Suchergebnisse

AbstractIn this paper, we examine the question how future studies can productively engage with the future by considering how art is engaging. This question is pertinent, as doubts about the future are increasingly urgent, while the need to engage with the future is not sufficiently addressed by the quantitative growth of future studies. In the case of climate change, for example, the future consequences of global temperature increase are well-known, but do not invoke action accordingly. While some see the use of art as an effective means to engage with the future, others criticise such usage as reducing art to an instrumental value, at the expense of aesthetic values. This raises fundamental questions about how art and imagination can be engaging and what this implies for future studies.To address the issue, we resort to a pragmatist understanding of art. We present a reading of the work of John Dewey (1859–1952). In hisArt as Experience, Dewey claimed that art can be seen as a "mode of prediction not found in charts and statistics". He presents the experience of art as a reciprocal process that is imaginative: in our engagement with art, we experience the artwork, while the experience also produces us. The aesthetic experience is transformative. This mutual coming into existence is not a planned creation, but insinuates an open future as well as an open past.As a next step, we review the production of futures in future studies, using Dewey's understandings on how imagination and the future connect in the aesthetic experience. First, we look at methods to produce futures: extrapolations, Delphi Surveys, surveys, simulations and scenarios. Second, we evaluate how the produced futures engage their audience, distinguishing between narratives, symbols, graphs and images.We conclude that while futures studies have been successful in showing routes to the future, they also have difficulties to relate to futures in a more open, imaginative and responsible way. They are informative but not transformative. The difficulty of future studies to engage, hinders responsible responses.

"Based on ethnographic research within the extreme metal community, Unger offers a thought-provoking look at how symbols of authenticity and defilement fashion social experience in surprising ways. Exploring the many themes and ciphers that comprise this musical community, this book interprets aesthetic resonances as a way to understand contemporary identity, politics, and social relations. In the end, this book develops a unique argument: the internal composition of the community's music and sound moulds symbols that shape, reflect, and constrain social patterns of identity, difference, and transgression. This book contributes to the sociology of sound and music, the study of religion in popular culture, and the role of aesthetics in everyday life. It will be of interest to upper level students, post-graduate students and scholars of religion, popular culture, and philosophy

The author explores Ingarden's aesthetics taking as a leading thread his repeated attempts at a refutation of the common locus of relativity of taste. Ingarden's position is summarized in four theses: (1) values do exist as the proper correlates of aesthetic experience, (2) aesthetic values must be distinguished from artistic values, (3) artistic and aesthetic values are founded in other ontic strata, and finally (4) acts of valuation in aesthetic experience are presupposed by value judgements. In the light of the philosophical and phenomenological interpretation of the physical theory of relativity (special and general) by authors such as Weyl or Geiger, Ingarden's refutation of the relativity of taste appears as incomplete. The phenomenology of aesthetic experience formulated by Geiger and Husserl and their own refutations of relativism in general and aesthetic relativism in particular suggest a more fruitful approach, which is undermined by Ingarden: the transcendental phenomenology of intersubjective aesthetic experience.

The paper compares aesthetic experience and information experience as two modes of the synthesis of heterogeneous, revealing the significance of their confrontation. It is postulated that both aesthetic experience and information experience in their contemporary incarnations should be conceived as the Modern Age phenomena that have become a response to the need to handle the complexity and inconsistency of the contents of human culture. Both types of experience claim an unlimited breadth of synthesis of plurality, representing two types of 'everyday nomadism'. However, there are fundamental differences between them: while aesthetic experience in its design is aimed at inspiring man and activating his vital forces, information experience proves to absorb energy and inhibit emotions. It is argued that aesthetic experience structurally contains an aspiration to another person and a dialogue with him, disclosing the value dimension which constitutes the hierarchical arrangement of things, while information experience synthesizes the phenomena of being on one plane, taking the dimension of values out of brackets. In this regard, it may be concluded that between aesthetic experience and information experience as two modes of synthesizing multiplicity a struggle is underway for the content of human life, which should be considered as one of the fundamental intrigues of modernity.

The stories gathered in these pages lay bare the power of the arts to unsettle and rework deeply ingrained religious beliefs and practices. This book grounds its narrative in the accounts of 82 Evangelicals who underwent a sea-change of religious identity through the intervention of the arts. "There never would have been an undoing of my conservative Evangelical worldview" confides one young man, "without my encounter with the transcendent work of Mark Rothko on that rainy afternoon in London's Tate Modern." "The characters in The Brothers Karamazov began to feel like family to me," reports another individual, "and the doubts of Ivan Karamazov slowly saturated my soul." As their stories unfold, the subjects of the study describe the arts as sources of, by turns, "defamiliarization," "comfort in uncertainty," "a stand-in for faith" and a "surrogate transcendence." Drawing on memoirs, interviews, and field notes, Philip Salim Francis explores the complex interrelationship of religion and art in the modern West, and offers an important new resource for on-going debates about the role of the arts in education and social life. - Publisher

PurposeSocial media has emerged as a prominent platform for marketers and brands to disseminate brand-related information. This study aims to investigate the impact of color congruence between themes and background on marketing effectiveness, focusing specifically on Instagram.Design/methodology/approachA laboratory experiment was conducted to investigate how color congruence between themes and background in brand posts influences flow and aesthetic experience, subsequently affecting marketing communication parameters such as brand attitude, visit intention, and eWOM on Instagram. Moreover, Adidas Originals was selected as the focal brand, and blue and white color was chosen as the primary color palette for the experimental material.FindingsThis study demonstrates that color congruence, regardless of brand layout or post, significantly influences flow and aesthetic experience, subsequently affecting marketing effectiveness.Originality/valueThis study contributes to the theoretical understanding of congruence theory and social media marketing, providing valuable insights for brands to enhance their communication through photographs and effectively manage their official Instagram accounts.

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