetic experience is an occasion for “making critical judgments about not only cultural forms but social forms of our being-in-the-world,” or if it is linked, in David Hesmondhalgh’s (2013) account, to the possibilities of collective flourishing, potential changes in the nature of that experience merit critical attention. This article reflects on the ways in which these social or ethical dimensions of the aesthetic experience of music are affected by digitization. It moves from a discussion of aesthetic experience as a form of encounter that refers to a common world, to consideration of recent work in music sociology that engages themes that emerge from that discussion: aesthetic judgment, and the question of difference and commonality. With illustrations from focus group interviews, I suggest that the quantization associated with digital environments is altering the cultural form of aesthetic judgment, just as personalization is changing the meaning of “difference” in this context. The essay is intended as a disclosive critique that takes as its primary object not the world observable through thick description or hermeneutic interpretation of actual cultural practice, but a world evoked through critical reflection on its actual and potential constellations of meaning.

scholarly journals Experimenting with work practices in a liminal space: A working period in a rural archipelago

2018 ◽  
Vol 71 (10) ◽  
pp. 1371-1394 ◽  
Author(s):  
Hanne Vesala ◽  
Seppo Tuomivaara
Keyword(s):  
Aesthetic Experience ◽  
Community Support ◽  
Three Dimensions ◽  
Future Research ◽  
Full Potential ◽  
Work Practices ◽  
Liminal Spaces ◽  
Work Community ◽  
The Aesthetic ◽  
Work And Life

Lived experiences in organizational liminal spaces ‘betwixt-and-between’ have begun to attract scholarly attention, but the full potential of liminal spaces in contemporary mobile and fluid working life has remained unexamined. This article contributes to theory by showing how a liminal experience in an alternative work environment is created via three dimensions: the aesthetic experience of a different environment, situated practices, and changes to work and life rhythms. Interview material was gathered from creative professionals working temporarily in a rural archipelago environment. The results suggest that the contrast of working in a calm natural environment supported experimentation with work practices, nurtured the formation of a communitas, and spurred imagination and reflection. The arrangement’s temporary nature heightened the intensity of participants’ experiences. However, this intensity varied depending on work community configurations and participants’ personal needs for change. This study deepens the current understanding of liminal spaces by showing how the nuances of physical and social spaces contribute to liminality and how liminality alters work rhythms. Future research should focus on how liminal workspaces can be created for individuals seeking a change in routine and increased community support.

Problems of the interaction of reality and fiction in Russian literature in the 20s of the XX century

2021 ◽  
pp. 119-124
Author(s):  
Jyldyz K. Bakashova ◽  
Keyword(s):  
Twentieth Century ◽  
Russian Literature ◽  
Actual Problem ◽  
Artistic Creation ◽  
Works Of Art ◽  
The World ◽  
The Aesthetic ◽  
Creative Understanding ◽  
Artistic Image

The article is devoted to one of the important problems of literature at the end of the nineteenth and the first half of the twentieth century — documentary artistic creation. Writers, and later filmmakers, introduce real materials into their works that create a historical narration. Writers of different creative orientations are united in their attitude to the documentary trend. The article examines the actual problem of using prototypes by Russian writers when they create works of art. The views of Russian writers on the problem of interaction between reality and fiction in their work are considered on the example of the statements of L.N. Tolstoy, N.K. Hudzia, F.M. Dostoevsky, N.V. Gogol, V.G. Belinsky, A. Serafimovich, A. Todorsky, A. Blok. Russian writers believed that artistic truth is inseparable from the truth of life, real reality is the basis that feeds art. But no less significant is the creative understanding of the facts of life. The path from the prototype to the artistic image created by the writer in the work is closely connected with the figurative vision of the world, with generalization and individualization, with the aesthetic comprehension of real facts, there is a dialectical connection between art and life. Adequate reconstruction of events presupposes their aesthetic comprehension by the writer.

Environmental aesthetics

2018 ◽  
Author(s):  
Allen Carlson
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
Aesthetic Experience ◽  
Aesthetic Appreciation ◽  
Environmental Aesthetics ◽  
Large Measure ◽  
The Public ◽  
The Core ◽  
The World ◽  
The Aesthetic

Environmental aesthetics is one of the major new areas of aesthetics to have emerged in the last part of the twentieth century. It focuses on philosophical issues concerning appreciation of the world at large as it is constituted not simply by particular objects but also by environments themselves. In this way environmental aesthetics goes beyond the appreciation of art to the aesthetic appreciation of both natural and human environments. Its development has been influenced by eighteenth-century landscape aesthetics as well as by two recent factors: the exclusive focus of twentieth-century philosophical aesthetics on art, and the public concern for the aesthetic condition of environments that developed in the second half of that century. Both factors broadened the scope of environmental aesthetics beyond that of traditional aesthetics, and both helped to set the central philosophical issue of the field, which is due in large measure to the differences between the nature of the object of appreciation of environmental aesthetics, the world at large and the nature of art. These differences are so marked that environmental aesthetics must begin with basic questions, such as ‘what’ and ‘how’ to appreciate. These questions have generated a number of different philosophical positions, two of which are the engagement and the cognitive approaches. The first holds that appreciators must transcend traditional dichotomies, such as subject/object, and diminish the distance between themselves and objects of appreciation, aiming at multi-sensory immersion of the former within the latter. By contrast, the second contends that appreciation must be guided by the nature of objects of appreciation and that knowledge about their origins, types and properties is necessary for serious, appropriate aesthetic appreciation. Each approach has certain strengths and weaknesses. However, although different in emphasis, they are not in direct conflict. When conjoined, they advocate bringing together feeling and knowing, which is the core of serious aesthetic experience and which, when achieved in aesthetic appreciation of different environments of the world at large, shows just how rewarding such appreciation can be.

Personalistic Pedagogy and Transcendence

2021 ◽  
Vol 47 (1) ◽  
pp. 59-81
Author(s):  
Marian Nowak
Keyword(s):  
Human Development ◽  
Human Person ◽  
Three Dimensions ◽  
Personal Life ◽  
Spiritual Life ◽  
Human Being ◽  
Close Link ◽  
Practical Action ◽  
The World ◽  
Theoretical Reflection

In this paper I focus my attention on personalistic pedagogy, and its connection with transcendence, which was defined by Karol Wojtyła as ‘another name for the person’, because of its close link to the realisation of man as a person (Wojtyła, 1993, s. 230). In this regard, I focus my attention on references to transcendence in the studies of selected personalists. In its structure the article proposes reflection over the following problems: 1) the spiritual and transcending dimension of the bodily character of the human person; 2) the transcendence of the human person and the human person’s quest for values in the varieties of personalisms; 3) the ‘naturalisation’ of the ‘person’ category, and the openness to transcendence; 4) transcendence in historical, metaphysical and theological personalism; 5) education as a process between nature, culture and transcendence. According to Karol Wojtyła, when we talk about transcendence in relation to the human person we should take into account three dimensions: 1) transcendence in action; 2) transcendence towards another ‘I’ and 3) transcendence towards personal God. The biological life is never able to explain the spiritual life, and it is the spiritual life that gives meaning to the biological life, because the only sphere of the spirit reveals to us the value of the personal life and the meaning of human existence. This consequently leads to the need for separate reflection on the world and on man. In this sense, both in theoretical reflection and in practical action, the above-mentioned need is emphasised and points to respect for the ‘mystery of the child’, all the more acceptable in a climate of faith and openness to transcendence. Of course, the process of education and teaching can be approached superficially, in a shallow sense, in which we can remain closed to the possibilities and potential of human development. Epistemological distinctions connected to Maritain’s levels of cognition allow us to notice at least two types of teaching and education (flat and deep). A human being might stop (for various reasons, of course) at the lower levels of existence, and give up any aspirations to higher values, and to transcendence. Here we can seek help in explaining the part of staying open on transcendence of personalistic pedagogy.

scholarly journals Strategi Seni Pertunjukan dengan Segmentasi Pariwisata

2020 ◽  
Vol 2 (2) ◽  
pp. 119-126
Author(s):  
Damar Tri Afrianto ◽  
Muhajir Muhajir
Keyword(s):  
Performing Arts ◽  
Aesthetic Experience ◽  
Mutual Influence ◽  
Strategic Thinking ◽  
Tourism Promotion ◽  
Conceptual Strategy ◽  
The World ◽  
Initial Basis ◽  
The Aesthetic

Art and tourism rarely become concerned in a study or research. Though it is allegedly both have the power of mutual influence and profitable. Efforts have been made to make the art as a medium to develop the world of tourism but sometimes have no strategy and formulation appropriately so that the art is just a patch or entertainment when melalkukan travel. Through the study and analysis of Tallu Cappa's performances by Makassar artists Muhajir can be formulated conceptual strategy or some strategic thinking related to performing arts and tourism. Among others, 1) presentation of Multi-disciplinary Art and Innovative Packaging, 2) Collaboration of art with the concept of tourism and 3) Excavation of local Wisdom as an effort to get the aesthetic experience for tourists. Performing works of artists Muhajir perceived successfully menyjiakan concept performances with tourism segmentation. So hopefully this strategy becomes the initial basis for the development of art as an effective, innovative and cultured tourism promotion media.

scholarly journals En defensa del concepto de “actuación estética” como actuación teatral verosímil

2021 ◽  
Vol 12 (19) ◽  
pp. 79-97
Author(s):  
Gina Cima Vallarino ◽  
Juan C. González González
Keyword(s):  
Cognitive Science ◽  
Aesthetic Experience ◽  
Empirical Studies ◽  
Three Dimensions ◽  
The Spectator ◽  
The Aesthetic ◽  
A Performance ◽  
Aesthetic Performance

Este trabajo atañe a la experiencia teatral desde la estética y las ciencias cognitivas. Se defiende la idea de que la actuación estética puede ser entendida como actuación verosímil. Si la experiencia estética posee tres dimensiones –sensorial, conceptual y hedonista–, la verosimilitud en la actuación se lograría en términos de una estrecha y apropiada relación entre ellas. La experiencia estética del espectador sería, pues, una consecuencia de lo que éste percibe, piensa y siente. A su vez, los estudios empíricos permiten establecer criterios objetivos de evaluación para juzgar una actuación como verosímil, tanto por parte del actor como del espectador. In Defense of the Concept of “Aesthetic Performance” as Truthful Theatrical PerformanceThis work concerns Aesthetics and Cognitive Science. Furthermore, deals with theatrical issues, defending the idea that an aesthetic performance can be understood as a truthful performance. If the aesthetic experience has three dimensions –sensory, conceptual and hedonistic–, the truthfulness of the performance would be achieved thanks to a close and appropriate relationship between them. The aesthetic experience of the spectator would thus be a consequence of what he/she perceives, thinks and feels. At the same time, empirical studies allow to establish objective criteria of evaluation for judging the truthfulness of a performance, by both the actor and the spectator. Recibido: 03 de agosto de 2020Aceptado: 14 de diciembre de 2020

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