The Way We Get By:
Aesthetic Engagement with the Landscape
The intersection of aesthetics and et... more The Way We Get By: Aesthetic Engagement with the Landscape The intersection of aesthetics and ethics has a long history in philosophy. Kant wrote The Critique of Judgement as means to use aesthetic judgment to reflect how an ethical judgment could be both universal and particular; the result of judgment “must involve a claim to validity for all men.” However, in the context of contemporary environmentalism, there is still much ambiguity and countless bewildering suggestions for the relationship between aesthetics and ethics in actual practical modes of existence. Some contemporary art practices however, directly encourage a connection between aesthetics and ethics through a form of aesthetic engagement with the landscape. This type of engagement with the landscape is intended as a form of questioning. The word “engagement” itself is a significant as part of this phrase. The etymology of the word “engagement” stems from the French word “engager” meaning to pledge, commit, involve, encourage, hire or enlist. This paper will argue that certain aesthetic expressions have the ability to create a relationship with the environment that has personal meaning and engages the individual into the derivation of a personal ethos. This claim is also accompanied by the assertion that contemporary environmental discourse is inhibited by a deficient collaboration with artistic practice.
Abstract
In early 2012, when members of the punk band Pussy Riot created a performance of protes... more Abstract
In early 2012, when members of the punk band Pussy Riot created a performance of protest in Moscow’s Cathedral of Christ the Savior, they generated a gripping and raw insurgency rooted in spatial transgression that sent shockwaves through the global community and initiated an inter-global discourse about feminism, religion, Russian politics, incarceration, corruption, orthodoxy, and the current state of punk rock music in one fell swoop. And although their actions stand as a powerful attempt to subvert hegemonic power using a fusion of music and spatial transgression, this does not mark the first time that place, transgression, and sound have effectively been brought together as a political statement to initiate change. There is a type of spatial transgression in the history of music making that is explicitly political and disruptive. At different moments in history, certain musicians have strategically enlisted different political modalities of mobility and spatiality in the production of music to develop transgressive geographies. These particular musical projects have actively utilized spatial strategies to critique and resist power formations and cultural norms. Their compositions form a genealogy in history of music, connected not through genres, context, or musical notes, but by a commonality of procedure and method. This is an analysis of what political spaces of resistance can sound like—as the sounds of transgressive geographies.
The Way We Get By:
Aesthetic Engagement with the Landscape
The intersection of aesthetics and et... more The Way We Get By: Aesthetic Engagement with the Landscape The intersection of aesthetics and ethics has a long history in philosophy. Kant wrote The Critique of Judgement as means to use aesthetic judgment to reflect how an ethical judgment could be both universal and particular; the result of judgment “must involve a claim to validity for all men.” However, in the context of contemporary environmentalism, there is still much ambiguity and countless bewildering suggestions for the relationship between aesthetics and ethics in actual practical modes of existence. Some contemporary art practices however, directly encourage a connection between aesthetics and ethics through a form of aesthetic engagement with the landscape. This type of engagement with the landscape is intended as a form of questioning. The word “engagement” itself is a significant as part of this phrase. The etymology of the word “engagement” stems from the French word “engager” meaning to pledge, commit, involve, encourage, hire or enlist. This paper will argue that certain aesthetic expressions have the ability to create a relationship with the environment that has personal meaning and engages the individual into the derivation of a personal ethos. This claim is also accompanied by the assertion that contemporary environmental discourse is inhibited by a deficient collaboration with artistic practice.
Abstract
In early 2012, when members of the punk band Pussy Riot created a performance of protes... more Abstract
In early 2012, when members of the punk band Pussy Riot created a performance of protest in Moscow’s Cathedral of Christ the Savior, they generated a gripping and raw insurgency rooted in spatial transgression that sent shockwaves through the global community and initiated an inter-global discourse about feminism, religion, Russian politics, incarceration, corruption, orthodoxy, and the current state of punk rock music in one fell swoop. And although their actions stand as a powerful attempt to subvert hegemonic power using a fusion of music and spatial transgression, this does not mark the first time that place, transgression, and sound have effectively been brought together as a political statement to initiate change. There is a type of spatial transgression in the history of music making that is explicitly political and disruptive. At different moments in history, certain musicians have strategically enlisted different political modalities of mobility and spatiality in the production of music to develop transgressive geographies. These particular musical projects have actively utilized spatial strategies to critique and resist power formations and cultural norms. Their compositions form a genealogy in history of music, connected not through genres, context, or musical notes, but by a commonality of procedure and method. This is an analysis of what political spaces of resistance can sound like—as the sounds of transgressive geographies.
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Aesthetic Engagement with the Landscape
The intersection of aesthetics and ethics has a long history in philosophy. Kant wrote The Critique of Judgement as means to use aesthetic judgment to reflect how an ethical judgment could be both universal and particular; the result of judgment “must involve a claim to validity for all men.” However, in the context of contemporary environmentalism, there is still much ambiguity and countless bewildering suggestions for the relationship between aesthetics and ethics in actual practical modes of existence.
Some contemporary art practices however, directly encourage a connection between aesthetics and ethics through a form of aesthetic engagement with the landscape. This type of engagement with the landscape is intended as a form of questioning. The word “engagement” itself is a significant as part of this phrase. The etymology of the word “engagement” stems from the French word “engager” meaning to pledge, commit, involve, encourage, hire or enlist.
This paper will argue that certain aesthetic expressions have the ability to create a relationship with the environment that has personal meaning and engages the individual into the derivation of a personal ethos. This claim is also accompanied by the assertion that contemporary environmental discourse is inhibited by a deficient collaboration with artistic practice.
In early 2012, when members of the punk band Pussy Riot created a performance of protest in Moscow’s Cathedral of Christ the Savior, they generated a gripping and raw insurgency rooted in spatial transgression that sent shockwaves through the global community and initiated an inter-global discourse about feminism, religion, Russian politics, incarceration, corruption, orthodoxy, and the current state of punk rock music in one fell swoop. And although their actions stand as a powerful attempt to subvert hegemonic power using a fusion of music and spatial transgression, this does not mark the first time that place, transgression, and sound have effectively been brought together as a political statement to initiate change.
There is a type of spatial transgression in the history of music making that is explicitly political and disruptive. At different moments in history, certain musicians have strategically enlisted different political modalities of mobility and spatiality in the production of music to develop transgressive geographies. These particular musical projects have actively utilized spatial strategies to critique and resist power formations and cultural norms. Their compositions form a genealogy in history of music, connected not through genres, context, or musical notes, but by a commonality of procedure and method. This is an analysis of what political spaces of resistance can sound like—as the sounds of transgressive geographies.
Aesthetic Engagement with the Landscape
The intersection of aesthetics and ethics has a long history in philosophy. Kant wrote The Critique of Judgement as means to use aesthetic judgment to reflect how an ethical judgment could be both universal and particular; the result of judgment “must involve a claim to validity for all men.” However, in the context of contemporary environmentalism, there is still much ambiguity and countless bewildering suggestions for the relationship between aesthetics and ethics in actual practical modes of existence.
Some contemporary art practices however, directly encourage a connection between aesthetics and ethics through a form of aesthetic engagement with the landscape. This type of engagement with the landscape is intended as a form of questioning. The word “engagement” itself is a significant as part of this phrase. The etymology of the word “engagement” stems from the French word “engager” meaning to pledge, commit, involve, encourage, hire or enlist.
This paper will argue that certain aesthetic expressions have the ability to create a relationship with the environment that has personal meaning and engages the individual into the derivation of a personal ethos. This claim is also accompanied by the assertion that contemporary environmental discourse is inhibited by a deficient collaboration with artistic practice.
In early 2012, when members of the punk band Pussy Riot created a performance of protest in Moscow’s Cathedral of Christ the Savior, they generated a gripping and raw insurgency rooted in spatial transgression that sent shockwaves through the global community and initiated an inter-global discourse about feminism, religion, Russian politics, incarceration, corruption, orthodoxy, and the current state of punk rock music in one fell swoop. And although their actions stand as a powerful attempt to subvert hegemonic power using a fusion of music and spatial transgression, this does not mark the first time that place, transgression, and sound have effectively been brought together as a political statement to initiate change.
There is a type of spatial transgression in the history of music making that is explicitly political and disruptive. At different moments in history, certain musicians have strategically enlisted different political modalities of mobility and spatiality in the production of music to develop transgressive geographies. These particular musical projects have actively utilized spatial strategies to critique and resist power formations and cultural norms. Their compositions form a genealogy in history of music, connected not through genres, context, or musical notes, but by a commonality of procedure and method. This is an analysis of what political spaces of resistance can sound like—as the sounds of transgressive geographies.