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Introduction - Art and Identity: Essays on the Aesthetic Creation of Mind
2013, Brill
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PORTO ARTE: Revista de Artes Visuais, 2017
The articles in this issue of CoSMo explore possible ways to understand the specific qualities of aesthetics, its areas of application, its relationship with the practices of artistic production, aesthetic enjoyment, and critical interpretation. They also discuss the complex relationship between the reflection on aesthetic experience and its quality and, on the one hand, the problems raised by contemporary art (which often seems to require a kind of non-aesthetic experience of understanding and appreciation) and, secondly, the emergence of new potential areas of aesthetic enjoyment (like cooking and food appreciation).
The Journal of Aesthetic Education, 2004
This discussion is the basis of Chapter 1 of my book The Aesthetics of Self-Becoming: How Art Forms Empower, Routledge, 2019. The book develops all the ideas presented below, in much greater detail. If aesthetics is to re-establish its philosophical importance a change is needed. Instead of engaging with art mainly through the crude notion of expressive qualities, or making it speak through the voice of ‘authorities’, we need a Copernican turn. This means a re-orientation of aesthetics towards i) those experiential needs which give rise to art, ii) the way they are articulated through artistic creation, and iii) a clarification of the unique effects consequent upon this creation. In the present discussion I offer an approach to all these issues. My starting point is the origin of art. This question is usually approached from an ontogenetic or phylogenetic viewpoint. However, my approach is different – centring on why human beings need to create art in the first place. This has ontogenetic and phylogenetic implications, but as expressions of a greater experiential whole - where the need for art can be seen to emerge from factors conceptually basic to self-consciousness as such. Part One, accordingly, outlines the horizonal basis of our experience of time and space, and then four key cognitive competences which are necessary to this experience. Emphasis is given to the importance of the aesthetic in its narrative form, as a further necessary feature emergent from these competences. Part Two outlines how literature, music, and pictorial art engage with this narrative feature in unique ways on the basis of their distinctive individual ontologies. They transform the aesthetic narrative of experience by embodying it in a more enduring and lucid form than can be attained at the purely experiential level. In this way, art embodies self-becoming, i.e. the developing of one’s own individuality in relation to others, and symbolic compensation for things otherwise lost in the passage of time. (This is a much extended and revised version of a paper on The Need for Art, and the Aesthetics of Self-Consciousness done a s a keynote address at the European Society of Aesthetics annual conference, Dublin Institute of Technology, 11th June, 2015)
The Journal of Aesthetics and Art Criticism, 2013
The present paper discusses the possibility that aesthetic perception and interpretation reveal themselves as mutually inclusive within the same aesthetic experience of art in a non-trivial way. It will take its point of departure from Hans-Georg Gadamer and Nöel Carroll. Although they belong to different traditions, both philosophers nonetheless coincide in their indication that the experience of art overflows the region of perception and enjoyment of the aesthetic qualities of works of art. Yet while Gadamer subordinates aesthetic perception and maintains that the experience of art is necessarily hermeneutical, Carroll proposes that the aesthetic and the hermeneutical are two equally genuine responses to art. My claim is that perceptual elements in a work of art are decisive for interpretation, and that this should be properly considered when examining the aesthetic experience of art.
Art as experience of the living body, an East/West experience, 2023
This book analyses the dynamic relationship between art and subjective consciousness, following a phenomenological, pragmatist and enactive approach. It brings out a new approach to the role of the body in art, not as a speculative object or symbolic material but as the living source of the imaginary. It contains theoretical contributions and case studies taken from various artistic practices (visual art, theatre, literature and music), Western and Eastern, the latter concerning China, India and Japan. These contributions allow us to nourish the debate on embodied cognition and aesthetics, using theoryphilosophy, art history, neuroscience-and the authors' personal experience as artists or spectators. According to the Husserlian method of "reduction" and pragmatist introspection, they postulate that listening to bodily sensations-cramps, heartbeats, impulsive movements, eye orientation-can unravel the thread of subconscious experience, both active and affective, that emerge in the encounter between a subject and an artwork, an encounter which, following John Dewey, we deem to be a case study for life in general. Ce livre analyse la relation dynamique entre l'art et la conscience subjective, selon une approche phénoménologique, pragmatiste et enactive. Il vise à faire émerger une nouvelle approche du rôle du corps dans l'art, non pas comme objet spéculatif ou matériau symbolique, mais comme source vivante de l'imaginaire. Les contributions théoriques et les études de cas sont prises à diverses pratiques artistiques (arts visuels, théâtre, littérature et musique), occidentales et orientales, ces dernières concernant la Chine, l'Inde et le Japon. Selon la méthode husserlienne de « réduction », en écho à l'introspection pragmatiste, les textes témoignent que l'écoute des sensations corporelles-crampes, battements de coeur, mouvements pulsionnels, orientation des yeux-mises en jeu par l'oeuvre, permet de dénouer le fil de l'expérience inconsciente, à la fois kinesthésique et affective, qui émerge dans la rencontre entre un sujet et une oeuvre d'art, une rencontre comprise, à la manière de Dewey, comme un cas d'école de la vie en général. Christine Vial Kayser (PhD, HDR) is an art historian and museum curator (emeritus). She is an Associate researcher with Héritages (CYU) and a member of the Doctoral School 628-AHSS. Her research relates to the capacity of art to transform representations within an individual and in the collective mind, through embodied, mnemonic, and affective processes, in a global, comparative (East/west context). She works at the crossroads of art theory, anthropology, and neuroaesthetics. Christine Vial Kayser (PhD, HDR) est historienne de l'art et conservatrice de musée (émérite). Elle est chercheur associé à Héritages (CYU) et membre de l'ED 628-AHSS. Ses recherches portent sur la capacité de l'art à transformer les représentations au sein d'un individu et dans le cadre collectif, à travers des processus incarnés, mémoriels et affectifs, dans un contexte global et comparatif (Est/Ouest). Elle travaille au croisement de la théorie de l'art, de l'anthropologie et de la neuroesthétique.
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