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In this article, I relate the demand that Paul Ricoeur suggests mimesis places on the way we think about truth to the idea that the work of art is a model for thinking about testimony. By attributing a work's epoché of reality to the work of imagination, I resolve the impasse that arises from attributing music, literature, and art's distance from the real to their social emancipation. Examining the conjunction, in aesthetic experience, of the communicability and the exemplarity of a work reveals how Ricoeur's definition of mimesis as refiguration relates to the "rule" that the work summons. This "rule" constitutes the solution to a problem or question for which the work is the answer. In conclusion, as a model for thinking about testimony, the claims that works make have a counterpart in the injunctions that issue from exemplary moral and political acts. ; Dans cet article, j'établis un lien entre l'exigence que, selon Paul Ricœur,la mimèsis place dans notre façon de penser la vérité, et l'idée que l'œuvre d'art est un modèle pour penser le témoignage. Appliquant l'époché de la réalité à l'oeuvre d'imagination, j'évite l'impasse qui se dresse lorsqu'on attribue la musique, la littérature et la distance artistique du réel à leur émancipation sociale. L'étude de la conjonction du caractère communicable et exemplaire d'une œuvre – dans l'expérience esthétique - met en lumière la relation que la définition par Ricœur de la mimésis comme refiguration établit avec la "règle" que l'œuvre convoque. Cette règle est la solution au problème auquel l'oeuvre apporte une réponse. Finalement, un modèle pour penser le témoignage peut être trouvé dans des oeuvres qui trouvent leur contrepartie dans les injonctions produites par les actions morales et politiques exemplaires.

Abstract
Whether the aesthetic is something we actively make or whether it just appears to us, can be formulated as the distinction between notions of act and event-as defined by the Finnish philosopher Georg Henrik v. Wright. Moreover, the concepts of geno- and phenosign refer to this crucial foundation of any aesthetic treatise, i. e. genosigns carrying along all the phases of its production aiming for such a goal, i. e. Kantian Zweck, and phenosigns as a kind of phenomenal, immediate qualities. However, insofar as the aesthetic manifests a value, we can consider it a sign of such an abstract entity. Such transcendental values gradually get dense and concretized, become 'beings' when they arrive at Dasein via modalities. So, values become modalities, certain modal constellations, and at the end signs. Analogously, aesthetic values become aesthetic experiences when they are 'modalized', and then manifest as artworks, as aesthetic signs.

The rise of information and communication technology goes hand in hand with what might be considered a democratic revolution of the teaching profession. The teacher and the school are no longer defining what can be considered valuable knowledge. Basic didactic issues in teaching (what, how, and why) change fundamentally as students express that they 'just do' and 'find' through social media, online resources and software for creation, reflection and presentation. Learning theories and proven teaching models suddenly become superfluous, so concepts such as truth and values must be considered in a new light. Drama in education involves processing issues through evocative and emotionally engaging design. This fundamental purpose is often formulated as an intention to stimulate critical thinking. However, despite this explicitly democratic intent, drama activities are always site-specific insofar as issues of portrayal, reflection and discussion are staged within the framework of a pedagogical idea. A thought is never free, leaving us with the question of to what extent thinking through drama can be called 'emancipated'. Additionally, drama is still ruled by contextual and physical laws so much so that bodies and voices are limited, gender specific and spatially located. Therefore, emotions are at play and pedagogical setting are carefully prepared and managed by the teacher. The aim of this article is to make a Deleuzian investigation of into the possibilities and challenges of how best to extend aesthetic bodily communicative and performative spaces in relation to digital technology in drama education. Hence, we are trying to navigate the rhizomatic experience of believing that we know in which direction we need to go, given that whilst we educate drama students they are also educating us. Groups of children and youngsters seem to be rhizomatic 'by nature', subversively searching for adventures on their own, finding leaks, exploring 'forbidden' areas, conquering cyber space, creating their own drama, while at the same time playing the game of the machine. Virtual life can in these circumstances be both phantasmagoric and uncontrollable.

This longitudinal ethnographic study involved a professional development project, Project Partnerships Achieve Literacy (Project PAL) in South Africa, with eight rural foundation phase teachers who taught Reception (kindergarten) through grade three (R-3). This Project was designed to support teachers in an under-resourced school as they learned strategic approaches to literacy teaching and learning with the aim to improve the reading achievement of their children. Located in aesthetics theory, researchers engaged teachers in aesthetic experiences, or experiences that were infused with the arts (art, drama, video, music, reader's theater), children's literature, and technology. Research questions were as follows: What can be learned from an aesthetic approach to professional development? What does engagement look like in aesthetic experiences in professional development? Do aesthetic experiences resonate with teachers and inform their instruction? Three findings emerged from an constant comparative analysis of classroom observations, interviews, teacher artifacts, researcher debriefs, video and audio recordings: 1) Feelings and the arts were significant in what and how teachers learned in professional development workshops; 2) Aesthetic experiences led to critical and democratic talk around professional development and issues of social importance; and 3) Aesthetic experiences informed teachers' in and out of classroom practice. Findings from this study suggest that professional development holds significant promise when it is sustained, imaginative, and relatable, and positions teachers to think differently about themselves as learners and teachers through aesthetic experiences. We suggest that drawing only from cognitive approaches and one-shot single-session professional development does not deeply address the qualities, feelings, emotions, and embodied responses that comprise the aesthetic experience in professional development, and argue for a deeper understanding of professional development, one in which aesthetic learning and experiences are central to teacher learning.

Purpose
– The purpose of this paper is to explore the phenomenon of dress codes in professions. Since they can be considered as carriers of both organizational communication and individual identity, they will be central in professions as communities and through the professionalization process. Therefore, we will ask the following question: what is the role of understanding and complying with dress codes in becoming a professional?


Design/methodology/approach
– The empirical study consists in a series of ethnographic interviews and observations aiming at understanding dress codes' roles and dynamics in financial professions.


Findings
– Exploring dress codes in three typical professions in finance, we have discovered that they also are mediums of communication within the group, strengthening a certain aesthetic sense of belonging and of presenting the self.


Originality/value
– In this, becoming a professional can be understood as an aesthetic experience through which all senses are involved. Considering professions as being also aesthetic communities shifts the focus – or rather enlarges it – toward symbolic, corporeal and sensorial elements.

"This monograph is based on archival research and close readings of James Joyce's and W. B. Yeats's poetics and political aesthetics. Georges Sorel's theory of social myth is used as a starting point for exploring the ways in which the experience of art, like that of social myth, can be seen as a form of religious experience. The theorisation of the experience of art as a form of religious experience illuminates the role of art in engendering social attitudes in opposition to economic materialism and capitalism. Based on these analyses, the arguments explore the ways in which a theory that defines the experience of art as a form of religious experience can help us to answer three questions of pressing interest for the contemporary moment: How can we read cultural texts to imagine forms of social belonging through which to challenge the isolation of economic materialism? How can we imagine cultural texts to create the collective relations necessary for social change in global capitalism? How can we define an ethics of satisfaction that does not relate to this capital modernity?"--

Članek je del širše raziskave v okviru doktorske disertacije s področja športnih znanosti na Fakulteti za šport Univerze v Portu na Portugalskem. Omenjena raziskava proučuje »gibanje telesa« in estetsko izkušnjo taekwon-do športnika med borbo in izvajanjem tehnike poomsae ter estetsko vrednost, lastno temu športu. Telo skozi igro ustvarja lepe vzvišene oblike, v času in prostoru za rekreacijo deluje kot estetski objekt. Športniki si prizadevajo preseči svoje omejitve, da bi izvedli čim lepše, zahtevnejše in natančnejše gibe, njihova izpolnitev in športnikovo samopriznanje pa postaneta vir estetske izkušnje. Trdimo, da estetski užitek, ki ga doživlja taekwon-do športnik, izhaja iz celovitega prepleta odnosov, ki združujejo med drugim občutek strahu, žalosti, negotovosti, tveganja, zmage, mehkobe, miline in agresije in ki vzbujajo hkrati privlačnost in navdušenje. Članek se sklene s trditvijo, da se taekwon-do športnik, ko med tekmo udari po glavi svojega nasprotnika, ko izvaja skladno zaporedje poomsae ali precizno tehniko, s katero bo prelomil kos lesa, sooča z izjemno lepoto, ki ga vključuje in izpolnjuje.

Članek je del širše raziskave v okviru doktorske disertacije s področja športnih znanosti na Fakulteti za šport Univerze v Portu na Portugalskem. Omenjena raziskava proučuje »gibanje telesa« in estetsko izkušnjo taekwon-do športnika med borbo in izvajanjem tehnike poomsae ter estetsko vrednost, lastno temu športu. Telo skozi igro ustvarja lepe vzvišene oblike, v času in prostoru za rekreacijo deluje kot estetski objekt. Športniki si prizadevajo preseči svoje omejitve, da bi izvedli čim lepše, zahtevnejše in natančnejše gibe, njihova izpolnitev in športnikovo samopriznanje pa postaneta vir estetske izkušnje. Trdimo, da estetski užitek, ki ga doživlja taekwon-do športnik, izhaja iz celovitega prepleta odnosov, ki združujejo med drugim občutek strahu, žalosti, negotovosti, tveganja, zmage, mehkobe, miline in agresije in ki vzbujajo hkrati privlačnost in navdušenje. Članek se sklene s trditvijo, da se taekwon-do športnik, ko med tekmo udari po glavi svojega nasprotnika, ko izvaja skladno zaporedje poomsae ali precizno tehniko, s katero bo prelomil kos lesa, sooča z izjemno lepoto, ki ga vključuje in izpolnjuje.

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.

Purpose
The purpose of this paper is to show the mechanism of aesthetic experiences of work in a research and innovation context – an R&D laboratory of a multinational communications and information technology company. Analysing memorable projects of this laboratory through the lenses of aesthetics is a useful way to understand organizational and innovation culture and the quality of life of researchers and innovators.


Design/methodology/approach
An exploratory study focusing on memorable projects of 31 researchers who worked on 70 projects during four years was conducted. The data analysis is based on the grounded theory.


Findings
The study reveals six key dimensions that describe the dimensions of R&D researchers' aesthetic experiences: perceptive, emotional, intellectual, communicative, collective and organizational. These dimensions are closely related and support an innovation culture in an R&D environment.


Research limitations/implications
The aesthetic dimensions have to be correlated to innovation performance indicators to better understand which aspects are the most relevant for innovation.


Practical implications
The paper proposes first examples of implications for the industry to foster an innovation culture through aesthetic experiences.


Originality/value
No study has been done on aesthetic experiences in an R&D environment.