This book focuses on externalist approaches to art.
Author: Riccardo Manzotti
Publisher: Andrews UK Limited
This book focuses on externalist approaches to art. It is the first fruit of a workshop held in Milan in September 2009, where leading scholars in the emerging field of psychology of art compared their different approaches using a neutral language and discussing freely their goals. The event threw up common grounds for future research activities. First, there is a considerable interest in using cognitive and neural inspired techniques to help art historians, museum curators, art archiving, art preservation. Secondly, cognitive scientists and neuroscientists are rather open to using art as a special way of accessing the structures of the mind. Third, there are artists who explicitly draw inspiration out of current research on various aspects of the mind. Fourth, during the workshop, a converging methodological paradigm emerged around which more specific efforts could be encouraged.
These are works which demand the 'beholder's share', but not, as Ernst Gombrich famously claimed, to sustain an illusion.
Author: Ken Wilder
Publisher: Bloomsbury Publishing
Beholding considers the spatially situated encounter between artwork and spectator. It argues that artworks created for specific places or conditions structure a reciprocal encounter, which is completed by the presence of a beholder. These are works which demand the 'beholder's share', but not, as Ernst Gombrich famously claimed, to sustain an illusion. Rather, Beholding reconfigures Gombrich's notion of the beholder's share as a set of 'licensed' imaginative and cognitive projections. Each chapter frames a particular work of art from the remit of a complementary theoretical text. The book establishes a transhistorical notion of the spatially situated encounter, and considers the role of the architectural host in bringing the beholder's orientation into play. The book engages a diverse range of practices: from Renaissance painting and group portraiture to intermedia practices of installation and performance art. Written within the broad remit of reception aesthetics, the book proposes a phenomenological theory of beholding, argued through an in-depth examination of artworks and their spatial contexts, selected for their explanatory potential. These various encounters allocate different constitutive roles to the beholder, bringing not only spatial and temporal orientation into play, but also a repertoire of anticipated ideas and beliefs.
Very often the feminist approach is a critical investigation of these grounds,
pointing out the ways in which aesthetic ... For Wittgenstein, this situation is as it
should be; situated aesthetics can happily coexist, borrowing terms that change
Author: Kennan Ferguson
Publisher: Lexington Books
Category: Political Science
This innovative and theoretically sophisticated book investigates how aesthetic judgment forms the groundwork for understanding political identities. It posits aesthetics as central to conceptions of politics that are based on how people understand the relationship between themselves and larger communities. Ferguson focuses not only on how different theoretical conceptions of political judgment relate to one another, but also on their historical development and potential meaning for contemporary scholarship across the humanities and social sciences. Drawing on recent contributions to philosophy, economics, cultural studies, feminism, psychology, and anthropology, The Politics of Judgment demonstrates how modern political identities depend upon and are formed by aesthetic judgment. Political theorists, social scientists, philosophers and cultural critics will find this book especially useful, though general readers will also be attracted by the author's keen insight into contemporary political questions.
Introduction. In Situated aesthetics: Art beyond the skin, ed. R. Manzotti, 1–10.
Exeter: Imprint Academic. Menary, R. 2006. Attacking the bounds of cognition.
Philosophical Psychology 19: 329–344. Menary, R. 2007. Cognitive integration.
Author: Alfonsina Scarinzi
The project of naturalizing human consciousness/experience has made great technical strides (e.g., in mapping areas of brain activity), but has been hampered in many cases by its uncritical reliance on a dualistic “Cartesian” paradigm (though as some of the authors in the collection point out, assumptions drawn from Plato and from Kant also play a role). The present volume proposes a version of naturalism in aesthetics drawn from American pragmatism (above all from Dewey, but also from James and Peirce)—one primed from the start to see human beings not only as embodied, but as inseparable from the environment they interact with—and provides a forum for authors from diverse disciplines to address specific scientific and philosophical issues within the anti-dualistic framework considering aesthetic experience as a process of embodied meaning-making. Cross-disciplinary contributions come from leading researchers including Mark Johnson, Jim Garrison, Daniel D. Hutto, John T. Haworth, Luca F. Ticini, Beatriz Calvo-Merino. The volume covers pragmatist aesthetics, neuroaesthetics, enactive cognitive science, literary studies, psychology of aesthetics, art and design, sociology.
... might be conceptualized as relational and socially situated aesthetics, '
grounded in community', anti-individualist and without 'a foundation in certainties
and universals', to use Wolff's terms.37 The rest of this chapter explores these
Author: Gareth White
Publisher: Bloomsbury Publishing
Category: Performing Arts
Applied Theatre: Aesthetics re-examines how the idea of 'the aesthetic' is relevant to performance in social settings. The disinterestedness that traditional aesthetics claims as a key characteristic of art makes little sense when making performances with ordinary people, rooted in their lives and communities, and with personal and social change as its aim. Yet practitioners of applied arts know that their work is not reducible to social work, therapy or education. Reconciling the simultaneous autonomy and heteronomy of art is the problem of aesthetics in applied arts. Gareth White's introductory essay reviews the field, and proposes an interdisciplinary approach that builds on new developments in evolutionary, cognitive and neuro-aesthetics alongside the politics of art. It addresses the complexities of art and the aesthetic as everyday behaviours and responses. The second part of the book is made up of essays from leading experts and new voices in the practice and theory of applied performance, reflecting on the key problematics of applying performance with non-performers. New and innovative practice is described and interrogated, and fresh thinking is introduced in response to perennial problems.
drift toward co-optation) the communicative devices needed to keep the situated
knowledge situated are story, anecdote, autobiography, and similar messy
genres that somehow elude that co-optation. I would challenge these claims by
Author: Lynette Hunter
Publisher: McGill-Queen's Press - MQUP
Category: Literary Criticism
Aesthetics is a field still rooted in an understanding of a unified process where small numbers of people produce, commodify, and consume objects called "art." Disunified Aesthetics deconstructs the literary object by invoking the critic's stance toward the written works with which they engage. Lynette Hunter's performative explorations provide a distinctly different way of understanding contemporary creative processes. Disunified Aesthetics takes up twenty-first-century aesthetics through an investigation of recent Canadian writing. The book is both a series of insights into literature and poetics of the last two decades and a story about moving from a traditional view of the relation between the artist, art, and its reception, to a more radically democratic view of aesthetics and ethics. Hunter addresses a range of Canadian women's writing, as well as close studies of the work of Robert Kroetsch, Lee Maracle, Nicole Brossard, Frank Davey, Alice Munro, Daphne Marlatt, and bpNichol. Disunified Aesthetics is a creative, challenging, and original investigation of textuality, performance, and aesthetics by a leading and innovative scholar.
Lollard Ekphrasis: Situated Aesthetics and Literary History. The Journal of
Medieval and Early Modern Studies 35 (1): 67–89. ———. 2007. The Parable of
Caedmon's 'Hymn': Liturgical Invention and Literary Tradition. The Journal of
Author: Katharine W. Jager
Category: Literary Criticism
Vernacular Aesthetics in the Later Middle Ages explores the formal composition, public performance, and popular reception of vernacular poetry, music, and prose within late medieval French and English cultures. This collection of essays considers the extra-literary and extra-textual methods by which vernacular forms and genres were obtained and examines the roles that performance and orality play in the reception and dissemination of those genres, arguing that late medieval vernacular forms can be used to delineate the interests and perspectives of the subaltern. Via an interdisciplinary approach, contributors use theories of multimodality, translation, manuscript studies, sound studies, gender studies, and activist New Formalism to address how and for whom popular, vernacular medieval forms were made.
Noam Tractinsky and Eleanor Eytam Abstract We call attention to the important
role that aesthetics, or visual beauty, can ... Current research in the paradigm of
ubiquitous displays or its variants (e.g. situated public displays or context
Author: Antonio Krüger
Publisher: Springer Science & Business Media
Our increasingly smart environments will sense, track and model users and provide them with personalized services. We can already embed computers in everyday objects such as shirt buttons and pencils; objects of all sizes, from wristwatches to billboards, will soon incorporate high-quality flexible displays; we have improved access to wireless Internet communication; and we are now transitioning from traditional linear to targeted interactive media. The convergence of these factors -- miniaturization, display technologies, wireless communication, and interactive media -- will allow us to leave our desktop computers and move to a radical computing paradigm, the ubiquitous display environment, where media and visual content will support a rich variety of display devices that enable users to interact with information artifacts in a seamless manner. This is one of the most exciting and important areas of technology development and this book addresses the challenge within the context of an educational and cultural experience. This is inherently a multidisciplinary field and the contributions span the related research aspects, including system architecture and communications issues, and intelligent user interface aspects such as aesthetics and privacy. On the scientific side, the authors integrate artificial intelligence, user modeling, temporal and spatial reasoning, intelligent user interfaces, and user-centric design methodologies in their work, while on the technological side they integrate mobile and wireless networking infrastructures, interfaces, group displays, and context-driven adaptive presentations. This book is of value to researchers and practitioners working on all aspects of ubiquitous display environments, and we hope it leads to innovations in human education, cultural heritage appreciation, and scientific development.
This chapter is mainly situated within the tradition of analytic aesthetics. It
concerns the formalist conception of aesthetic autonomy as found in the writings
of Clive Bell and Roger Fry. This conception of aesthetic autonomy should be
Author: Owen Hulatt
Publisher: A&C Black
Whether art can be wholly autonomous has been repeatedly challenged in the modern history of aesthetics. In this collection of specially-commissioned chapters, a team of experts discuss the extent to which art can be explained purely in terms of aesthetic categories. Covering examples from Philosophy, Music and Art History and drawing on continental and analytic sources, this volume clarifies the relationship between artworks and extra-aesthetic considerations, including historic, cultural or economic factors. It presents a comprehensive overview of the question of aesthetic autonomy, exploring its relevance to both philosophy and the comprehension of specific artworks themselves. By closely examining how the creation of artworks, and our judgements of these artworks, relate to society and history, Aesthetic and Artistic Autonomy provides an insightful and sustained discussion of a major question in aesthetic philosophy.
Writing for Art: The Aesthetics of Ekphrasis. Manchester: Manchester University
Press, 2008. Crane, Susan. ... “Lollard Ekphrasis: Situated Aesthetics and
Literary History.” Journal ofMedieval and Early Modern Studies 35 (2005): 67–89.
Author: R. Howard Bloch
Publisher: JHU Press
Category: Literary Criticism
In the early 1990s, Stephen Nichols introduced the term "new medievalism" to describe an alternative to the traditional philological approach to the study of the romantic texts in the medieval period. While the old approach focused on formal aspects of language, this new approach was historicist and moved beyond a narrow focus on language to examine the broader social and cultural contexts in which literary works were composed and disseminated. Within the field, this transformation of medieval studies was as important as the genetic revolution to the study of biology and has had an enormous influence on the study of medieval literature. Rethinking the New Medievalism offers both a historical account of the movement and its achievements while indicatingâ€”in Nichols’s innovative spiritâ€”still newer directions for medieval studies. The essays deal with questions of authorship, theology, and material philology and are written by members of a wide philological and critical circle that Nichols nourished for forty years. Daniel Heller-Roazen’s essay, for example, demonstrates the conjunction of the old philology and the new. In a close examination of the history of the words used for maritime raiders from Ancient Greece to the present (pirate, plunderer, bandit), Roazen draws a fine line between lawlessness and lawfulness, between judicial action and war, between war and public policy. Other contributors include Jack Abecassis, Marina Brownlee, Jacqueline Cerquiglini-Toulet, Andreas Kablitz, and Ursula Peters.
(2) It is necessary to apply an intercultural orientation to what is here termed the “ situated unsituatedness” of an intercultural aesthetics. (3) Such an intercultural
orientation will allow us to deal with the discipline of aesthetics within the ...
Author: Hans Rainer Sepp
Publisher: Springer Science & Business Media
Historically, phenomenology began in Edmund Husserl’s theory of mathematics and logic, went on to focus for him on transcendental rst philosophy and for others on metaphysics, philosophical anthropology, and theory of interpretation. The c- tinuing focus has thus been on knowledge and being. But if one began without those interests and with an understanding of the phenomenological style of approach, one might well see that art and aesthetics make up the most natural eld to be approached phenomenologically. Contributions to this eld have continually been made in the phenomenological tradition from very early on, but, so to speak, along the side. (The situation has been similar with phenomenological ethics. ) A great deal of thought about art and aesthetics has nevertheless accumulated during a century and a handbook like the present one is long overdue. The project of this handbook began in conversations over dinner in Sepp’s apa- ment in Baden-Baden at one evening of the hot European summer in the year 2003. As things worked out, he knew more about whom to ask and how much space to allocate to each entry and Embree knew more about how to conduct the inviting, preliminary editing, and prodding of contributors who were late returning their criticized drafts and copyedited entries and was able to invest the time and other resources from his endowed chair. That process took longer than anticipated and there were additional unfortunate delays due to factors beyond the editors’s control.
“Lollard Ekphrasis: Situated Aesthetics and Literary History.” Journal of Medieval
and Early Modern Studies 35 (2005): 68–89. Hoogvliet, Margriet. “The Medieval
Vernacular Bible in French as a Flexible Text: Selective and Discontinuous ...
Author: Fiona Somerset
Publisher: Cornell University Press
Category: Literary Criticism
"Lollard" is the name given to followers of John Wyclif, the English dissident theologian who was dismissed from Oxford University in 1381 for his arguments regarding the eucharist. A forceful and influential critic of the ecclesiastical status quo in the late fourteenth century, Wyclif’s thought was condemned at the Council of Constance in 1415. While lollardy has attracted much attention in recent years, much of what we think we know about this English religious movement is based on records of heresy trials and anti-lollard chroniclers. In Feeling Like Saints, Fiona Somerset demonstrates that this approach has limitations. A better basis is the five hundred or so manuscript books from the period (1375–1530) containing materials translated, composed, or adapted by lollard writers themselves. These writings provide rich evidence for how lollard writers collaborated with one another and with their readers to produce a distinctive religious identity based around structures of feeling. Lollards wanted to feel like saints. From Wyclif they drew an extraordinarily rigorous ethic of mutual responsibility that disregarded both social status and personal risk. They recalled their commitment to this ethic by reading narratives of physical suffering and vindication, metaphorically martyring themselves by inviting scorn for their zeal, and enclosing themselves in the virtues rather than the religious cloister. Yet in many ways they were not that different from their contemporaries, especially those with similar impulses to exceptional holiness.
Seventeen contributions must be situated within the domain of aesthetics, and
these are assembled in three groups. The first consists of texts where Peirce's aesthetic is situated within the context of American philosophy, essentially
Author: Herman Parret
Publisher: John Benjamins Publishing
Most of the essays collected in this book were presented at the Charles S. Peirce Sesquicentennial Congress (Harvard University, September 1989). The volume is devoted to themes within Peirce's value theory and offers a comprehensive view of less known aspects of his influential philosophy, in particular Peirce's work on ethics and aesthetics.The book is divided in four sections. Section I discusses the status of ethics as a normative science and its relation with logic; some applications are presented, e.g. in the field of bioethics. Section II investigates the specific position of Peircean aesthetics with regard to classical American philosophy, especially Buchler, to Husserlian phenomenology, and to European structuralism (Saussure, Jakobson). Section III contains papers on internal aspects of Peirce's aesthetics and its place in his thought. The final section presents applications of Peirce's aesthetic theory: analyses of visual art (mainly paintings), of literary texts and of musical meaning.
Author: David Peters CorbettPublish On: 2013-02-22
Is it, after all, the case that aesthetic judgment is not based on universal
standards? ... But I think we can probably do no better than accept what we might
call the “situated aesthetics” underlying Harrison's explanation for his change of
Author: David Peters Corbett
Publisher: John Wiley & Sons
This companion is a collection of newly-commissioned essays written by leading scholars in the field, providing a comprehensive introduction to British art history. A generously-illustrated collection of newly-commissioned essays which provides a comprehensive introduction to the history of British art Combines original research with a survey of existing scholarship and the state of the field Touches on the whole of the history of British art, from 800-2000, with increasing attention paid to the periods after 1500 Provides the first comprehensive introduction to British art of the eighteenth, nineteenth, and twentieth centuries, one of the most lively and innovative areas of art-historical study Presents in depth the major preoccupations that have emerged from recent scholarship, including aesthetics, gender, British art’s relationship to Modernity, nationhood and nationality, and the institutions of the British art world
This “certain point of view' implies that it must be situated in the world (be-in-the-
world). And it is by virtue of its being situated in the world which motivates
consciousness for the construction of an unreal object. This unreal is nothingness
simplistic: the beautiful is situated between the sublime on the one hand and the
graceful on the other. The sublime, as for Burke, is the mother of categories:
Ibsen, Caravaggio, the Judgment of Sixtine, as well as the extravagant
Author: H. Parret
Publisher: Springer Science & Business Media
AESTHETICIZING PRAGMATICS The Gamut of Pragmatics Pragmatics emerged among the sciences of language at the end of the 1960's in reaction to certain totalizing models in linguistics: structuralism (primarily in Europe) and generative grammar (initially in the United States). Certain disciples of Chomsky became dissatisfied with autono mous syntax and later with generative semantics: they decided to break away from their mentor. Whereas Chomsky continued to talk a lot about very little, they defied him by speaking very suggestively about an exces sively broad range of phenomena. Pragmatics -which Bar-Hillel consid ered as a 'wastebasket discipline' in the fifties - nevertheless gained respectability. The history of pragmatics spans, of course, much more than three decades. The Stoic conception of language, in the shadow of the great Greek tradition and therefore intensely subversive, had in fact a pragmatic aim. The term pragmatisch appears in Kant: it expresses a relation with a human goal, this goal being only determinable within a community. This characterization naturally inspires the pragmaticism of l the Neo-Kantian Charles Sanders Peirce . It is this Kant-Peirce lineage that led to Morris and Carnap's rather bland conceptions of pragmatics, after the heavy losses incurred by positivism and behaviorism. In any case, despite the constant presence of a pragmatic approach in the history of thought, this reassessment of pragmatics (against the triumphs proclaimed by structuralism and generativism) was experienced as a Significant break through. A whole range of pragmatics came to the attention of linguists.
Narrative Cultures and the Aesthetics of Religion studies narrativity as situated modes of engaging with reality in religious contexts across the globe, equally shaped by the immersive character of the stories told and the sensory qualities ...
Author: Dirk Johannsen
Narrative Cultures and the Aesthetics of Religion studies narrativity as situated modes of engaging with reality in religious contexts across the globe, equally shaped by the immersive character of the stories told and the sensory qualities of their performances.
Games are situated between the paths of two aesthetic disciplines : aesthetics of
the moving image ( film , television , video ) and aesthetics of the environment (
landscapes , architecture , space ) . The formulations presented in the article help
Author: Colin Beardon
Publisher: Taylor & Francis
Category: Technology & Engineering
Presenting highlights from five years of the field journal Digital Creativity , this volume republishes twenty-seven contributions from international artists and scientists.
I am of course not suggesting that beauty and form are irrelevant in music therapy
, but if one neglects the situated character of any discourse on aesthetics ,
statements about form may close the door for other perspectives and thus have ...
Author: Brynjulf Stige
Publisher: Barcelona Pub
An in-depth exploration of taking culture-inclusive perspectives for practice, theory, and research in music therapy. Part One outlines premises for the argument, examining basic concepts such as culture, humankind, meaning, "musicking," and the nature-nurture debate. Part Two highlights how culture-centered music therapy may be practiced. In Part Three, implications for describing and understanding music therapy are discussed, including a chapter on how to define music therapy as practice, discipline, and profession. A culture-inclusive model of the music therapy process is also proposed. Part Four suggests approaches to music therapy research within a culture-centered context.
THE WRENCHING DUALITY OF AESTHETICS From a certain point of view, it
appears to be quite possible to characterize every aspect of ... As the form of any
possible experience, aesthetics is clearly situated as an aspect of thought.
Author: Daniel W. Smith
Publisher: Cambridge University Press
Gilles Deleuze (1925–95) was an influential and provocative twentieth-century thinker who developed and presented an alternative to the image of thought found in traditional philosophy. This volume offers an extensive survey of Deleuze's philosophy by some of his most influential interpreters. The essays give lucid accounts of the fundamental themes of his metaphysical work and its ethical and political implications. They clearly situate his thinking within the philosophical tradition, with detailed studies of his engagements with phenomenology, post-Kantianism and the sciences, and also his interventions in the arts. As well as offering new research on established areas of Deleuze scholarship, several essays address key themes that have not previously been given the attention they deserve in the English-speaking world.