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Auswahl der wissenschaftlichen Literatur zum Thema „Poietic and aesthetic“
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Zeitschriftenartikel zum Thema "Poietic and aesthetic"
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Starzyk, Lawrence J. „THE NON-POIETIC FOUNDATIONS OF VICTORIAN AESTHETICS“. British Journal of Aesthetics 26, Nr. 3 (1986): 218–27. http://dx.doi.org/10.1093/bjaesthetics/26.3.218.
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Ellis Neyra, Ren. „White Mythologies“. Small Axe: A Caribbean Journal of Criticism 26, Nr. 2 (01.07.2022): 176–93. http://dx.doi.org/10.1215/07990537-9901752.
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This response essay engages the three book discussion essays by Ronald Mendoza–de Jesús, Petra R. Rivera-Rideau, and Rocío Zambrana on The Cry of the Senses: Listening to Latinx and Caribbean Poetics (2020). Following questions of anti-Blackness in Spanish Caribbean (especially Puerto Rican) aesthetics, culture, and history that are distinctly presented and theorized in each of the scholarly interlocutor’s book-forum essays, this essay thinks about reading itself and other perceptual modes, such as listening, qua Whiteness, “the ontic,” and “slow violence.” In its (re)considerations of the senses, it additionally critiques several foci of contemporary aesthetic and cultural theory and production, such as the current fashion of hyperbolizing aesthesis and poiesis as salvific and unquestionably relational in lieu of reckoning with ethical questions of reading, the perilous return of vitalism, and the discourse of White cultural nationalism afoot in representations of Puerto Rico today.
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ZATTRA, LAURA. „Searching for lost data: outlines of aesthesic–poietic analysis“. Organised Sound 9, Nr. 1 (April 2004): 35–46. http://dx.doi.org/10.1017/s1355771804000068.
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Fifty years down the line, the analysis of computer music is still a very complex issue, highly dependent on the identity of computer music itself: the variety of software, the lack of a common musical notation for scores, the absence or presence of computer data. This has led to the emergence of a multitude of analytical methods, including aesthesical analysis, which approaches music from the point of view of perception, and poietical analysis, which pays attention to the creative process.This study aims to combine these two methods of analysis in order to understand the relationship between technology and the actual piece of music. The article presents a methodological approach – focused on six pieces produced at IRCAM in Paris and at CSC in Padua, between 1975 and 1985 – via an in-depth consideration of Mauro Graziani's Winter leaves, a work conceived in 1980 at the CSC using Music360. The method used consists of comparing data collected using a diversity of practices: repeated listening, the tracing of graphical schematics, sonogram and spectrogram analysis, data listing analysis. An algorithm has also been created in order to calculate the degree to which the software is exploited and to enable a comparison between the different analyses. It is hoped that this procedure will combine traditional musicological methods with new approaches suited to the medium and grounded in a thorough knowledge of computer technology and musical environments.
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Westermann, Claudia. „Poiesis, ecology and embodied cognition“. Technoetic Arts 18, Nr. 1 (01.03.2020): 19–29. http://dx.doi.org/10.1386/tear_00023_1.
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Since René Descartes famously separated the concepts of body and mind in the seventeenth century, western philosophy and theory have struggled to conceptualize the interconnectedness of minds, bodies, environments and cultures. While environmental psychology and the cognitive sciences have shown that spatial perception is ‘embodied’ and depends on the aforementioned concepts’ interconnectedness, architectural design practice, for example, has rarely incorporated these insights. The article presents research on the epistemological foundations that frame the communication between design theory and practice and juxtaposes it with scientific research on embodied experience. It further suggests that Asian aesthetics, with its long history in conceiving relations and art as interactive, could create a bridge between recent scientific insights and design practice. The article links Asian aesthetics to a discourse on ecologies in the post-Anthropocene, in dialogue with contemporary conceptions of time. It outlines an approach to the interconnectedness of minds, bodies, environments, the sciences and cultures, in favour of a future that is governed by creative wisdom rather than ‘smart’ efficiency.
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Bernau, Anke. „Hedgerow Poiesis“. Emotions: History, Culture, Society 7, Nr. 1 (23.06.2023): 119–44. http://dx.doi.org/10.1163/2208522x-02010185.
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Abstract This essay considers the iconic English hedgerow in light of its history as material, made object and its ontological status as vital ecology. It argues that both of these aspects are associated with particular ‘aesthetics of care’, which are entwined with one another in inextricable, and often agonistic, ways. Central to this argument are the interrelated aspects of the hedge understood as commodity or property, its role in materialising property relations, and the hedge’s own living ‘properties’. Caring for the hedge; the hedge as expression of care for the property that is demarcated and secured through it (and the ecological and social relations that ensue); caring with hedges as the needs of multispecies living need to be addressed – all of these are at stake, and care in these different relations is rooted in histories of suffering (physical as well as emotional cares) and histories of care as a form of disposition marked by attentiveness and effort. Both ‘property’ and ‘properties’ are deeply embedded in systems and stories of ownership, place and land use; both are coming under increasing pressure in the midst of climate crisis, which demands new forms of multispecies, multitemporal care.
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Shusterman, Richard. „Ästhetische Erfahrung und die Macht der Besitzergreifung“. Deutsche Zeitschrift für Philosophie 68, Nr. 3 (05.05.2020): 327–57. http://dx.doi.org/10.1515/dzph-2020-0023.
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AbstractAfter briefly noting key contemporary critiques of aesthetic experience, this article revisits its original account in Plato’s theory of aesthetic experience as the madness of divine possession and then Aristotle’s response of defending art’s rationality as poiesis, which largely dominates the ensuing aesthetic tradition. I subsequently explore how the mysterious notion of possession continues to surface in important modern accounts of aesthetic experience (e. g. in Theodor W. Adorno, T. S. Eliot, John Dewey) and explain how the supernatural idea of possession could find a naturalistic explanation that integrates the concepts of artworld, habitus and atmosphere. The article then exemplifies this naturalistic explanation through an analysis of the possession experience pertaining to performance art as documented in The Adventures of the Man in Gold.
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Hayes, Michael Thomas. „The Poetic Generation of Place: Ethnography for a Better World“. Ethnographic Edge 2, Nr. 1 (05.11.2018): 119. http://dx.doi.org/10.15663/tee.v2i1.39.
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In this article, I employ the ethnographer poetic as a strategic provocation to rethink the foundation of contemporary ethnography. The root of the word poet or poem is the ancient Greek concept of poiesis. Poiesis is defined as making. While in the Greek tradition poiesis foregrounded an analysis of the arts or aesthetics, contemporary usages highlight the making of a social or political dimension. Drawing from the social and political dimensions of poiesis, I argue that the ethnographer does more than simply represent a social context, and, instead, calls the place into existence. The ethnographer poet transforms ethnography from a representational form of inquiry into a generative poetics of place. This allows for a new social mythos to emerge in which the field of ethnography is brought into the service of envisioning and working toward a society that is hopeful, abundant, vibrant, and just.
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Greenway, Kate. „Resisting Indifference Through the Brooch of Bergen Belsen“. Brock Education Journal 28, Nr. 1 (10.12.2018): 32–48. http://dx.doi.org/10.26522/brocked.v28i1.780.
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In this extract from, and commentary on, my master’s thesis, “The Brooch of Bergen Belsen: A Journey of Historiographic Poiesis” (winning York University Department of Education Best Major Research Paper 2010), I explore a single aesthetic experience, an encounter with a small hand-made floral cloth brooch donated to the Holocaust Memorial Museum. At the start of my inquiry, I had only the object—the brooch itself—my emotional reaction to it, and the few lines of text on a curated museum card. I wondered, how do we create “spaces for remembrance” (Simon 2005) and what are the implications for teaching, learning and living in a just society? How arewe accountable to Simon’s (2004) demand for “non-indifference?” Arts-based research methodologies such as historiographic poiesis have allowed me to merge the scholar and artist, to engage in research as an iterative process where deeper questions engender more complex and embodied responses, and to create an aesthetic intervention: an open, dialogic text and artworks that provoke new understandings of narratives previously overlooked.
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Cecchi, Dario. „Historical Reality and Political Aesthetics after Jacques Derrida and Bernard Stiegler“. KANT Social Sciences & Humanities 11, Nr. 3 (Juli 2022): 4–15. http://dx.doi.org/10.24923/2305-8757.2022-11.1.
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The article aims at showing how far the technologies of audiovisual registration affect not only the ontology of images but also our sense of realism in politics and history. As argue Jacques Derrida and Bernard Stiegler, historical events have become "tele-events" after the birth of these technologies. Our handling with images has changed accordingly. As argues Pietro Montani, we no longer consider them as "copies" of real objects but rather as "occasions" for initiating processes of "validation" of history. Hannah Arendt's opposition between the ancient concept of history being based on praxis and the modern concept of history as "fabrication" (poiesis) of the humankind must be therefore reconsidered. History is rather the negotiation between these two attitudes (praxis and poiesis): cinema might be one of the exemplary sources of this negotiation, as epitomized by the documentary work in the audiovisual archives conducted by Esfir Shub (1927) and Harun Farocki (1992). Representation (Louis Martin) becomes thus a dynamical power of imagination dealing with historical and political reality; consequently, the "ideal spectator", just as the "ideal reader" for novels (Umberto Eco), is charged with a new task of actualizing the sense of images with regard to their historical and political references.
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Cecchi, Dario. „Historical Reality and Political Aesthetics after Jacques Derrida and Bernard Stiegler“. Open Philosophy 3, Nr. 1 (24.06.2020): 257–65. http://dx.doi.org/10.1515/opphil-2020-0014.
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AbstractThe article aims at showing how far the technologies of audiovisual registration affect not only the ontology of images but also our sense of realism in politics and history. As argue Jacques Derrida and Bernard Stiegler, historical events have become “tele-events” after the birth of these technologies. Our handling with images has changed accordingly. As argues Pietro Montani, we no longer consider them as “copies” of real objects but rather as “occasions” for initiating processes of “validation” of history. Hannah Arendt’s opposition between the ancient concept of history being based on praxis and the modern concept of history as “fabrication” (poiesis) of the humankind must be therefore reconsidered. History is rather the negotiation between these two attitudes (praxis and poiesis): cinema might be one of the exemplary sources of this negotiation, as epitomized by the documentary work in the audiovisual archives conducted by Esfir Shub (1927) and Harun Farocki (1992). Representation (Louis Martin) becomes thus a dynamical power of imagination dealing with historical and political reality; consequently, the “ideal spectator”, just as the “ideal reader” for novels (Umberto Eco), is charged with a new task of actualizing the sense of images with regard to their historical and political references.
Dissertationen zum Thema "Poietic and aesthetic"
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Marrakchi, Mohamed. „Couleur et conception lumière dans l'architecture hospitalière en Tunisie : approche esthétique et poïétique“. Thesis, Toulouse 2, 2013. http://www.theses.fr/2013TOU20095.
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L’innovation du lieu hospitalier intéresse le domaine de conception et de création dans une lecture et une démarche esthétique et poïétique. Cette recherche vise à alimenter des réflexions en esthétique et en poïétique, par le biais des interrogations sur la couleur et la lumière. La démarche conceptuelle s’achève par un va-et-vient entre pratique et théorie, entre sensibilité et système nerveux, entre complexité et simplicité. Je cherche à travers cette recherche, à trouver une autre identité aux espaces sanitaires en Tunisie, respectant à la fois, les exigences technico médicales et l’identité patrimoniale. Je pose les problématiques de la démarche et de la méthodologie, de la réflexion et de la lecture, du théorique et d’empirique. Les différentes parties de cette recherche doctorale portent sur la relation entre conceptions couleur et lumière et certaines interrogations en matière de poïétique et d’esthétiqueInnovation hospital design interested field and creation in reading and aesthetic and poietic approach. This research aims to contribute to reflections on aesthetics and poietics, through questions about color and light. The conceptual approach ends with a back and forth between theory and practice, between sensitivity and nervous system, between complexity and simplicity. I'm looking through this research, to find another identity sanitary spaces Tunisia, respecting both the technical requirements and medical heritage identity. I put the problems of the approach and methodology, reflection and reading, the theoretical and empirical. The different parts of this doctoral research focuses on the relationship between color and light designs and some questions for poietic and aesthetic
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Assayas, Eva. „De l'expressivité du geste à la nécessité du mouvement : la danse créatrice du lieu intérieur“. Electronic Thesis or Diss., Université de Lille (2022-....), 2024. http://www.theses.fr/2024ULILH026.
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Cette recherche-création en danse se fonde sur un travail de transmission : celle qui, à partir de l'expérience d'un solo, procède à la création d'un trio. Il s'agit d'analyser la capacité d'un tel geste à expliciter des sensations intérieures, et de définir les moyens d'approfondir cette connaissance sensible en faisant l'économie d'une transmission de mouvements de corps à corps. La recherche est donc guidée par une pratique chorégraphique qui en constitue le champ épistémique. En suivant une approche pragmatique, l'attention se porte sur l'expérience de la pratique de création et sur la réflexivité de cette expérience : connaître renvoie ici à une activité située et incarnée. Dans la même perspective, la dimension esthétique de la recherche doit être appréciée selon sa capacité à rendre compte d'une expérience sur et avec l'art : le trio Dans le creux de l'absence est à la fois une production artistique et le moyen de mieux connaître les conditions de cette production. Initiée par l'hypothèse d'un « lieu intérieur » nécessaire à l'expansion du geste dansé, cette recherche déplie l'acte de création pour mettre au jour le trajet allant de l'expressivité à la nécessité du geste. En articulant les approches poïétique et esthétique et en entrecroisant les espaces sensibles et réflexifs, ce cheminement a permis de cerner l'état de danse du solo Le Vrai lieu et de le dissocier de son corps d'origine. Définir l'écriture et la sensation d'espace caractéristiques de cet état de corps a ainsi contribué à forger des outils chorégraphiques pour le créer et le transmettre. En retour, ces outils ont découvert le fil d'une esthétique et révélé le rôle joué par l'espace dans la création d'une gestuelle commune. La sensation d'un « lieu intérieur » s'est ainsi clarifiée par sa transformation en un espace interstitiel, produit et façonné par une chorégraphie d'émulations. La « partition corps-espace » exposée dans cette thèse reflète l'élaboration progressive de ce savoir-chercher/transmettre/créer. Sans prétendre rationnaliser la création artistique, ni éclairer les zones d'incertitude qui contribuent à sa réalisation, cette recherche-création propose un chemin pour dépasser l'idiosyncrasie de l'œuvre-corps : frayant à travers les multiples voies d'une pratique heuristique, elle travaille à désopacifier, à questionner et à transformer, dans l'entrecroisement des corps, les éléments caractérisant l'identité d'une œuvre chorégraphiqueThis practice-led dance research is based on a transmission work: the passing on of a solo experience leading to the creation of a trio. The aim is to analyse the ability of such a gesture to make explicit inner sensations, and to identify how this sensitive knowledge can be deepened while avoiding passing on choreographic movements from body to body. The research is thus led by a choreographic practice which defines its epistemic field. Following a pragmatic approach, attention is given to the experience of choreographic work and to the reflexivity of this experience: in this context, knowledge is to be understood as the result of a situated and embodied practice. Similarly, the research's aesthetic dimension is assessed through its ability to share an experience with and upon art: Dans le creux de l'absence trio is both an artistic creation and a way to explore the conditions of the creation process. Based on the hypothesis that a gesture can only burgeon from an “inner territory”, this research breaks down the act of choreographic creation in order to reveal the path from expressive motion to inner necessity. Following both poietic and aesthetic approaches as well as sensitive and reflexive paths, the research led to identify a certain state of dance in Le Vrai lieu solo's and to separate it from its body of origin. Defining the writing and sense of space underlying this state of body then helped build the necessary choreographic tools to its creation and transmission. These tools, in return, unveiled a certain aesthetic form and underlined the importance of space in creating this common gesture: they helped turn the inscrutable sensation of an “inner territory” into that of an “interstitial space”, created and shaped by a choreography of emulations. The “body-space score” laid out in this thesis reflects the development of this “search/transmit/create know-how”. This practice-led research doesn't claim to rationalise artistic creation nor to pinpoint the places of uncertainty that contribute to its development. It suggests a path to overcome the idiosyncrasy of the body as a work of art: navigating through the multiple ways of heuristic practice and the intertwining bodies of three dancers, it aims to clarify, question and transform the characteristic elements of a choreographic work
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Fritsch, Ryan. „The ethics of imagination: Levinas, Aesthetics and Poiesis in uTOpia“. Thesis, McGill University, 2010. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=95124.
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Before Al Gore's 2005 documentary "An Inconvenient Truth" ignited general public concern for the worsening environmental crisis, artists played a crucial role in both exemplifying ecological concerns and in building alternative living and social arrangements. They did so with a sense of "creative responsibility" that formal political and legal institutions seemed incapable of harnessing or acting upon. This thesis looks at how such activist aesthetic movements occurring simultaneously in Toronto and Windsor, Ontario, unleashed a form of "constituent imagination" at once critical, constructive and apparently more responsible than our traditionally "official" systems of responsibility. As these movements crystallized into a contemporary form of utopian thinking characterized by anti-foundationalism, aestheticism, and a deep sense of interconnected responsibility to "invisible others," it is argued that these movements are best understood and analyzed through the ethical philosophy of Emmanuel Levinas. By concretely situating and assessing long-standing limitations within Levinas' philosophy in terms of these activist movements, including the relationship between Levinas' aesthetic and ethical theory, his applicability to globalized scales of political responsibility, and the boundaries of his legal proximity and aesthetics of judgment, the thesis uncovers an "ethics of imagination" that brings Levinas into 21st century law and politics as an an-archic means of conceptualizing the world otherwise within the everyday.Avant d'Al Gore en 2005 documentaire "Une vérité qui dérange" enflammé intérêt général du public pour l'aggravation de la crise de l'environnement, les artistes ont joué un rôle crucial dans les deux illustrant les préoccupations écologiques et dans la construction de logemnt de rechange et des dispositions sociales. Ils l'ont fait avec un sentiment de "responsabilité créatrice" que les institutions politiques officielles et juridiques semblait incapable d'exploiter ou de s'en servir. Cette thèse examine comment les militants de ces mouvements esthétiques qui se produisent simultanément à Toronto et à Windsor en Ontario, a déclenché une forme de «l'imagination constituante» à la fois critique, constructive et apparemment plus responsable que notre tradition "officielle" des systèmes de responsabilité. Comme ces mouvements cristallisé en une forme contemporaine de la pensée utopique caractérisée par anti-fondationalisme, esthétisme, et un profond sens des responsabilités reliées aux "autres invisibles», il est soutenu que ces mouvements sont mieux comprises et analysées par la philosophie éthique d'Emmanuel Levinas . Par concrètement situer et d'évaluer les limitations de longue date dans la philosophie de Levinas en fonction de ces mouvemens activistes, y compris la relation entre la théorie esthétique et éthique de Levinas, son applicabilité à des échelles mondialisé de la responsabilité politique, et les limites de sa proximité juridique et l'esthétique de arrêt, la thèse révèle une «éthique de l'imagination» qui apporte Levinas en 21e siècle, le droit et la politique comme un moyen an-archique de conceptualiser le monde «autrement» dans le quotidian.
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Aldana, Nieto Wilson Julián. „Afaga-me as tripas a feiura da porcaria desses romances : experiência estética e poiética escatológica em Haunted, de Chuck Palahniuk e Acenos e Afagos, de João Gilberto Noll, dois romances contemporâneos“. reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2014. http://hdl.handle.net/10183/104857.
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Esta é uma tese que salienta a qualidade literária desses dois romances sob a proposta de uma leitura baseada em categorias, desenvolvidas por vários teóricos, como o grotesco, o nojo, a abjeção, o estranho e o sublime. Para atingir este objetivo, levo em conta a crise da beleza e reviso tal conceito segundo a perspectiva de filósofos da Antiga Grécia, a Idade Média, o Iluminismo e século XX. Trata-se de uma proposta de estudo poiético que, a partir do nojento, torna visível a importância do sentido fisionômico na percepção corporal que facilita aos espectadores a experimentação de emoções diante de obras de arte: o “simples” prazer corporal que pode se tornar prazer reflexivo, estético. Com este processo da experiência estética (aisthesis, poiesis, katharsis) através da poiética escatológica, redimensiono o feio nestes romances de Palahniuk e de Noll, na obra de arte, apresentando-o como uma categoria estética que vai além de ser simplesmente o oposto do belo, e se erige como o pináculo de outro cânone.It is a thesis that highlights the literary quality of the two novels mentioned above. This is to be done through a proposal of reading, based on categories worked by some theoreticians, such as the grotesque, disgust, abjection, the uncanny and the sublime. To achieve this goal, I focus on the crisis of beauty, studying this concept from the perspective of Ancient Greek philosophers, the Middle Ages, the Enlightenment and 20th Century. Furthermore, this deals with a proposal of poetics study that, from the “disgust” perspective, emphasizes the importance of physiognomic sense in the bodily perception, which facilitates spectators to experience emotions about the artwork: the "simple" bodily pleasure becomes “reflective” and “aesthetic” pleasure. Within this process of aesthetic experience (aisthesis, poiesis, katharsis), and through the eschatological poietics, I point out (or address) the ugly of these novels of Palahniuk and Noll, as well as the artwork, presenting it as an aesthetic category that ends to be simply the opposite of beauty and emerges as the pinnacle of another canon.
Es una tesis que resalta la calidad literaria de estas dos novelas, a partir de la propuesta de una lectura basada en categorías, trabajadas por varios teóricos, como lo grotesco, el asco, la abyección, lo siniestro y lo sublime. Para lograr este objetivo, tengo en cuenta la crisis de la belleza y reviso este concepto desde la perspectiva de filósofos de la Antigua Grecia, la Edad Media, la Ilustración y el siglo XX. Se trata de una propuesta de estudio poiético que, a partir de lo asqueroso, destaca la importancia del sentido fisionómico en la percepción corporal que facilita a los espectadores la experimentación de emociones frente a la obra de arte: el “simple” placer corporal que se convierte en placer reflexivo, estético. Con este proceso de experiencia estética (aisthesis, poiesis, katharsis), a través de la poiética escatológica, redimensiono lo feo en estas novelas de Palahniuk y de Noll, en la obra de arte, presentándolo como una categoría estética que deja de ser simplemente lo opuesto a lo bello y se erige como el pináculo de otro canon.
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Rozenberg, Sebastian. „Agamben's Aesthetic Framework and the Published Poetry of the Artist-Poet“. Thesis, Södertörns högskola, Estetik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-40981.
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The main objective of this thesis is to formulate a practical aesthetic framework from Giorgio Agamben’s writings, and to use his concepts as an interpretative tool in relation to certain aspects of poetry in contemporary art. The specific category of printed poetry by artists is studied from a meta perspective, looking primarily at the gesture performed by writing poetry as an artist. A selective history of poetry in art looks at Marcel Broodthaers and the Bernadette Corporation, including the ways in which they can clarify the aesthetics of Agamben, followed by a shorter interpretations of three contemporary artist-poets – Karl Larsson, Karl Holmqvist and Hanne Lippard. These works can be defined as a hybrid third with Agamben, not art, but making the absence of art present. Works that are neither poetry nor art but with the availability and potential for both. An aesthetic terminology from Agamben is an aesthetics of privation and potential, of absence and inoperability, as well as an aesthetics of negation and resistance. A framework for looking at the tension between activity and passivity, and the resistance present there. The concept of potentiality also proves to be a fruitful opening for the interpretation of art leaning toward negation or withdrawal.Populärvetenskaplig sammanfattning Uppsatsen undersöker en samling filosofiska begrepp kopplade till konst, hämtade från några av den italienska filosofen Giorgio Agambens böcker. Dessa kan läsas som en estetisk modell, och användas för att tolka konst som tangerar aspekter av inaktivitet och frånvaro, eller befinner sig mellan konst och andra uttrycksformer. Poesi skriven av konstnärer läses här ur ett metaperspektiv, med hjälp av Agambens filosofiska ramverk. Poesins kvalitet eller effekt är inte det huvudsakliga intresset, utan den gest som skrivandet av poesin förkroppsligar. En historisk kontext presenteras genom konstnären Marcel Broodthaers och konstnärsgruppen Bernadette Corporation. De filosofiska begreppen prövas sedan på tre samtida artist-poets, konstnärer som skriver poesi. Agamben ger verktyg för tolkning av konst som dra sig undan definition och representation. Uppsatsen påvisar hur poesi, när den produceras av konstnärer, kan tolkas som ett motstånd mot konstmarknaden.
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André, Laury Nuria. „Formes et fonctions du paysage dans l'épopée hellénistique et tardive“. Thesis, Lyon, École normale supérieure, 2012. http://www.theses.fr/2012ENSL0779.
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Notre travail se propose d'analyser les formes et les fonctions que peut revêtir le paysage dans un corpus de textes épiques posthomériques. Les Argonautiques d'Apollonios de Rhodes et leur réécriture tardive anonyme, les Argonautiques Orphiques, les Posthomériques de Quintus de Smyrne, la Prise d'Ilion de Triphiodore et les Dionysiaques de Nonnos de Panopolis nous offrent un champ d’investigation fructueux pour analyser les représentations littéraires du paysage de manière transhistorique. Nos textes opèrent une première transformation du paysage épique archaïque qui est d'abord l'image du monde avec laquelle il se confond (adéquation posée entre bouclier, île et monde) en détachant de cette équation le paysage pour lui conférer une plus grande autonomie. Le monde devient une mosaïque de paysages autonomes qui gagnent en épaisseur du fait qu'ils se chargent d'une dimension identitaire. La polymorphie du paysage donne alors sa texture mouvante au monde des Grecs : c'est la dimension plastique et artiste que le texte de poésie épique emprunte pour mettre en mots ces images du monde qui révèle les formes du paysage épique. Une diversité de schèmes paysagers émergent et ouvre l'intertexte littéraire à l'hétérogénéité des formes artistiques. De cette fusion de processus et de formes naît une singularité bien antique de perception et de traduction du paysage : la merveille. Paysage et merveille s'entremêlent étroitement au point de se substituer l'un à l'autre : c'est là une définition possible du paysage antique à partir de la période hellénistique. Mais le paysage ainsi identifié et construit appartient aussi au monde dont il contribue à imager la forme. Il est clairement localisé d'un point de vue géographique : image vivante d'une partie du monde il lui offre son identité par ses caractéristiques topiques singulières. Il est une forme d'identification régionale et confine au vernaculaire. Le paysage devient un instrument de promotion intellectuelle et culturelle. Entre diversité formelle et singularité locale, le paysage voyage entre fiction et réel : ses modalités de construction empruntent au littéraire et à l'artistique et s'étendent ensuite grandeur nature. Le genre épique, marqué par l'intertextualité innovante, fait du paysage l'image même du processus de transposition et d'adaptation. Manifestation de l'exercice d'une subjectivité antique singulière puis collective, instrument de mesure du travail de l'imaginaire à l’œuvre dans les processus complexes de réception littéraire et culturelle, le paysage antique entre transmission et invention, s'ouvre à l'expérience quotidienne et sociale. Son existence antique est effectiveThe undertaking of this work is to analyze the forms and functions that the landscape can take in a corpus of posthomeric epic texts. The Argonautica of Apollonius of Rhodes and its late anonymous rewriting The Orphic Argonautica, the Posthomerica of Quintus Smyrnaeus, the Ilioupersis of Triphiodorus, and The Dionysiaca of Nonnus Panopolitanus provide us with a fruitful field of investigation for the analysis of the literary representations of the landscape as transhistorical. Firstly, our texts operate one transformation of the archaic epic landscape that is first the image of the world with which it merges (the conformity placed between shield, island, and world) by separating the landscape from this equation and giving it greater autonomy. The world is a mosaic of autonomous landscapes that gain texture as they take on a dimension of identity. The polymorphism of the landscape then gives its moving texture to the world of the ancient Greeks : the plastic and artist dimension is borrowed by the Epic text to put into words the images of the world, which reveal epic landforms. A variety of landscape patterns emerges and opens the literary intertext to the heterogeneity of artistic forms. From this fusion of process and forms, a singularity arises, a singularity particularly antique of the perception and the translation of the landscape : wonder. Landscape and wonder mingle so narrowly as to substitute one for the other : this is a possible definition of the ancient landscape from the Hellenistic period. But the landscape as thus identified and constructed also belongs to the world the image of which it contributes to form. It is clearly localized in a geographical perspective : the landscape becomes a vivid picture of the world and the former offers the latter its identity by its unique topical characteristics. It is a form of regional identification and it is sometimes confined to the vernacular. The landscape becomes an instrument for intellectual and cultural promotion. Between formal diversity and local singularity, the landscape travels between fiction and reality : its construction methods borrow from the literary and artistic and then extend to nature. The epic genre, characterised by innovative intertextuality, makes the landscape the image of the process of transposition and adaptation. As a manifestation of the exercise of a singular and then a collective ancient subjectivity, the landscape is an instrument for measuring the unfolding of the imagination at work in the complex process of literary reception and cultural transmission ; the ancient landscape between transmission and invention, opens itself up to the everyday and social experience. Its ancient existence is effective
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Simsek, Aslihan. „Tectonic Expression Of Concrete As An Architectural Material“. Master's thesis, METU, 2011. http://etd.lib.metu.edu.tr/upload/12613805/index.pdf.
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This thesis is an inquiry into the position of concrete as an architectural material in architectural production and expression. With increasing use of concrete in architecture not only technical properties but also aesthetical ones of the material came to foreground. Reconsidering concrete as a building material, the thesis aims to find out tectonic possibilities of concrete as an architectural expression tool. The purpose to search for concrete's tectonic potentials is to rescue it from its bad connotations and reveal it as an architectural tool instead of being mere constructional mean for an end. In order to explore aesthetic qualities of concrete as a part of architectural production, the scrutiny of tectonic theories provide a conceptual framework for a contemporary interpretation of concrete usage in architecture. Kenneth Frampton, Karl Bö
tticher, Gottfried Semper and Martin Heidegger are the key references to understand the tectonic potentials of concrete material in architecture. Within the framework of Semper'
s abstract procedures, manipulation of concrete material is analyzed through the specific examples. Structure and symbol, material and method, clear structure and joint are the consulted binary keywords related to the evaluation of tectonic aspects of concrete in architecture. By the technological developments, concrete material -both as a science and art- has been freed from the constraints of traditional production techniques and generated a field for the imaginative creations of the architect. When considered as a part of architectural design, concrete constitutes not only the "
core-form"
, but with its innate qualities revealed by the designer it transposes the building into an "
art-form"
. Constituting the structure, surface, or detail of building, concrete material has the ability to express architectural meanings behind design concept. This study attempts to identify concrete material as a value indicating to tectonic, craft, "
poiesis"
, technology connotations and emphasizes its architectural expression power.
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Zorzal, Bruno. „Esthétique de l'exploitation photographique de photos déjà existantes“. Thesis, Paris 8, 2016. http://www.theses.fr/2016PA080105/document.
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Au moment où les artistes revendiquent la totalité des objets composant la réalité comme source matérielle pour l’art, on se voit dans la nécessité de réfléchir sur les usages et appropriations créatives spécifiques d’images photographiques. En avançant ainsi d’un cadre général vers le particulier, on vise à instaurer une réflexion centrée sur l’utilisation de photos déjà existantes dans les pratiques artistiques visant la fabrication d’une œuvre photographique. Cependant, le fait de créer à partir d’un objet déjà créé qui ici est une photo, n’étant pas sans problèmes, qu’en est-il d’une forme photographique, de même que d’une expression subjective qui garderait un rapport de dépendance avec la nécessité de l’existence préalable d’une image technique ? Que se passe-t-il quand voit le jour, dans ce contexte, une image d’image ? En ce sens, quand le faire photographique devient un refaire à partir d’une photographie déjà existante, nous rapportons-nous de la même manière aux photos, aux processus et procédés photographiques en art et finalement aux œuvres photographiques, voire à la photographie et à l’art lui-même ? Les problèmes élaborés, dans ce contexte particulier, face aux œuvres et à l’aide de théories et notions nous permettent de repérer des éléments en vue d’une esthétique de l’exploitation en photographie de photos déjà existantes, et nous exposent à des aspects politiques, légaux, éthiques, etc. de ces actions, qui placent les photos au centre des processus et procédés en photographieIn a time when artists claim the totality of objects composing reality as a material source for art, we find it necessary to reflect on the uses of and creative appropriations specific to photographic images. In moving thusly from a general framework to a specific one, we intend to introduce a reflection centered on the use of pre-existing photos in artistic practices that themselves are directed towards the creation of a photographic oeuvre. However, and given the problematics associated with creating from an already-created object, in this case a photo, what is in it of a photographic form that as a subjective expression keeps a link of dependence with the necessity of existence that is precondition of a technical image? What happens when an image of an image enters the world in this context? In this sense, when doing photography becomes redoing from a pre-existing photograph, do we approach photos, photographic processes and procedures in art and finally photographic oeuvres, or even photography and art itself in the same manner? The questions that are developed in this specific context, in response to artworks and with the aid of theories and notions, permit us to identify elements towards an aesthetics of the photographic use of pre-existing photos, and expose us to political, legal, ethical, and other aspects of these actions, placing photos at the center of processes and procedures in photography
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Silva, Nayse Ribeiro Ferreira. „Fabricações em Andy Warhol: vida, arte e linhas de fuga“. Universidade Federal de Juiz de Fora (UFJF), 2016. https://repositorio.ufjf.br/jspui/handle/ufjf/6587.
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Esta pesquisa busca apresentar um retrato de Andy Warhol não por uma luz decididamente informativa, linear, biográfica; mas por tessituras com traços biografemáticos, pelo compartilhamento de pequenos pontos luminosos que nos captam a atenção em seu cotidiano: seus gestos, seus pensamentos, a fabricação de sua (filosofia de) vida. A experiência artística espaço-temporal warholiana materializa-se por uma lógica de transfiguração do banal, que é aberta e encontra-se em constante progressão: desenvolve-se, transforma-se, adapta-se, renasce constantemente. Acreditamos que, em Warhol, sendo convidados à imersão em obras que nos convocam o corpo, e não apenas a mente, percebemos e inventamos formas outras para atravessarmos o tempo e para estabelecermos novas relações – linhas de fuga – com e em nossos entornos.
This research aims to present a picture of Andy Warhol not by a decidedly informative, linear, biographic path; but sewing a biographematic text by sharing small bright dots that capture our attention in his daily life: his gestures, his thoughts, the fabrication of his life (philosophy). The artistic experience of the warholian spacetime rises through a logic of the transfiguration of the commonplace, which is open and in constant progression: develops, transforms, adapts itself and constantly reborn. We believe that in Warhol, once we are invited to immerse in artworks that call up our bodies, not only our minds, we realize and create other ways to pass the time and to establish new relations - lines of flight, as in Deleuze's concept - with our environments.
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Younes, Elhem. „Poïétique de l’indiscernable : approche esthétique de la perception dans les environnements virtuels et oniriques“. Electronic Thesis or Diss., Paris 8, 2017. http://www.theses.fr/2017PA080017.
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Poïétique de l’indiscernable est une approche esthétique des modalités perceptives et imageantes déployées dans la relation aux environnements virtuels et oniriques. Elle désigne dans notre recherche-création, un état de conscience singulier et l’ensemble des qualités esthétiques d’une image. L’analyse détaillée des phénomènes du rêve, de l’hallucination, de l’imagination ainsi que des illusions perceptives, fondée sur une étude transdisciplinaire alliant science et phénoménologie, révèle les différents régimes de mise en jeu d’une conscience immersive et d’un sentiment de présence dans leur rapport causal à l’esthétique de l’indiscernable propre aux images oniriques. Le rêve, pris comme modèle de référence pour la mise en place d’une expérience onirique, nous a permis d’apprécier les conditions nécessaires et suffisantes à l’instauration d’un état d’indiscernabilité qu’il fallait compléter par les théories cybernétiques spécialisées en la matière. A partir de cette étape d’investigation les enjeux pratiques liés à notre démarche artistique se sont articulés. Ils concernent le processus même de génération d’un ensemble d’images numériques animées et d’une matière virtuelle destinée à une expérience interactive en temps réel et les dispositifs de mise en relation des spectateurs avec ces dernières. L’esthétique de l’indiscernable doit être le résultat d’une poïétique de l’indiscernable basée sur le principe de conversion créative caractéristique des phénomènes oniriques étudiés. Les images générées doivent éveiller l’imaginaire grâce à la structure intrinsèque et extrinsèque, instaurer une poïétique du regard et donner à vivre un état d’indiscernabilitéPoietics of the indiscernible is an aesthetic approach to perceptual and imaginary modalities deployed in relationship to virtual and oneiric environments. In our research-creation, it designates a singular state of consciousness and a set of aesthetic qualities of an image. A detailed analysis of dreaming, hallucination, imagination and perceptual illusions phenomena based on a transdisciplinary research linking science and phenomenology, reveals different challenging regimes putting at stake both an immersive consciousness and a sense of presence in their causal link to the aesthetic of the indiscernible proper to oneiric images. Dreaming, taken as a model reference for the establishment of an oneiric experience, allowed us to assess the necessary and sufficient conditions for triggering a state of indiscernibility that had to be completed by cybernetic theories specialized in this matter. From this investigation step practical issues related to our artistic approach have been hinged. The latter deals with the creation process of a range of digital animations and a virtual matter intended for a real time interactive experience, and the apparatus for putting spectators through them. The aesthetic of the indiscernible must be the result of Poietics of the indiscernible based on creative conversion, which is the essential principle of the studied oneiric phenomena. The computer-generated images have to awaken one’s imaginary by means of the intrinsic and extrinsic structures, establish a Poietic of gaze and eventually give rise to a state of indiscernibility
Bücher zum Thema "Poietic and aesthetic"
1
Bressan, Lisa. Aristotele e il bello: Poiesis, praxis, theoria. Lecce: Edizioni di storia della tradizione aristotelica, 2012.
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2
Hofmann, Gert. Dionysos Archemythos: Hölderlins transzendentale Poiesis. Tübingen: Francke, 1996.
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3
Graeme, Murray, und Fruit Market Gallery, Hrsg. Poiesis: Aspects of contemporary poetic activity : Dante Alighieri ... [et al.]. Edinburgh: FruitMarket Gallery, 1993.
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4
Roscher, Wolfgang. Sinn und Klang: Philosophisch-theologische Streiflichter auf "Aisthesis" und "Poiesis" in Musik, Kultur, Bildung. Anif/Salzburg: Müller-Speiser, 1997.
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5
van Hoorn, Tanja, Hrsg. Avifauna aesthetica. Wallstein Verlag, 2021. http://dx.doi.org/10.5771/9783835345935.
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Vögel in Kunst und Literatur - spannende Begegnungen. Ob es sich beim Gesang der Vögel um eine Form von »Naturmusik« oder gar um eine Sprache handelt, wird aktuell in verschiedenen naturtheoretischen, philosophischen, zoomusikologischen und von den animal studies inspirierten Kontexten diskutiert. Unstrittig ist neben dem reinen Faktum der Stimmenvielfalt die Fülle der Referenzen auf Stimme, Gestalt und Verhalten der Vögel in bildender Kunst, Literatur und Musik. Vögel sind jedoch nicht nur inhaltlich Thema, sondern zugleich immer auch ein Natur-/Kulturgrenzen überschreitender, selbstreflexiver Spiegel, eine epistemische Figur. Der Band bringt Beiträge von OrnithologInnen, VerhaltensbiologInnen, Literatur-, Kunst- und MusikwissenschaftlerInnen und gliedert sich in vier Bereiche: »Aesthetical Birding, ornithologische Poiesis« verfolgt eine literarische Vogelkunde; »Von Subsong bis Territorialgesang« fragt nach der Musik der Vögel; »Warnruf, Lockruf, Kontaktruf« untersucht, ob Vogelgesang (eine) Sprache ist; »Alle Vögel sind nicht mehr da« thematisiert das avifaunische Artensterben - in Artefakten und als Frage des Naturschutzes. Mit Beiträgen von Frieder von Ammon, Henrik Brumm, Michael Eggers, Ludwig Fischer, Tanja van Hoorn, Norbert Hummelt, Julin Lee, Manfred Lütkepohl, Wolfgang Rathert, Constance Scharff, Christian Schmitt, Monika Schmitz-Emans und Jessica Ullrich.
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Die zweihundert Bücher zur Architektur: De re aedificatoria : eine Poietik. Berlin: WZ, Wasmuth & Zohlen, 2021.
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7
Blauwet, Lori A. Bodily shapes and movement: The poietic activity of the Eucharistic assembly. 1990.
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8
Levine, Stephen K. Poiesis, Volume 16, 2015: European Graduate School 20th Anniversary - Aesthetic and Critical Education. EGS Press, 2015.
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Tuckwell, Jason. Creation and the Function of Art: Techné, Poiesis and the Problem of Aesthetics. Bloomsbury Publishing Plc, 2019.
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10
Creation and the Function of Art: Techné, Poiesis and the Problem of Aesthetics. Bloomsbury Publishing Plc, 2017.
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1
Messori, Rita. „25 Ways to Hammer a Nail. “Postcrocian” Aesthetics and Everyday Life’s Poetics in Enzo Mari“. In Springer Series in Design and Innovation, 225–32. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-49811-4_21.
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AbstractThe essay analyzes the poetics of Enzo Mari in the light of postcrocian aesthetics, in particular Umberto Eco and Luciano Anceschi’ contributes.The field of reflection of the essay, conducted on several levels (both meta-artistic and intra-artistic) is polarized around some expressions and some key words, explications of issues perceived as urgent.First, a rethinking of aesthetic experience on the basis of the results of psychology and the phenomenology of perception.Secondly, a rethinking of the status of the work of art, which becomes “open work” or work “with multiple outcomes”; to characterize the work is a semantic stratification, a multiplicity of meanings that requires an active user, able to enter the work and trace an interpretative path. Thirdly, a rethinking of the aesthetic-social impact of art capable of activating an “aesthetic education”, a new and more conscious experience of the “environment”, be it natural or cultural: artistic objects, as well as those of design, have a transformative power of ordinary space-time, and consequently of the habits that mark it. This creates a very close link between aisthesis, poiein and praxis, between aesthetics, artistic operation and life, in its ethical and social aspect.
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Rimas, Juozas, und Juozas Rimas Jr. „The Search for Abilities and Characteristics Which Produce Expression of Quality“. In Etudes on the Philosophy of Music, 21–81. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-63965-4_4.
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AbstractA series of sub-chapters summarising the subjective abilities necessary for expression in music: 3.1. A Musical Ear. “Inner hearing” vs. acoustic hearing; perfect pitch. Hearing and understanding (G. Colombero, B. Asaf’ev; C.P.E. Bach, R. Schumann). 3.2. Sound Creation. The method developed by C. Martienssen. “Wunderkind complex”. The author’s recording of the Andante from the Cassation in B flat major (KV 63a) by the 13-year-old W. A. Mozart. Six elements of sound creation: pitch volition (Tonwille); timbre volition (Klangwille) (cf. A. Losev: “the otherness of tone“); line volition (Linienwille) (cf. B. Asaf’ev: “melos“); rhythm volition (Rhythmuswille); form volition (Gestaltwille); forming volition (Gestaltungswille). 3.3. The Psychology of Tone. Physical sound vs. musical tone (G. Hegel, E. Kurth; B. Asaf’ev, Y. Nezaykinskiy; G. Scelsi). 3.4. Modulation. Not only as a change of tonality (Aristoxenus, St. Augustine, Heraclitus, the Venerable Bede; A. Šliogeris; B. Asaf’ev). The beauty of music is revealed through the modulations of sound dictated by intonation. 3.5. Intuition. Intuitivist philosophy of art (H. Bergson; A. Andrijauskas). Intuition as cognition which is unconsciously realised (K. Wojtyla). Intuitive vs. mental cognition. Listening to music is important for the development of intuition, like learning a language which requires one to hear it and accumulate (intonational) vocabulary. 3.6. Becoming. The interpreter must release the potential of the being of the work. Becoming is the basis of temporal art, such as music (A. Losev). Transformation of the visual form of the work into its actualisation in sound through intonation (H. Gadamer: Verwandlung; E. Husserl; H. Bergson; Vydūnas, A. Mickevičius, A. Sverdiolas, A. Šliogeris; S. Kowalczyk). 3.7. Imagination. Creative and recreative imagination. Relation of imagination to expression and understanding (L. Wittgenstein, R. Barthes, A. Schopenhauer). Idea and imagination (I. Kant, J. Maritain, F. Schiller; G. Colombero, G. Gachev, V. Nalimov). The goal in musical performance is beauty, while the means is the education of the imagination (V. Daujotytė). 3.8. Intentionality. Intention and intonation (E. Husserl; J. Stolnitz, R. May). Intentionality as a feature of aesthetic experience, with three phases: aesthetic attitude (introductory emotion), aesthetic process and contemplation. 3.9. Emotions. The psychological truth of the fact in artistic consciousness. What you feel is the precursor to understanding it (Aristotle; E. B. de Condillac, R. Wagner). Art as organised emotion attached to experience. Music as a tonal analogue of emotive life (S. Langer). Emotions and feelings. Three kinds of feelings: intellectual, aesthetic and moral (cf. kalokagathia). Music as the art of emotional intelligence (“sensuous showing of the idea”—G. Hegel; art as a central emotion—L. Vygotsky). Action and emotions (K. Wojtyla). Importance of emotions in author’s recordings of the Lithuanian folk song Tu, paukštuke (“You little bird”) and the music for the drama Caligula (J. Andrejevas). Emotions and values. Intuition of duration and vital impetus (élan vital) (H. Bergson; Ž. Jackūnas, A. Andrijauskas). 3.10. Spirituality. One of the qualities which condition the sense of meaning. Cultural activity as the decoding of the spirit (idea) of the work (P. Mantvydas, J. Kubilius, B. Bitinas). Spirituality and technology (G. Steiner: the fatality of technicity lies in the broken links between techne and poiesis). Inner beauty (W. Kandinsky). Expression influenced by the idea: Syrinx by C. Debussy, with the author as oboe soloist. 3.11. Intonation. The understanding of intonation as the grasp of the work’s idea. It is not the tone that makes music, but music that makes the tone. The work has potential intonational meaning. Actualising of the potentiality depends upon the interpreter. Form as a process and as a scheme (B. Asaf’ev). Structure and form (J. Cage). The freedom of interpretation (freedom as the recognition of necessity—G. Hegel; the artist loves their limitations—G. K. Chesterton). Phonetic and syntactical intonation. Intonation vs. form, tone, rhythm, dynamics, tempo, timbre and articulation. 3.12. Values. Value orientation does not exist within the subject in itself (V. Sesemann): a person is “the measure of all things” (Protagoras). The music of every nation does not lose its distinctive characteristics (M. K. Čiurlionis); the author’s recording of a work by R. Šerkšnytė, inspired by The Little Prince of A. de Saint-Exupéry, which is nevertheless imbued with Lithuanian lyricism. Interpretation presupposes a degree of understanding (“thought was supposed to rule over action”—H. Arendt). Discontent with one’s present self is the first step towards values (T. Sodeika, N. Hartmann). Consciousness, by relating to values, becomes cultural (M. Bakhtin). Avoidance of a hedonistic approach to values (“organic mendacity”—M. Scheler; B. de Spinoza; Ž. Jackūnas). The value of the aesthetic (N. Hartmann; Plato, G. Hegel). Values are the basis of meaningful expression.
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„Chapter Five. From Models to Metaphors; Possibility, Aesthetics, and Literary Theory“. In Poiesis and Possible Worlds. Toronto: University of Toronto Press, 2004. http://dx.doi.org/10.3138/9781442678576-006.
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4
Cheyne, Peter. „The Art of Poetic Life-Writing“. In Coleridge's Contemplative Philosophy, 107–24. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198851806.003.0005.
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Chapter 4 argues that Coleridge’s ‘primary imagination’ is based on Kant’s theory of a ‘necessary imagination’ that synthesizes thought and feeling in constructing experience. In this way, it is vital to what the author calls autobiography concrète, or the art of poetic life-writing. Section 4.2 proposes an ontological capacity to augment Coleridge’s philosophy, removing some problems in his concept of a ‘sensorium of the Spirit’. Section 4.3 then develops Coleridge’s primary–secondary imagination distinction into the author’s view of art as a secondary creativity, an ad vita poiesis, whose creations persist beyond the living culture, as distinct from primary creativity, the in vivo poiesis of everyday aesthetics. Here, the symbolic meaning in lives and communities is made; though, like a vital organ, it cannot easily survive beyond the living culture.
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„Poiesis, Aesthesis, and Catharsis: The Aesthetic Experience of Reading “the Day of the Lord” with the Fathers“. In Authoritative Texts and Reception History, 184–98. BRILL, 2017. http://dx.doi.org/10.1163/9789004334960_014.
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6
Ronda, Margaret. „“A Rescue That Comes Too Late”“. In Remainders. Stanford University Press, 2018. http://dx.doi.org/10.11126/stanford/9781503603141.003.0006.
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“A Rescue That Comes Too Late”: Figure and Disfiguration in Contemporary Ecopoetics Chapter abstract: This chapter turns to the contemporary mode of ecopoetics as an exploration of the problems of poiesis in a time of accelerating ecological destruction. Ecopoetics as a distinctive mode emerges in the post-Kyoto Protocol era, when the problem of how to respond to planetary environmental degradation has become increasingly urgent. The ecopoetics texts of the chapter present an extended redescription of human capacities and aesthetic making in light of anthropogenic crisis. Discussing works by Brenda Hillman, Hoa Nguyen, Brenda Coultas, and Allison Cobb, the chapter highlights how their use of prosopopoeia and apostrophe dramatizes uncanny and defamiliarized dimensions of relationality. These portrayals raise questions regarding the culpability for environmental destruction and the limits of anthropogenic ingenuity to fix, remake, or salvage.
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Buck, Elisabeth H. „Slacktivism, Supervision, and #Selfies“. In Cyber Warfare and Terrorism, 696–711. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-2466-4.ch043.
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Since its original development for use in literary studies by German scholar Hans Robert Jauss in the late 1960s, reception theory has been successfully applied to fields as diverse as media studies, communications, and art history; its efficacy within rhetoric and composition pedagogy, however, has been less fully explored. I argue in this essay that reception theory can provide a meaningful way to understand and discuss social media composing practices, especially as a lens for thinking about why and how we participate in social media as both readers and writers in the 21st century. This essay thus examines the three “aesthetic experiences” of Jauss's reception theory—catharsis, aisthesis, and poiesis— which describe the ways that audiences derive satisfaction from engaging with texts. I apply each aesthetic concept to a corresponding mode of social media composition: practices of social media-based activism, regulation of content on social media, as well as the act of creating “selfies.” These applications stand as potential entry points for classroom discussion about how social media draws its users into producing a response. The “aesthetic experiences” represent ways to look at composing practices on social media cohesively, but they also give language to how individual social media users gain enjoyment from participating with these sites. I offer specific strategies for incorporating reception theory in a classroom context, and conclude that this approach helps students think more specifically about the intricacies and limitations of audience(s)—important recognitions for anyone who produces content in social media environments.
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Kamp, Michiel. „Introduction“. In Four Ways of Hearing Video Game Music, 1–28. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197651216.003.0001.
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Abstract The introduction to this book starts with a case study of the game Hades to illustrate the idiosyncrasies of hearing video game music. Listening to game music is then contrasted with composition and implementation in terms of Jean-Jacques Nattiez’s ‘poiesis’ and ‘aesthesis’ and Michel de Certeau’s ‘strategies’ and ‘tactics,’ before deriving four categories of hearing from the work of Milena Droumeva and theorists of ubiquitous listening. It presents the idea of significance as the central issue all four ways of hearing deal with. The second half of the introduction presents phenomenology as the book’s main approach. Returning at various points to the case study of Hades, it introduces the reader to the phenomenological method and its various incarnations and connections to the study of music.
Konferenzberichte zum Thema "Poietic and aesthetic"
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Carlsson, Anna-Lena. „The Aesthetic and the Poietic Elements of Information Design“. In 2010 14th International Conference Information Visualisation (IV). IEEE, 2010. http://dx.doi.org/10.1109/iv.2010.69.
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