Transsexuality as Aesthetic Experience
In: TSQ: Transgender Studies Quarterly, Band 3, Heft 3-4, S. 649-652
ISSN: 2328-9260
766 Ergebnisse
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In: TSQ: Transgender Studies Quarterly, Band 3, Heft 3-4, S. 649-652
ISSN: 2328-9260
In: Chinese Semiotic Studies, Band 3, Heft 1, S. 3-28
ISSN: 2198-9613
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.
In: Human relations: towards the integration of the social sciences, Band 55, Heft 7, S. 821-840
ISSN: 1573-9716, 1741-282X
Direct questioning about the 'felt sense' of organizational actions or artefacts is an accepted way to explore organizational members' aesthetic experience. However, this requires organizational members to be able to talk about their aesthetic experience, to translate that felt sense into language. I suggest this is often difficult due to aesthetic muteness, which is a significant problem, not just for research but for organizational practice in general. I use empirical data to illustrate how this aesthetic muteness is manifested in the research process as organizational members' difficulty in approaching their experience from an aesthetic perspective, reframing from 'feeling' to 'thinking', inability to recall aesthetic experience and denial of aesthetic experience. I then speculate that aesthetic muteness might be caused by threats to harmony, efficiency and images of power and effectiveness and that the consequences of aesthetic muteness are aesthetic amnesia, a narrowed conception of organizational aesthetics and aesthetic stress.
In: Society and business review, Band 8, Heft 3, S. 251-268
ISSN: 1746-5699
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.
In: Passagens: international review of political history & legal culture, Band 15, Heft 2, S. 340-348
ISSN: 1984-2503
Neuro-aesthetics is a new scientific field in the field of research on the perception of beauty as well as the creation of art. This science deals with the connection between areas of the human brain and nervous systems with the perception of beauty. Neuro-aesthetic researchers and theorists consider the perception of beauty to have a biological basis. Aesthetics refers to the knowledge of how the senses are used to know. The purpose of writing this article is to review and introduce Don DeLillo's view on art and Aesthetics in the book Mao II and to extend the references in aesthetic education. This research is trying to determine the scope of this science and to express the challenges that are on this claim. The result of this research, which was carried out by examining the results of neuro-aesthetic tests and criticisms and opinions of theorists, shows that artistic perception is not mere visual perception, but variables such as historical, cultural factors, and conceptual understanding of the work are influential in artistic understanding.
In: International journal of work organisation and emotion: IJWOE, Band 4, Heft 1, S. 61
ISSN: 1740-8946
In: The international journal of sociology and social policy, Band 11, Heft 6/7/8, S. 91-106
ISSN: 1758-6720
Marx's analysis of alienated labor still explains much about how the capitalist labor process shapes the thoughts and feelings of direct producers. But Marx's analysis fares less well in explaining how the work people actually do with their hands and minds leads to specific psychological consequences. This weakness stems from an inadequate social psychology. The purpose of this article is to provide Marx with this needed social psychology by drawing on the work of G.H. Mead. Specifically, Mead's philosophy of the act and his concept of aesthetic experience will be used to show how alienated labor leads to a reified mode of consciousness and a dislike of work itself. This synthesis of Marx and Mead makes good theoretical sense when we consider, first, the remarkable similarity of their respective philosophical anthropologies.
In: Ars & Humanitas: revija za umetnost in humanistiko = Journal of arts and humanities, Band 6, Heft 1, S. 107-115
ISSN: 2350-4218
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.
In: Ars & Humanitas: revija za umetnost in humanistiko = Journal of arts and humanities, Band 6, Heft 1, S. 107-115
ISSN: 2350-4218
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.
In: Cultural sociology, Band 12, Heft 3, S. 289-302
ISSN: 1749-9763
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.
In: Postmodern openings, Band 10, Heft 3, S. 135-150
ISSN: 2069-9387
In: Society and business review, Band 12, Heft 3, S. 285-301
ISSN: 1746-5699
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.
In: Inquiry: an interdisciplinary journal of philosophy and the social sciences, S. 1-16
ISSN: 1502-3923
In: Critical horizons: a journal of philosophy and social theory, Band 11, Heft 3, S. 341-358
ISSN: 1568-5160
In: Zeitschrift für kritische Theorie ; ZkT, Band 16, Heft 30/31, S. 10-26
ISSN: 2702-7864