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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.

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.

Presentamos un intento de reflexión teórico-interpretativa de cómo en el contexto de las humanidades y las artes, la experiencia estética propicia a las condiciones de vida de las personas formas de reconocimiento, comprensión, empatía y conciencia crítica. En y por la cultura, desde el juego y la imaginación, los lenguajes, símbolos y palabras de los horizontes artísticos son libertades que tenemos para valorar, y en ellas, como un correlato se agencia el "Yo puedo" de las capacidades individuales y sociales, indispensables para sostener y fomentar la democracia y para afirmar positiva y en interdependencia, los nexos vivientes de nuestra experiencia como ciudadanos del mundo. ; We present an attempt of theoretical-interpretative reflection of how in the context of the humanities and the arts, the aesthetic experience propitiates forms of recognition, understanding, empathy and critical awareness to people's living conditions. In and for the culture, from the game and the imagination, the languages, symbols and words of the artistic horizons are liberties that we have to value, and in them, as a correlate the "I can" of individual and social capacities is organized, indispensable to sustain and foster democracy and to affirm positively and in interdependence, the living links of our experience as citizens of the world. ; 441-462 ; diaz.franciscojavier@gmail.com ; Cuatrimestral ; http://www.saber.ula.ve/fermentum

The primary mission of cultural institutions, including heritage sites and museums, is to perform and perpetuate Cultural Heritage (CH) by ideally transforming audiences into stewards of that heritage. In recent years, these institutions have increasingly turned to Mixed Reality (MR) technologies to expand and democratize public access to Cultural Heritage—a trend that is called upon to accelerate with COVID-19—because these technologies provide opportunities for more remote outreach, and moreover, can make partial remains or ruins more relatable to the public. But as emerging evaluations indicate, existing MR intangible and tangible Digital Cultural Heritage (DCH) applications are largely proving inadequate to engaging audiences beyond an initial fascination with the immersive 3D visualization of heritage sites and artefacts owing in part to misguided storytelling or non-compelling narratives. They fail to effectively communicate the significance of Cultural Heritage to audiences and impress upon them its value in a lasting way due to their overreliance on an education-entertainment-touristic consumption paradigm. Building on the recent case made for Literature-based MR Presence, this article examines how the literary tradition of travel narratives can be recruited to enhance presence and embodiment, and further elicit aesthetic experiences in Digital Cultural Heritage applications by drawing on recent findings from the fields of Extended Reality (XR), cognitive literary science and new museology. The projected effects of this innovative approach are not limited to an increase in audience engagement on account of a greater sense of presence and embodiment. This approach is also expected to prompt a different kind of public involvement characterized by a personal valuation of the heritage owing to aesthetic experience. As the paper ultimately discusses, this response is more compatible both with MR applications' default mode of usership, and with newly emerging conceptions of a user-centered museum (e.g., the ...

Art Style | Art & Culture International Magazine Abstract Driven by capitalist society's attention on the conduction of social life, Gordon Matta-Clark's (1943–1978) art interventions during the 1970s challenged the materialist concerns of architecture as a radical struggle against the prevailing social structures. In the first step of the analysis, we recognise that neither his cuts into the buildings were examinations of the history and design practice, nor his provocative physical interventions were oriented toward a rejection of architectural materiality. Quite to the contrary, through the physical act of building dematerilisation it seems that Gordon wishes to disclose how different familiar ideas were in conflict with each other. Accordingly, we can interpret Matta-Clark's activation of physical sites as a critical device for detecting how these "internal conflicts" embrace cultural paradox, new values and system of visuality. In fact, his 'anarchitectural' environments, to use Matta-Clark's term, recalibrate our appraisal of his spatial acts along the political, aesthetic and cultural evolution of the city. Along what is considered the politics of radical practices, his spatial interventions appear to be ventures into disappearance, a dream-like state, voyage to madness, or into the energetic event that one can almost inhabit. Having engaged his viewers in what appears to be a radical rethinking of the status, history and purpose of the buildings, and their relationships in the urban environment, this activist mode of operation undoubtedly challenged the boundaries between architecture, everyday life and high art. Then, could the condition in which architecture contemplates both its ontological mode of existence and its relations to the outside world, be seen as an opportunity to destabilize the very terms of aesthetic experience? The aim of this article is to disclose Matta-Clark's materialist concern as an opportunity for problematizing the rejection of logic, reason, and aestheticism of capitalist ...

The elevation of aesthetic experience in the Enlightenment, most extensively developed in Kant's analysis of disinterested contemplation, to compensate for the loss of putatively objective standards of beauty had several problematic implications. One was the privileging of the subject who had the experience over the object that stimulated it. Another was the potential extension of that experience to objects that were never intended to be works of art, not merely to ones given in nature, but also to political, social and cultural phenomena whose ethical or cognitive dimensions were concomitantly suppressed or marginalized. The aestheticization of the commonplace could thus countenance an inappropriate imperialism of the aesthetic sub-system of modernity over alternative sub-systems. Although the pragmatist aesthetics of John Dewey, recently revived in the work of Richard Shusterman, has acknowledged a need to revitalize the role of the art object, it may too quickly postulate a notion of aesthetic experience in which the equiprimordiality of subject and object is assumed. It is perhaps better to hold on to a tense constellation between art objects and the experience they generate in subjects in order to avoid a premature sublation of what remains still unreconciled in the larger culture. ; The elevation of aesthetic experience in the Enlightenment, most extensively developed in Kant's analysis of disinterested contemplation, to compensate for the loss of putatively objective standards of beauty had several problematic implications. One was the privileging of the subject who had the experience over the object that stimulated it. Another was the potential extension of that experience to objects that were never intended to be works of art, not merely to ones given in nature, but also to political, social and cultural phenomena whose ethical or cognitive dimensions were concomitantly suppressed or marginalized. The aestheticization of the commonplace could thus countenance an inappropriate imperialism of the aesthetic sub-system of modernity over alternative sub-systems. Although the pragmatist aesthetics of John Dewey, recently revived in the work of Richard Shusterman, has acknowledged a need to revitalize the role of the art object, it may too quickly postulate a notion of aesthetic experience in which the equiprimordiality of subject and object is assumed. It is perhaps better to hold on to a tense constellation between art objects and the experience they generate in subjects in order to avoid a premature sublation of what remains still unreconciled in the larger culture.

This paper attempts to reconstruct how the category of aesthetic experience has become central in contemporary aesthetics. Drawing from the contribution of different theorists and philosophers of art we approach the potential and limits of this category, paying attention to both proposals that defend it, and to criticisms that accuse it of having become a new form of ideology. Apparently, the concept of work of art has become obsolete, and the understanding of contemporary art has been channeled through the concept of aesthetic experience. ; El artículo intenta reconstruir de qué modo la experiencia estética se habría convertido en una categoría central de la estética contemporánea. A partir del aporte de distintos teóricos y filósofos del arte, pretendemos acercarnos a las potencialidades y límites de esta categoría, prestando atención tanto a los planteos que la defienden, como también a aquellos que la acusan de constituirse en una nueva forma ideológica. Al parecer, el concepto de obra de arte se ha vuelto obsoleto y la comprensión de los procesos del arte actual se ha canalizado mediante el concepto de experiencia estética.

Based on the research by American Professor Richard Shusterman on popular art and its legitimacy, the article suggests that such an effort, reading from ahermeneutics of understanding, constitutes an ethical and political effort. Ethical, in the sense of making art a way of life, and political, as its inclusion in a democratic way is claimed by its legitimacy, in addition to political expressions that embodies the art itself in its many manifestations. ; El artículo pretende demostrar que a partir del arte como experiencia estética y dramatización, Richard Shusterman logra superar la estética analítica que había restringido el arte al análisis de los conceptos y a la práctica institucional. Ya no se trata de conocer la verdad del arte sino de potenciarlo para que abarque otros niveles de la vida y puedan mejorarla ética y políticamente.

In this essay our framework will be Jacques Rancière's aesthetic perspective as mainly presented in his work Malaise dans l'esthétique to examine the critical role that certain works or artistic practices can play in the production and transformation of social space. In his book the philosopher presents an extreme defense of aesthetics in its most political dimension, where art is not political by the messages and feelings it conveys, but by the reconfiguration of the particular sensorium it produces. We are interested in exploring and thinking artistic practices in regard to their ability to work as a mechanism that offers an opportunity for critical analysis on certain political issues. What makes the political be present in an artistic work or practice, as a constituent part of the aesthetic experience, is not its content or the discourse it supports, but how it does it. To clarify this assumption, among the examples that we will analyze is the video/installation 12 vecinas of the Puerto Rican artist Marisol Plard. ; En este ensayo tomaremos como guía el pensamiento estético de Jacques Rancière tal y como se presenta principalmente en su obra Malaise dans l'esthétique para examinar críticamente el rol que pueden jugar ciertas obras o prácticas artísticas en la producción y transformación del espacio social. En su libro el filósofo presenta una defensa a ultranza de la estética en su dimensión más política, donde el arte no es político por los mensajes y sentimientos que transmite, sino por la reconfiguración del sensorium particular que produce. Nos interesa explorar y pensar las prácticas artísticas que funcionan como un mecanismo dispuesto a ofrecer una oportunidad de reflexión crítica sobre ciertos temas políticos. Lo que hace que lo político esté presente en una obra o práctica artística como parte constitutiva de la experiencia estética, no es su contenido ni el discurso que apoya, sino cómo lo hace. Para aclarar este supuesto, entre los ejemplos que analizaremos está la video/instalación 12 vecinas de la artista puertorriqueña Marisol Plard.

Commonly the aesthetic is understood as sensuous private pleasure, which other people cannot experience, but maybe talk about, and on the other hand as created by individual artists' talents. We will attempt to bring the aesthetic back into praxis by arguing that aesthetic experience is tied to Gibson's notion of perceptual systems. The article builds on observations of a design project for a community center in a Danish village. We argue that the aesthetic is shared pleasure resulting from struggles by participants in praxis, where aesthetic, material, functional, ethical, political, and economic aspects are formed by each other in a dialectic process. The struggles are found in the community council's reasons for starting the process, in the design and construction process and the use of the results. This means that descriptions of the aesthetic appearance of buildings should incorporate relevant discussions and struggles of the design, construction and use of the building, and that aesthetic experience is enriched the more aesthetic experience it is based on. It also means that the key to a fruitful ongoing collaborative process producing good aesthetic designs comes from managing together the many aspects of praxis in an open way.

Performing arts have by nature the possibility to emotionally involve the audience in ways, which are, in some important sense, "direct" and active, instead of contemplative. The audience is in the presence of flesh and blood people doing various things and of events happening in front of them. In other words, the artistic event happens live, in front of the spectators' eyes and ears, and sometimes it can even end with the audience turned into performers. This fact has lead some scholars to affirm that, to a certain extent, performing arts seem to cancel or at least to minimize the gap between art and life. This trend is mainly strong in more or less new art forms and art movements, like Performance Art, Happening, etc., that, for reasons of different kinds (aesthetic, social, political, philosophical, etc.), refused the idea of art as work and encouraged art as action and event. This idea of art as something "fluid", not fixed, not ontologically steady, and as expression of free invention seems to come to fruition also in some art technique and ways of execution, like improvisation in jazz or in certain forms of theatrical play. It would seem obvious, then, to employ this idea of art as action, event and process in contrast with the traditional conception of art -based on works that should become objects of a particular experience, differentiated from the ordinary path of life by an alleged "aesthetic distance". I will argue, on the contrary, that aesthetic "difference", "distance" and "disinterest" are basic features also of the appreciation of art forms based on events or processes and that this stands even if art as a whole is taken as better understandable in terms of performance, event, action and process rather than in the traditional terms of work and composition.

Pautado na fenomenologia-hermenêutica, o estudo se propõe a comparar e discutir diferentes possibilidades para coleta de dados durante uma pesquisa que procurou compreender, em profundidade, o significado da experiência estética para um grupo de dezessete pessoas em relação ao Cerrado. Essas possibilidades surgiram em decorrência da preocupação em responder à questão de pesquisa, em que as pesquisadoras buscaram dialogar com outras opções teórico-metodológicas. Sendo assim, o estudo se embasou em leituras clássicas como Merleau-Ponty e Gadamer e, gradativamente, ampliou-se o escopo teórico, incorporando autores(es) contemporâneos como Sarah Pink e Tim Ingold. Logo, o artigo apresenta as limitações e potencialidades de dois tipos de coleta de dados – walking ethnography e entrevistas – como possibilidades metodológicas para compreender a experiência estética desse grupo no Cerrado. Baseado em um paradigma interpretativo, o objetivo do presente artigo é tecer considerações sobre a potencialidade de se ampliar o diálogo com outras perspectivas metodológicas a fim de proporcionar maior consistência para a investigação. Identificou-se que as entrevistas e o walking ethnography forneceram diferentes perspectivas e foram complementares. Considerou-se, então, que a entrevista possibilitou conhecer as memórias de infância, histórico de envolvimento ético e político dos(as) participantes, enquanto que o foco do walking ethnography residiu nas práticas corporais e multissensoriais no Cerrado. As respostas afetivas testemunhadas durante o walking ethnography foram consideradas elementos fundamentais para a compreensão da experiência em uma abordagem fenomenológica e ampliaram as possibilidades de análise do presente estudo. ; This study, based on hermeneutic phenomenology, intends to compare and discuss different data collection possibilities employed in a study aimed at deeply understanding the meaning of the aesthetic experience for a group of seventeen people with regard to the Cerrado (Brazilian Savannah). These possibilities arose from the need to answer the research question, with the researchers attempting to dialogue with other theoretical and methodological options. In this sense, this study was based on classic literature such as Merleau-Ponty and Gadamer with a gradual broadening of the theoretical framework, incorporating contemporary authors such as Sarah Pink and Tim Ingold. Thus, this manuscript presents the limitations and potentialities of two types of data collection - walking ethnography and interviews - as methodological possibilities to understand the aesthetic experience of this group in the Cerrado. Based on an interpretative paradigm, this manuscript aims to make considerations on the potentiality of broadening the dialogue with other methodological perspectives in order to increase the investigation's consistency. It was noted that the interviews and the walking ethnography provided different perspectives and are therefore complementary. It was thus considered that the interviews permitted a better understanding of childhood memories and of the participants' history of ethical and political involvement, whereas walking ethnography focused on the corporeal and multi-sensorial practices in the Cerrado. The affective responses witnessed during the walking ethnography were considered to be crucial to understand the experience in a phenomenological approach and broadened the analysis possibilities in this study.

The understanding of the aesthetic experience as a core instance in the production of subjectivities and the construction of social reality opens a reflection on the technological dimension of work with the senses. This would be a form of production and transformation of the real, which here operates as a creative transfer between the material and the symbolic, seen as a technology of the sensible. To do this, we start from the place of aesthetic mediation in the vital dynamics of our peoples, and show some traditional aesthetic devices and their link with contemporary artifacts for the aesthetic operation and the common creation of the real. In the case of creative, artistic and/or aesthetic practices, this process is oriented towards the material production of an existential possibility, which can be inhabited, reaching a political dimension. ; La comprensión de la experiencia estética como instancia nuclear en la producción de subjetividades y la construcción de realidad social abre una reflexión sobre la dimensión tecnológica del trabajo sensible. Esta sería una forma de producción y trasformación de lo real, que aquí opera como trasvase creativo entre lo material y lo simbólico entendido como tecnologías de lo sensible. Para ello se parte del lugar de la mediación estética en las dinámicas vitales de nuestros pueblos, se muestran algunos dispositivos estéticos tradicionales, y su vinculación con artefactos del arte contemporáneo para la operación estética y la creación común de lo real. En el caso de las prácticas creadoras, artísticas y/o estéticas este proceso se orienta a la producción material de una posibilidad existencial, que pueda ser habitada, alcanzando una dimensión política. ; A compreensão da experiência estética como instancia nuclear na produção de subjetividades e a construção de realidade social abre uma reflexão sobre a dimensão tecnológica do trabalho sensível. Esta seria uma forma de produção e transformação do real, que aqui opera como transferência criativa entre o material e o simbólico entendido como tecnologias do sensível. Por isso se parte do lugar da mediação estética nas dinâmicas vitais de nossos povos, se mostram alguns dispositivos estéticos tradicionais e, sua vinculação com artefatos da arte contemporânea para a operação estética e a criação comum do real. No caso da práticas criadoras, artísticas e/ou estéticas este processo se orienta à produção material de uma possibilidade existencial, que possa ser habitada, alcançando um dimensão política.

Walter Benjamin acuñó el concepto de politización del arte a partir de dos fenómenos emergentes de la reproducción técnica de la imagen: la subversión de la ontología de la obra de arte tradicional y el uso del cine como propaganda política del fascismo. En este artículo analizamos las ontologías de la música en diálogo con los planteos de Benjamin sobre las artes visuales, para luego desarrollar el concepto de politización de la música. Concluimos que la politización de la música es un fenómeno que se articula en la experiencia que las personas tienen con la obra y no solo en la obra misma, planteo que se sustenta solo desde una ontología de la música como experiencia. ; Walter Benjamin coined the concept of politicization of art based on two situations that emerge from the mechanical reproduction of the image: the subversion of the traditional work of art's ontology, and the use of cinematography as fascist political publicity. In this paper, we analyse the musical ontologies in dialogue with Benjamin's ideas of visual arts, in order to develop the concept of politicization of music. We conclude that politicization of music is a phenomenon that emerges from human experience with the work of art and not just in the work itself, an idea that rests in an ontology of music as experience. ; Facultad de Artes