Suchergebnisse

artists - designers - cultural production - recycling - aesthetic experience - De nos jours, artistes et créateurs de toutes orientations, et dans différents champs de production culturelle, ont de plus en plus recours à des procédés impliquant le traitement de matériaux qui sont déjà disponibles dans l'espace culturel : ils créent en recyclant. Grâce aux nouvelles technologies de reproduction des œuvres et de traitement de données, cette modalité de production s'affirme comme une dominante de la culture contemporaine. Comment en rendre compte esthétiquement ? Quel est son impact sur notre expérience esthétique ? En quoi nous oblige-t-elle à repenser concepts et compréhension dans le domaine de l'esthétique. Dans ce livre, un groupe international de dix-huit chercheurs se penche sur cette interface entre esthétique et recyclage culturel et propose des éléments de réponse à ces questions. Ce livre est issu d'un colloque international qui eut lieu en 2001 à Montréal.

Argues that the body in the philosophy of aesthetics is emptied of the contingencies and conflicts of the everyday: those quotidian pleasures and brutalities produced by the functions, experiences and encounters of the commodified body. Inextricably linked to this is a conception of art which is unduly protected from cultural division and the mundanity of culture as such.

In this essay I explore a possibility of experiential synthesis of an abnormal body of a Contergan person with an aesthetic image of the visual body. For a method, the essay uses phenomenology; I therefore lean in on the studies of embodiment conducted by Edmund Husserl and Maurice Merleau-Ponty. In turn, Max Ernst introduces an aesthetic modality of the artistic body. A personal narrative about meeting sur-real bodies serves as a frame for theorizing abnormality. The study reveals how the encounter with the abnormal ways of constitution suspends normality toward producing sur-real effects.

Looks at how feminist performance art of the 1970s echoes Theodor Adorno's utopian claims about the potential of aesthetic production as opposed to feminist art of the 1980s which is closer to Judith Butler's thinking about inscribed terms of performativity. It is contended that first-generation feminist performance art draws upon dimensions of feminist thought that are prefigured in Adorno's critique of instrumental reason & his understanding of the relationship between subjectivity, aesthetic experience, & emancipation. Adorno's utopianism & the radical nature of his critique of late capitalist society are contrasted with Butler's theory of performativity which suggests a positivist politics of reform rather than a radical rethinking of power/subjection. It is argued that Butler rejects the humanist version of agency & politics that assumes actors confront an external political field to maintain that "actors have no access to political possibilities outside of the discursive terms that constitute both the subject & the political field." The devastating repercussions for women artists of the current movement within art toward conservatism & market viability are pointed out. J. Lindroth

In this article, I examine the production of meaning in the veneration of La Negrita, the black Madonna and patroness of Costa Rica. Both an apparition and an icon, La Negrita is a 20‐centimeter, dark‐colored statue of the Virgin Mary that appeared to a mulata girl on the outskirts of the colonial city of Cartago in 1635. Throughout the ensuing 400 years, La Negrita has been remade in the image of hegemony, even as the experience of her perceived power has challenged that ideological and coercive project. Through an analysis of this historical progression, I argue for a theory of culture as an aesthetic system, where the egalitarianism of experience is always in conflict with the authoritarianism of meaning.

Over the past two decades, Vancouver-based artist Stan Douglas has produced an evolving body of photographic, slide projection and sound, and film and video installation projects. From nascent large-scale panoramic landscape photographs to intellectually probing multimedia narratives on urbanism's transformations, his works persistently excavate the social, political, and epistemological arbitrariness of modernity's claim to progress. Douglas locates his muse in the decrepit past and fabricates, through technical and material means, visual spaces where irrepressible difficulties and dangers, saliencies, and pleasures emerge. Like the best contemporary visual art forms, Douglas's film and video installations are highly cognitive and perceptual, designed for experience and completion by unforeseeable meanings the viewer may produce. This article explores the implications of Stan Douglas's work for rethinking the social and cultural contexts of education today.

Sixty-seven undergraduates completed the NEO-Personality Inventory (Costa & McCrae, 1985), the Rebelliousness Questionnaire (McDermott, 1987) and an author-devised creativity checklist. Reactive rebelliousness correlated positively with NEO-neurotic hostility (r = 0.52, p < .001)
and negatively with NEO-openness to experience subscales (actions', r = −0.21, p =0.46; 'ideas", r = −0.31, p = 0.005) but not with frequency of self-reported creative interests and activities. A disaggregated measure of creative activities however, demonstrated
a positive association between number of creative literary acts and proactive rebelliousness scores (r = 0.25, p = 0.02). All six NEO-openness subscales correlated positively with self-reported creative activities; five did so with creative interests. Specifically, openness to fantasy and
openness to aesthetic experience correlated notably with creative activities (r = 0.45, p < 0.0005; r = 0.41, p < 0.005) and interests (r = 0.45, p < 0.0005; r = 0.5, p <0.0005). Thus, openness, as McCrae & Costa (1985) hypothesise, was highly predictive of self-reported creative
acts and interests.

The tea ceremony and the martial arts are intimately linked in the popular and historical imagination with Zen Buddhism, and Japanese culture. They are commonly interpreted as religio-aesthetic pursuits which express core spiritual values through bodily gesture and the creation of highly valued objects. Ideally, the experience of practising the Zen arts culminates in enlightenment. This book challenges that long-held view and proposes that the Zen arts should be understood as part of a literary and visual history of representing Japanese culture through the arts. Cox argues that these texts and images emerged fully as systems for representing the arts during the modern period, produced within Japan as a form of cultural nationalism and outside Japan as part of an orientalist discourse. Practitioners' experiences are in fact rarely referred to in terms of Zen or art, but instead are spatially and socially grounded. Combining anthropological description with historical criticism, Cox shows that the Zen arts are best understood in terms of a dynamic relationship between an aesthetic discourse on art and culture and the social and embodied experiences of those who participate in them.

During World War II, the American public was inundated with photographs of war. This article examines the iconography of war as revealed in photographs from the Pacific arena, identifying four primary motifs: the transformation of boys into warrior men, the fetishization of weaponry, the spectacle of death, and the quest to penetrate and dominate nature. War is a territorial game played by men to enact dominance, a social performance that inscribes gender identities on human bodies. War, like masculinity, is predicated on the subjugation of the feminine, which is encoded in the body and territory of the enemy, an inscription even more extreme when the enemy is of another race. These photographs enact the play of domination and subjugation through the imagery of impenetrability and rapability, thus contributing to the propagandistic construction of the enemy and extending the voyeuristic pleasures of domination to those not able to experience it firsthand.

Biomedicine is often thought to provide a scientific account of the human body and of illness. In this view, non-Western and folk medical systems are regarded as systems of 'belief' and subtly discounted. This is an impoverished perspective for understanding illness and healing across cultures, one that neglects many facets of Western medical practice and obscures its kinship with healing in other traditions. Drawing on his research in several American and Middle Eastern medical settings, in this 1993 book Professor Good develops a critical, anthropological account of medical knowledge and practice. He shows how physicians and healers enter and inhabit distinctive worlds of meaning and experience. He explores how stories or illness narratives are joined with bodily experience in shaping and responding to human suffering and argues that moral and aesthetic considerations are present in routine medical practice as in other forms of healing

The Schillerian conception of aesthetic experience is related to the influence of Kant's philosophy. For its capacity to integrate reason and imagination, the aesthetic constitutes for Schiller the fundamental structure of knowledge. At the same time, it is also the structure at the basis of every possible pragmatic experience, given its attitude to solve what is multiple into the linearity of a shape subject to a progressive development. Furthermore, this processual character of the aesthetic also determines its political potential.

Immanuel Kant's Critique of Judgment (1987) & the paintings of Chaim Soutine are analyzed to (1) demonstrate how aesthetics became connected with human embodiment & (2) indicate how the aesthetic-human embodiment relationship became the predominant component of modernist painting. After introducing the "amenability problem" within Kant's thought (defined as Kant's questioning of nature's suitability for human designs), his assertion that reflective judgment is needed to address amenability & to evaluate life is discussed, & Kant's contention is repudiated; it is maintained that the amenability problem can only be resolved within the context of making aesthetic reflective judgments of natural beauty. It is contended that Soutine's paintings of animal carnality & landscapes invoke the process of transcendental induction, & this process is viewed as answering Kant's amenability problem. J. W. Parker

Dealing with creative logos, this collection aims to lift human experience into spirit and culture. In it, the momentum of a gathering "creative brainstorm" leads to the vertiginous imaginative transformability of the creative logos as it ciphers through the elements of experience - sensing, feeling, emotions, forming - in works of art