Situated aesthetics isan empirical endeavouras well asa conceptual challenge.
Onthe one hand it suggeststhat there is a physical and perceptual foundation to
aesthetic experience which is not constrained by the boundaries ofthe nervous ...
Author: Riccardo Manzotti
Publisher: Andrews UK Limited
This book focuses on externalist approaches to art. It is the first fruit of a workshop held in Milan in September 2009, where leading scholars in the emerging field of psychology of art compared their different approaches using a neutral language and discussing freely their goals. The event threw up common grounds for future research activities. First, there is a considerable interest in using cognitive and neural inspired techniques to help art historians, museum curators, art archiving, art preservation. Secondly, cognitive scientists and neuroscientists are rather open to using art as a special way of accessing the structures of the mind. Third, there are artists who explicitly draw inspiration out of current research on various aspects of the mind. Fourth, during the workshop, a converging methodological paradigm emerged around which more specific efforts could be encouraged.
Situated Aesthetics. Art Beyond the Skin. Exeter: Imprint Academic. Matyja, J.R.
and Schiavio, A. (2013). Enactive music cognition: Background and research
themes. Constructivist Foundations, 8(3), 351–7. Menary, R. (2006). Attacking the
Author: Ruth Herbert
Publisher: Oxford University Press, USA
Consciousness has been described as one of the most mysterious things in the universe. Scientists, philosophers, and commentators from a whole range of disciplines can't seem to agree on what it is, generating a sizeable field of contemporary research known as consciousness studies. Following its forebear Music and Consciousness: Philosophical, Psychological and Cultural Perspectives (OUP, 2011), this volume argues that music can provide a valuable route to understanding consciousness, and also that consciousness opens up new perspectives for the study of music. It argues that consciousness extends beyond the brain, and is fundamentally related to selves engaged in the world, culture, and society. The book brings together an interdisciplinary line up of authors covering topics as wide ranging as cognitive psychology, neuroscience, psychoanalysis, philosophy and phenomenology, aesthetics, sociology, ethnography, and performance studies and musical styles from classic to rock, trance to Daoism, jazz to tabla, and deep listening to free improvisation. Music and Consciousness 2 will be fasinating reading for those studying or working in the field of musicology, those researching consciousness as well as cultural theorists, psychologists, and philosophers.
" Disunified Aesthetics deconstructs the literary object by invoking the critic's stance toward the written works with which they engage.
Author: Lynette Hunter
Publisher: McGill-Queen's Press - MQUP
Aesthetics is a field still rooted in an understanding of a unified process where small numbers of people produce, commodify, and consume objects called "art." Disunified Aesthetics deconstructs the literary object by invoking the critic's stance toward the written works with which they engage. Lynette Hunter's performative explorations provide a distinctly different way of understanding contemporary creative processes. Disunified Aesthetics takes up twenty-first-century aesthetics through an investigation of recent Canadian writing. The book is both a series of insights into literature and poetics of the last two decades and a story about moving from a traditional view of the relation between the artist, art, and its reception, to a more radically democratic view of aesthetics and ethics. Hunter addresses a range of Canadian women's writing, as well as close studies of the work of Robert Kroetsch, Lee Maracle, Nicole Brossard, Frank Davey, Alice Munro, Daphne Marlatt, and bpNichol. Disunified Aesthetics is a creative, challenging, and original investigation of textuality, performance, and aesthetics by a leading and innovative scholar.
Very often the feminist approach is a critical investigation of these grounds,
pointing out the ways in which aesthetic ... For Wittgenstein, this situation is as it
should be; situated aesthetics can happily coexist, borrowing terms that change
Author: Kennan Ferguson
Publisher: Lexington Books
This innovative and theoretically sophisticated book investigates how aesthetic judgment forms the groundwork for understanding political identities. It posits aesthetics as central to conceptions of politics that are based on how people understand the relationship between themselves and larger communities. Ferguson focuses not only on how different theoretical conceptions of political judgment relate to one another, but also on their historical development and potential meaning for contemporary scholarship across the humanities and social sciences. Drawing on recent contributions to philosophy, economics, cultural studies, feminism, psychology, and anthropology, The Politics of Judgment demonstrates how modern political identities depend upon and are formed by aesthetic judgment. Political theorists, social scientists, philosophers and cultural critics will find this book especially useful, though general readers will also be attracted by the author's keen insight into contemporary political questions.
... might be conceptualized as relational and socially situated aesthetics, '
grounded in community', anti-individualist and without 'a foundation in certainties
and universals', to use Wolff's terms.37 The rest of this chapter explores these
Author: Gareth White
Publisher: Bloomsbury Publishing
Applied Theatre: Aesthetics re-examines how the idea of 'the aesthetic' is relevant to performance in social settings. The disinterestedness that traditional aesthetics claims as a key characteristic of art makes little sense when making performances with ordinary people, rooted in their lives and communities, and with personal and social change as its aim. Yet practitioners of applied arts know that their work is not reducible to social work, therapy or education. Reconciling the simultaneous autonomy and heteronomy of art is the problem of aesthetics in applied arts. Gareth White's introductory essay reviews the field, and proposes an interdisciplinary approach that builds on new developments in evolutionary, cognitive and neuro-aesthetics alongside the politics of art. It addresses the complexities of art and the aesthetic as everyday behaviours and responses. The second part of the book is made up of essays from leading experts and new voices in the practice and theory of applied performance, reflecting on the key problematics of applying performance with non-performers. New and innovative practice is described and interrogated, and fresh thinking is introduced in response to perennial problems.
Lollard Ekphrasis: Situated Aesthetics and Literary History. The Journal of
Medieval and Early Modern Studies 35 (1): 67–89. ———. 2007. The Parable of
Caedmon's 'Hymn': Liturgical Invention and Literary Tradition. The Journal of
Author: Katharine W. Jager
Vernacular Aesthetics in the Later Middle Ages explores the formal composition, public performance, and popular reception of vernacular poetry, music, and prose within late medieval French and English cultures. This collection of essays considers the extra-literary and extra-textual methods by which vernacular forms and genres were obtained and examines the roles that performance and orality play in the reception and dissemination of those genres, arguing that late medieval vernacular forms can be used to delineate the interests and perspectives of the subaltern. Via an interdisciplinary approach, contributors use theories of multimodality, translation, manuscript studies, sound studies, gender studies, and activist New Formalism to address how and for whom popular, vernacular medieval forms were made.
Brady , Emily , ' Imagination and the Aesthetic Appreciation of Nature ' , Journal of
Aesthetics and Art Criticism : Special Issue : Environmental Aesthetics , 56 : 2 ,
1998 . ' Don't Eat the Daisies : Disinterestedness and the Situated Aesthetic ' ...
Author: Emily Brady
Publisher: University Alabama Press
Aesthetic experience is one of the fundamental ways that we develop a relationship to our natural surroundings. Emily Brady provides a comprehensive study of this type of experience and the central philosophical issues related to it, developing her own original theory of aesthetic appreciation of nature. She provides useful background to the current debate and an up-to-date critical appraisal of contemporary theories.
Twentieth-century philosophy of music manifests the typical disjunction between
the continental approach, which examines music from the vantage point of an
often grand-scale, culturally situated, critical aesthetic theory (for example,
Author: Eran Guter
Publisher: Edinburgh University Press
An ideal guide to aesthetics
I will call the situated interaction ' naturalistic ' following the microsociological
tradition where ' naturalistic ' does not mean the real world with the observer
acting as a fly - on - the wall but naturally occurring situated interaction . In this
Author: Gunhild Agger
Publisher: Aalborg Universitetsforlag
The concept of aesthetics is traditionally connected with art and high culture (e.g. literature, theatre, pictorial art etc.) whereas mass media such as television are usually associated with a lack of cultural quality, originality and authenticity - and consequently with a lack of aesthetics. And, undoubtedly, most television programmes will fail if judged by the aesthetic standards and valuation criteria of traditional art forms. However, television as a medium also has aesthetic aspects. The aesthetics of television concern the medium's means of expression, its forms, conventions and ""styles"". But it also concerns the content and the relationship between content and expression, as well as the relationship between programme and genre, programme and audience etc. The aim of the anthology is to describe and analyse television as an aesthetic phenomenon. It addresses the question from different approaches and in a variety of ways: general, aesthetic problems concerning the audio-visual media, the special aesthetic means of expression belonging to the television medium, the quality of the individual programme, the distinctive features and aesthetic codes of individual TV genres, enunciation and forms of address in television etc. Among the TV genres and programme formats dealt with are: talk shows, television documentaries, police series, TV sport, TV fiction, TV advertising, everyday talk on television, comedy series, TV journalism, and interactive programme formats.
Noam Tractinsky and Eleanor Eytam Abstract We call attention to the important
role that aesthetics, or visual beauty, can ... Current research in the paradigm of
ubiquitous displays or its variants (e.g. situated public displays or context
Author: Antonio Krüger
Publisher: Springer Science & Business Media
Our increasingly smart environments will sense, track and model users and provide them with personalized services. We can already embed computers in everyday objects such as shirt buttons and pencils; objects of all sizes, from wristwatches to billboards, will soon incorporate high-quality flexible displays; we have improved access to wireless Internet communication; and we are now transitioning from traditional linear to targeted interactive media. The convergence of these factors -- miniaturization, display technologies, wireless communication, and interactive media -- will allow us to leave our desktop computers and move to a radical computing paradigm, the ubiquitous display environment, where media and visual content will support a rich variety of display devices that enable users to interact with information artifacts in a seamless manner. This is one of the most exciting and important areas of technology development and this book addresses the challenge within the context of an educational and cultural experience. This is inherently a multidisciplinary field and the contributions span the related research aspects, including system architecture and communications issues, and intelligent user interface aspects such as aesthetics and privacy. On the scientific side, the authors integrate artificial intelligence, user modeling, temporal and spatial reasoning, intelligent user interfaces, and user-centric design methodologies in their work, while on the technological side they integrate mobile and wireless networking infrastructures, interfaces, group displays, and context-driven adaptive presentations. This book is of value to researchers and practitioners working on all aspects of ubiquitous display environments, and we hope it leads to innovations in human education, cultural heritage appreciation, and scientific development.
This chapter is mainly situated within the tradition of analytic aesthetics. It
concerns the formalist conception of aesthetic autonomy as found in the writings
of Clive Bell and Roger Fry. This conception of aesthetic autonomy should be
Author: Owen Hulatt
Publisher: A&C Black
Whether art can be wholly autonomous has been repeatedly challenged in the modern history of aesthetics. In this collection of specially-commissioned chapters, a team of experts discuss the extent to which art can be explained purely in terms of aesthetic categories. Covering examples from Philosophy, Music and Art History and drawing on continental and analytic sources, this volume clarifies the relationship between artworks and extra-aesthetic considerations, including historic, cultural or economic factors. It presents a comprehensive overview of the question of aesthetic autonomy, exploring its relevance to both philosophy and the comprehension of specific artworks themselves. By closely examining how the creation of artworks, and our judgements of these artworks, relate to society and history, Aesthetic and Artistic Autonomy provides an insightful and sustained discussion of a major question in aesthetic philosophy.
Writing for Art: The Aesthetics of Ekphrasis. Manchester: Manchester University
Press, 2008. Crane, Susan. ... “Lollard Ekphrasis: Situated Aesthetics and
Literary History.” Journal ofMedieval and Early Modern Studies 35 (2005): 67–89.
Author: R. Howard Bloch
Publisher: JHU Press
Other contributors include Jack Abecassis, Marina Brownlee, Jacqueline Cerquiglini-Toulet, Andreas Kablitz, and Ursula Peters.
(2) It is necessary to apply an intercultural orientation to what is here termed the “
situated unsituatedness” of an intercultural aesthetics. (3) Such an intercultural
orientation will allow us to deal with the discipline of aesthetics within the ...
Author: Hans Rainer Sepp
Publisher: Springer Science & Business Media
Historically, phenomenology began in Edmund Husserl’s theory of mathematics and logic, went on to focus for him on transcendental rst philosophy and for others on metaphysics, philosophical anthropology, and theory of interpretation. The c- tinuing focus has thus been on knowledge and being. But if one began without those interests and with an understanding of the phenomenological style of approach, one might well see that art and aesthetics make up the most natural eld to be approached phenomenologically. Contributions to this eld have continually been made in the phenomenological tradition from very early on, but, so to speak, along the side. (The situation has been similar with phenomenological ethics. ) A great deal of thought about art and aesthetics has nevertheless accumulated during a century and a handbook like the present one is long overdue. The project of this handbook began in conversations over dinner in Sepp’s apa- ment in Baden-Baden at one evening of the hot European summer in the year 2003. As things worked out, he knew more about whom to ask and how much space to allocate to each entry and Embree knew more about how to conduct the inviting, preliminary editing, and prodding of contributors who were late returning their criticized drafts and copyedited entries and was able to invest the time and other resources from his endowed chair. That process took longer than anticipated and there were additional unfortunate delays due to factors beyond the editors’s control.
On Peircian ethics and aesthetics Herman Parret ... Seventeen contributions must
be situated within the domain of aesthetics, and these are assembled in three
groups. The first consists of texts where Peirce's aesthetic is situated within the ...
Author: Herman Parret
Publisher: John Benjamins Publishing
Most of the essays collected in this book were presented at the Charles S. Peirce Sesquicentennial Congress (Harvard University, September 1989). The volume is devoted to themes within Peirce's value theory and offers a comprehensive view of less known aspects of his influential philosophy, in particular Peirce's work on ethics and aesthetics.The book is divided in four sections. Section I discusses the status of ethics as a normative science and its relation with logic; some applications are presented, e.g. in the field of bioethics. Section II investigates the specific position of Peircean aesthetics with regard to classical American philosophy, especially Buchler, to Husserlian phenomenology, and to European structuralism (Saussure, Jakobson). Section III contains papers on internal aspects of Peirce's aesthetics and its place in his thought. The final section presents applications of Peirce's aesthetic theory: analyses of visual art (mainly paintings), of literary texts and of musical meaning.
One grants autonomy to the inner world of aesthetic production , the other
renders aesthetic practice dependent on a ... privileged an aesthetics grounded
in the genius concept , even though his philosophical arguments situated
Author: Roger F. Cook
Publisher: Peter Lang Pub Incorporated
This book examines how the concept of the autonomous writer evolved in German culture. Its scope includes various forms of representation that both engendered the notion of the autonomous writer and became vehicles for casting the writer's tenuous position in society. Taking the -writer- as a function not only of a literary discourse, but also of a network of interlocking discourses, it explores the genesis of the autonomy concept in relation to the changing make-up of the reading public, new practices in reading, and the intermediary role of the literary market between author and public. Combining the results of sociological studies with critical readings of theoretical and literary texts, this work contributes to the ongoing reassessment of how the aesthetic and the real act dialectically in the determination of social reality. It also adds to the growing critical assault on the persistent tendency to privilege aesthetic autonomy over the interaction of art and history."
Heteronomous autonomy thus underscores the contradictory status of art in
modernity: as both a commodified object and “the plenipotentiary of what is free
from domination,” (AT, 227) modern literature is situated between political
Author: Ewa Płonowska Ziarek
Publisher: Columbia University Press
Ewa Ziarek fully articulates a feminist aesthetics, focusing on the struggle for freedom in women's literary and political modernism and the devastating impact of racist violence and sexism. She examines the contradiction between women's transformative literary and political practices and the oppressive realities of racist violence and sexism, and she situates these tensions within the entrenched opposition between revolt and melancholia in studies of modernity and within the friction between material injuries and experimental aesthetic forms. Ziarek's political and aesthetic investigations concern the exclusion and destruction of women in politics and literary production and the transformation of this oppression into the inaugural possibilities of writing and action. Her study is one of the first to combine an in-depth engagement with philosophical aesthetics, especially the work of Theodor W. Adorno, with women's literary modernism, particularly the writing of Virginia Woolf and Nella Larsen, along with feminist theories on the politics of race and gender. By bringing seemingly apolitical, gender-neutral debates about modernism's experimental forms together with an analysis of violence and destroyed materialities, Ziarek challenges both the anti-aesthetic subordination of modern literature to its political uses and the appreciation of art's emancipatory potential at the expense of feminist and anti-racist political struggles.
“Lollard Ekphrasis: Situated Aesthetics and Literary History.” Journal of Medieval
and Early Modern Studies 35 (2005): 68–89. Hoogvliet, Margriet. “The Medieval
Vernacular Bible in French as a Flexible Text: Selective and Discontinuous ...
Author: Fiona Somerset
Publisher: Cornell University Press
"Lollard" is the name given to followers of John Wyclif, the English dissident theologian who was dismissed from Oxford University in 1381 for his arguments regarding the eucharist. A forceful and influential critic of the ecclesiastical status quo in the late fourteenth century, Wyclif’s thought was condemned at the Council of Constance in 1415. While lollardy has attracted much attention in recent years, much of what we think we know about this English religious movement is based on records of heresy trials and anti-lollard chroniclers. In Feeling Like Saints, Fiona Somerset demonstrates that this approach has limitations. A better basis is the five hundred or so manuscript books from the period (1375–1530) containing materials translated, composed, or adapted by lollard writers themselves. These writings provide rich evidence for how lollard writers collaborated with one another and with their readers to produce a distinctive religious identity based around structures of feeling. Lollards wanted to feel like saints. From Wyclif they drew an extraordinarily rigorous ethic of mutual responsibility that disregarded both social status and personal risk. They recalled their commitment to this ethic by reading narratives of physical suffering and vindication, metaphorically martyring themselves by inviting scorn for their zeal, and enclosing themselves in the virtues rather than the religious cloister. Yet in many ways they were not that different from their contemporaries, especially those with similar impulses to exceptional holiness.