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2013, www.contempaesthetics.org
Developments in the arts associated with modernism began in the latter part of the nineteenth century with Impressionism and Post-impressionism. These movements were followed by a succession of stylistic innovations that came to a head in the second half of the twentieth century. In the 1960s and ‘70s, a proliferation of artistic practices emerged that trespassed conventional boundaries. Innovative practices gave rise to new perceptual features in the arts, breaking out of the frame of the canvas and extruding from its flat surface, descending from the proscenium stage into the audience, and other such modifications of appreciative experience that discarded the traditional separation of audience and art object. Not only did the arts incorporate new materials and practices; they reached out to incorporate surprising subject-matters. All the arts began to intrude on the formerly safe space of the spectator by demanding active involvement in the appreciative process. Audience participation became overt and necessary for the fulfillment of the art, not only in the visual arts but in theater, fiction, sculpture, and other art forms. The traditional separation between the sequestered, contemplative experience of art and the world of ordinary experience was deliberately breached.
Qui Parle: Critical Humanities and Social Sciences, 2015
Journal of Science and Technology of the Arts, 2017
2011
Abstract This paper reviews the development of frameworks for thinking and talking about interactive art in the context of my personal practice over the last forty years. It traces a number of paths taken, from an early simple direct notion of interaction through to communication between people through art systems and, more recently, interactive art for long-term engagement. The frameworks consist of an evolving set of concepts, over several dimensions, which are developing together with the practice of interactive art.
2021
The history of aesthetic inquiry in the West goes back nearly two thousand years, though it is not as ancient as mediations on art in Asian cultures. Yet despite its early origins in both traditions, questions on the meaning and value of beauty, on art, and on qualitative experience more generally continue to puzzle scholars and artists alike. Much of the discussion has to do with the direction of inquiry that helps account for the history and experience of aesthetic values: whether we can find guidance from ancient speculation, from universal first principles, from a scientific model, from an analytical inquiry into basic concepts, or from creative practices, themselves. Each approach leads in a different direction, resulting in a tangle of claims that have no common base. It seems that concord in aesthetic understanding, as in political and social dispute, is not only elusive but may be impossible. Perhaps it will be more productive to look in a different direction—away from tradi...
Pragmatism Today, 2014
This paper investigates those signs present in today’s art world which can be interpreted as attempts to re-capture the global perceptive experience of art. In the following passages I will present cases, which allow for the inclusion of touch, taste and smell into the persisting framework, without changing the narrowed-down definition of aesthetics. I will speak of artworks which require the audience not only to see and hear them, but to employ the other senses as well. I will not speak of interactive works which require some sort of active-transformational action from the audience. The challenge that these artists have taken upon them is to expand the contemplative horizon for the senses deemed inferior until now.
How are we to understand works of art that are realized with viewers' physical involvement? How are we to analyze a relationship between a work of art and its audience that is rooted in an experience both aesthetic and physical when " user experience " is a central concern of a society held in the grip of omnipresent interactivity? Between two seemingly opposed modes, contemplation and use, this book offers a third option: that of " practicable " works, made for and of audience action. Today, these works often use digital technologies, but artists have created participatory works since the mid-twentieth century. In this volume, critics, writers, and artists provide diverse perspectives on this kind of " practicable " art, discussing and documenting a wide variety of works from recent decades. Practicable returns to the mainstays of contemporary art from the 1950s to the present, examining artistic practices that integrate the most forward-looking technologies, disregarding the false division between artworks that are technologically mediated and those that are not. Practicable proposes a historical framework to examine art movements and tendencies that incorporate participatory strategies, drawing on the perspectives of the humanities and sciences. It investigates performance and exhibition, as well as key works by artists including, and features interviews with such leading artists and theoreticians as Matt Adams of Blast Theory
Cognitive Processing, 2018
A recent version of the view that aesthetic experience is based in empathy as inner imitation explains aesthetic experience as the automatic simulation of actions, emotions, and bodily sensations depicted in an artwork by motor neurons in the brain. Criticizing the simulation theory for committing to an erroneous concept of empathy and failing to distinguish regular from aesthetic experiences of art, I advance an alternative, dynamic approach and claim that aesthetic experience is enacted and skillful, based in the recognition of others' experiences as distinct from one's own. In combining insights from mainly psychology , phenomenology, and cognitive science, the dynamic approach aims to explain the emergence of aesthetic experience in terms of the reciprocal interaction between viewer and artwork. I argue that aesthetic experience emerges by participatory sense-making and revolves around movement as a means for creating meaning. While entrainment merely plays a preparatory part in this, aesthetic engagement constitutes the phenomenological side of coupling to an artwork and provides the context for exploration, and eventually for moving, seeing, and feeling with art. I submit that aesthetic experience emerges from bodily and emotional engagement with works of art via the complementary processes of the perception–action and motion–emotion loops. The former involves the embodied visual exploration of an artwork in physical space, and progressively structures and organizes visual experience by way of perceptual feedback from body movements made in response to the artwork. The latter concerns the movement qualities and shapes of implicit and explicit bodily responses to an artwork that cue emotion and thereby modulate overall affect and attitude. The two processes cause the viewer to bodily and emotionally move with and be moved by individual works of art, and consequently to recognize another psychological orientation than her own, which explains how art can cause feelings of insight or awe and disclose aspects of life that are unfamiliar or novel to the viewer.
"In this paper I discuss the way my understanding of ‘aesthetic engagement’ has evolved during my three years of doctoral research. The paper draws on my PhD findings, exploring process drama aesthetics and adult language learning. The project was a mixed methods, multiple case studies, framed by a reflective practitioner approach. The intervention consisted in designing and facilitating three 15-hour process dramas, in the context of teaching Italian as a Second Language, working with three groups of language students, and three groups of language teachers (participant-observers). Initially, the purpose of the research was to understand how aesthetic engagement occurs, and is manifested, in the drama/language classroom. Throughout the project this concept evolved, bringing me to consider the construct of ‘engagement’ in its multifaceted sides: learning engagement, affective engagement, dramatic, intercultural, communicative, as well as aesthetic engagement. Using qualitative and quantitative data from videos, questionnaires, observers’ notes, interviews and my reflections, I attempted to map out a connection between these types of engagement. I was also interested in how the artistry of process drama is developed, in the perspective of a foreign language teacher; the nature of reflection-in-action, and how it impacts on learners’ engagement. For the purpose of this paper, firstly I outline the context of the research, the methodology and analysis process. Secondly, I address the three areas of findings, related to reflection-in-action, engagement, and drama/language learning. Finally, I focus on engagement and, in particular, on aesthetic engagement, drawing on Bundy’s (2003) framework, and Gallagher’s (2005) sociology of aesthetics. If, at the beginning of my PhD journey, I started with an idea of what aesthetic engagement was, how did this change as I reflected in, and on, action? Upon completion of the project, I pause to think about my current understanding of ‘aesthetic engagement’, and the way this understanding has developed."
Charles Michel Anne d' ARCUSSIA, 2017
Gender, Place & Culture, 2024
İlim ve İrfan Yolunda Bir Hezarfen: Ekmeleddin İhsanoğlu’na Armağan = A Festschrift in Honor of Ekmeleddin İhsanoğlu, editors Hatice Aynur et al. (İstanbul: Ötüken, 2021), pp. 517-532.
607Teología y Vida, 55/3 (2014), 607-629, 2014
Journal of Seed Science, 2015
Choice Reviews Online, 2009
Medicina intensiva / Sociedad Española de Medicina Intensiva y Unidades Coronarias
2021
Wahana Dedikasi : Jurnal PkM Ilmu Kependidikan, 2021
Nucleic Acids Research, 2022
Journal of Chemical Education, 2015
Les Cahiers de droit, 1993