Siga este link para ver outros tipos de publicações sobre o tema: Poietic and aesthetic.
Artigos de revistas sobre o tema "Poietic and aesthetic"
Crie uma referência precisa em APA, MLA, Chicago, Harvard, e outros estilos
Veja os 50 melhores artigos de revistas para estudos sobre o assunto "Poietic and aesthetic".
Ao lado de cada fonte na lista de referências, há um botão "Adicionar à bibliografia". Clique e geraremos automaticamente a citação bibliográfica do trabalho escolhido no estilo de citação de que você precisa: APA, MLA, Harvard, Chicago, Vancouver, etc.
Você também pode baixar o texto completo da publicação científica em formato .pdf e ler o resumo do trabalho online se estiver presente nos metadados.
Veja os artigos de revistas das mais diversas áreas científicas e compile uma bibliografia correta.
1
Starzyk, Lawrence J. "THE NON-POIETIC FOUNDATIONS OF VICTORIAN AESTHETICS". British Journal of Aesthetics 26, n.º 3 (1986): 218–27. http://dx.doi.org/10.1093/bjaesthetics/26.3.218.
Texto completo da fonte
2
Ellis Neyra, Ren. "White Mythologies". Small Axe: A Caribbean Journal of Criticism 26, n.º 2 (1 de julho de 2022): 176–93. http://dx.doi.org/10.1215/07990537-9901752.
Texto completo da fonteResumo:
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.
3
ZATTRA, LAURA. "Searching for lost data: outlines of aesthesic–poietic analysis". Organised Sound 9, n.º 1 (abril de 2004): 35–46. http://dx.doi.org/10.1017/s1355771804000068.
Texto completo da fonteResumo:
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.
4
Westermann, Claudia. "Poiesis, ecology and embodied cognition". Technoetic Arts 18, n.º 1 (1 de março de 2020): 19–29. http://dx.doi.org/10.1386/tear_00023_1.
Texto completo da fonteResumo:
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.
5
Bernau, Anke. "Hedgerow Poiesis". Emotions: History, Culture, Society 7, n.º 1 (23 de junho de 2023): 119–44. http://dx.doi.org/10.1163/2208522x-02010185.
Texto completo da fonteResumo:
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.
6
Shusterman, Richard. "Ästhetische Erfahrung und die Macht der Besitzergreifung". Deutsche Zeitschrift für Philosophie 68, n.º 3 (5 de maio de 2020): 327–57. http://dx.doi.org/10.1515/dzph-2020-0023.
Texto completo da fonteResumo:
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.
7
Hayes, Michael Thomas. "The Poetic Generation of Place: Ethnography for a Better World". Ethnographic Edge 2, n.º 1 (5 de novembro de 2018): 119. http://dx.doi.org/10.15663/tee.v2i1.39.
Texto completo da fonteResumo:
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.
8
Greenway, Kate. "Resisting Indifference Through the Brooch of Bergen Belsen". Brock Education Journal 28, n.º 1 (10 de dezembro de 2018): 32–48. http://dx.doi.org/10.26522/brocked.v28i1.780.
Texto completo da fonteResumo:
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.
9
Cecchi, Dario. "Historical Reality and Political Aesthetics after Jacques Derrida and Bernard Stiegler". KANT Social Sciences & Humanities 11, n.º 3 (julho de 2022): 4–15. http://dx.doi.org/10.24923/2305-8757.2022-11.1.
Texto completo da fonteResumo:
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.
10
Cecchi, Dario. "Historical Reality and Political Aesthetics after Jacques Derrida and Bernard Stiegler". Open Philosophy 3, n.º 1 (24 de junho de 2020): 257–65. http://dx.doi.org/10.1515/opphil-2020-0014.
Texto completo da fonteResumo:
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.
11
Musabegović, Senadin. "The Power of Technique and the Absence of Man in a Photographic Picture". Društvene i humanističke studije (Online) 6, n.º 4(17) (22 de dezembro de 2021): 141–68. http://dx.doi.org/10.51558/2490-3647.2021.6.4.141.
Texto completo da fonteResumo:
The text problematizes the connection between art and the power of technology. The question arises: how can photography as an art, created as a technical invention, respond to the challenges of technical power, which manifests itself as an unconditional desire for domination that knows no limits? The esthetician from Sarajevo, Sadudin Musabegović, understood the very power of photographic representation precisely through the figures of division: mimesis - poiesis - techne. Martin Heidegger's opinion on technique is connected with the figure offered by Musabegović. Sadudin Musabegović's aesthetic thought provides possible answers to the question: how is a man present in photography itself when the famous film critic Andre Bazin said that photography is the only art we enjoy because of an absence of a human? And what role does art play in overcoming the crisis established by technology in the modern world? In the 'age of mass reproduction', art itself has lost its aura, as Walter Benjamin states, and Musabegović adds that even the photographed being has lost its aura. The problem of losing the aura can also be understood as a new beginning, as a ‘new source’ for art itself. But for the source itself, Musabegović says that he finds himself in the flow, that he is always outside himself, he is in the intertwining, permeation that manifests itself in a dynamic, reversible, and moving figure: mimetic activity – making techne – productive poiesis. This text aims not only to explain the meaning of this figure, which Musabegović established originally within aesthetics, and especially in the field of photography and film, but also to analyze its meaning in the context of unmasking the logic of modern technical control, which marked a modern way of living, thinking, and perceiving the world.
12
Semonovitch, Kascha. "Incarnate Experience and Keeping the Soul Ajar". Religion and the Arts 14, n.º 5 (2010): 590–605. http://dx.doi.org/10.1163/156852910x529359.
Texto completo da fonteResumo:
AbstractThis essay offers a phenomenology of the new that entails hospitality and depends on an understanding of being as poetic; this poiesis is, per Jacques Derrida, hospitable, and per Maurice Merleau-Ponty, incarnate. This poiesis intertwines with aesthesis, as action and perception intertwine. Avoiding problems faced by both the materialist and idealist, Merleau-Ponty’s poetic phenomenology shows that perception always indicates a transcendent and vertical excess: the invisible lining of the visible. Two poems which speak of the human hosting the divine Stranger, one by George Herbert and one by Emily Dickinson, illustrate this poetic and incarnate hospitality, which permits the appearance of the divine other.
13
Bellarsi, Franca. "A Cosmopolitan Case Study". Bulletin of the John Rylands Library 98, n.º 1 (31 de maio de 2022): 107–26. http://dx.doi.org/10.7227/bjrl.98.1.9.
Texto completo da fonteResumo:
This article explores the reception and transformation of William Blake’s countercultural legacy by focusing on the neo-Romantic resurgences within maelstrÖm reEvolution, an experimental performance and arts collective based in Brussels but with heavy transnational affiliations. In relation to the company’s neo-shamanic and therapeutic conception of poiesis, Blake is an inspirational figure amongst a broader family of mentors ranging from Beat Generation writers to Arthur Rimbaud and Alexandro Jodorowsky. The Blake–maelstrÖm connection is here examined for the first time. Blending classical reception studies with a broader interest in the intersections between poiesis and the ‘sacred’, this article approaches countercultural Blake as the archetypal embodiment of the shamanic poet. More specifically, it reflects on how, as the poet of ‘double-edged madness’ and ‘Spiritual Strife’, Blake’s subversion of alienation into ecstasy feeds maelstrÖm’s own ‘therapoetic’ experimentalism and psycho-aesthetic endeavours to restore the lines of communication between the ‘visible’ and the ‘invisible’.
14
Proaño Gómez, Lola. "Theatrical aesthetics of liberation. The claim for life on the Argentine scene". Resistances. Journal of the Philosophy of History 3, n.º 5 (5 de junho de 2022): e21085. http://dx.doi.org/10.46652/resistances.v3i5.85.
Texto completo da fonteResumo:
We propose a theatrical Aesthetics of liberation understood as one that articulates imaginary, visual, or textual bridges between the opening to the context-world (aisthesis) and its impact on subjectivity (affective atmosphere) and that gives rise to a scenic production (poiesis) favorable to the conservation and improvement of life that raises opposition or rejection of those contexts that are not conducive to it. We will observe the productions of the theatrical scene in three moments of the recent Argentine past to visualize both the resistance and denunciation of the decrease or disappearance of rights and the rejection of the necessary control of bodies and actions to impose the liberal/neoliberal model. We will look into scenes produced during the Argentine Revolution (1966-73), stagings of the end of the 20th century responding to the exacerbation of neoliberalism, and finally, those produced during the last neoliberal restoration (Macri, 2015-2019).
15
Mattila, Hanna, Signe Hald e Dylan Chau Huynh. "Interplay of Engineering Skills, Aesthetic Creativity, and Ethical Judgement in the Creation of Sustainable Urban Transformations". Journal of Problem Based Learning in Higher Education 11, n.º 2 (10 de outubro de 2023): 54–77. http://dx.doi.org/10.54337/ojs.jpblhe.v11i2.7771.
Texto completo da fonteResumo:
This paper examines a PBL project module “Sustainable Urban Transformation” in an Urban Design master’s education. The module combines urban design and hydrology engineering. Within the module, students are supported by lectures and study circles on various dimensions of sustainability, especially vis-a-vis climate change. However, they are left with the freedom to choose how they balance between design and engineering approaches when they give a physical form for sustainability in the site transformation projects with which they work through the semester. This paper discusses the development of their skills building on three Aristotelean concepts: techne (engineering), poiesis (aesthetic form-giving), and phronesis (making of ethical judgments). The last two concepts, the paper argues, are especially important when at issue is design education. Based on an analysis of the student projects in Fall 2022, the paper examines whether and how the students manage to find a balance between engineering skills, on the one hand, and aesthetic creativity and ethical judgement, on the other hand, in their project work.
16
Monni, Kirsi. "Considering the Ontological Premises for Tools in Artists’ Education–on Poiesis and Composition". Nordic Journal of Dance 6, n.º 2 (1 de dezembro de 2015): 4–11. http://dx.doi.org/10.2478/njd-2015-0011.
Texto completo da fonteResumo:
Abstract This article considers the ontological premises for tools in artists’ education, specifically in choreography studies at the master-of-arts level. The topic has proven to be crucial in planning and executing a curriculum of study in the contemporary age of pluralistic aesthetic intentions as any tool, as habitually understood, is ready-to-use according to its disclosed purpose and thus has, in a way, already solved some aspects of the singular research question posed between the artist and the prevailing world. The topic of tools turns out to be a wider question of contemporary poetics (techniques, methods, knowledge) and of ontological considerations of the nature of poiesis and artwork. The topic of contemporary poetics was extensively discussed in a 2011-2013 Erasmus Intensive project, which was an educational collaboration among six European master’s programmes in dance and physically based performance in which the writer took part. This article reports some aspects of that discussion and elaborates on a traditionally widely used concept in choreography education–namely, composition. The article tackles the complex issue of poetics and tools by, firstly, discussing poiesis and the causes to which artwork is indebted and, secondly, by searching in some ontological premises for the notion of composition. The article presents a view of composition derived from Martin Heidegger’s elaborations of logos: Logos is letting something be seen in its togetherness with something–letting it be seen as something. (Heidegger 1962, 56). Following this notion, I propose a view to composition as a certain togetherness in relatedness in which case the concept of composition might serve both as reflective knowledge of construction and as a deep research question in artists’ creative processes.
17
Martins, Alice Fátima. "O direito e o avesso". Revista de Ensino em Artes, Moda e Design 8, n.º 1 (1 de fevereiro de 2024): 1–16. http://dx.doi.org/10.5965/25944630812024e4772.
Texto completo da fonteResumo:
Neste ensaio visual, reúnem-se imagens de trabalhos desenvolvidos na Oficina dos Fios (FAV/UFG). Ao longo do semestre letivo, são propostos exercícios de bordado livre, constituindo um espaço de experimentação e construção de aprendizagens compartilhadas. O projeto é orientado pela poética da solidariedade, segundo a qual a aesthesis e a poiesis são dimensões indissociáveis dos processos de sentir, pensar, fazer, e dizem respeito à experiência mais do que ao objeto, às relações estabelecidas ‘entre’ do que ao trabalho artístico propriamente dito enquanto produto. Nesse sentido, interessa tanto o lado avesso do bordado quanto o lado direito, reconhecendo as potencialidades nas relações entre alguma possível disciplina mais à mostra no lado direito e uma desordem travessa, no lado avesso.
18
Copeliovitch, Andrea. "Dançar o Zen: Aprendizado e poéticas de um processo". Todas as Artes Revista Luso-Brasileira de Artes e Cultura 3, n.º 3 (2020): 85–99. http://dx.doi.org/10.21747/21843805/tav3n3a6.
Texto completo da fonteResumo:
This article discusses an experimental creative process that relates Zen Buddhism, Antonin Artaud, Jerzy Grotowski and Brazilian dances (bumba-meu-boi, cavalo marinho, and coco), using the study of a symbolic body proposed by Graziela Rodrigues; taking as an example the choreography The Bull and the Void, based on the Buddhist tale, The Monk and the Bull (by Monja Coen Roshi and Fernando Zenshô Figueiredo). The choreography is a composition that incorporates zen buddhist rites elements, Japanese anime aesthetics and dances from Brazilian north and northeast, organized by theatre techniques, where the impulse towards physical action is the starting point of the score. This union of techniques and apprenticeships translates the history of the dancing body. The dancer, the Zen Buddhist practitioner andthe bull meet in poiesis´ circular movement, always in search of a poetic happening.
19
Manfredi, Federica. "Thinking the Self through Hooks, Needles, and Scalpels: Body Suspensions, Tattoos, and other Body Modifications". Medicine Anthropology Theory 10, n.º 3 (27 de setembro de 2023): 1–25. http://dx.doi.org/10.17157/mat.10.3.6532.
Texto completo da fonteResumo:
Body modifications such as tattoo, scarification and body suspension represent not only aesthetic interventions, they can also be social practices with which to challenge and transcend the body’s limits, operating on the perception of wellbeing and moulding specific forms of self. In this Research Article, based on research on body suspension in Europe, I aim to analyse body modifications as a means to voluntarily intervene in human perceptive abilities, shaping individual lives through unconventional sensory experiences. In these practices, pain is signified as a threshold for sensory turmoil, capable of shaping the protagonists into a ‘sensory poiesis’. Through such sensory experiences the individual embarks on a process of ‘self-design’ to achieve a better state of being, combining suspensions with other body modification techniques. Suspension practitioners act on the flesh and skin with hooks, scalpel, and ink in order to process events, to trigger new versions of the self, and to enhance how they feel. In doing so, they produce unique and original ‘projects of humanity’, that is, new forms of humanity created by the individuals themselves.
20
Montiel, Jorge. "Aztec Metaphysics—Two Interpretations of an Evanescent World". Genealogy 3, n.º 4 (14 de novembro de 2019): 59. http://dx.doi.org/10.3390/genealogy3040059.
Texto completo da fonteResumo:
This paper contrasts two contemporary approaches to Nahua metaphysics by focusing on the stance of the Nahua tlamatinime (philosophers) regarding the nature of reality. Miguel León-Portilla and James Maffie offer the two most comprehensive interpretations of Nahua philosophy. Although León-Portilla and Maffie agree on their interpretation of teotl as the evanescent principle of Nahua metaphysics, their interpretations regarding the tlamatinime metaphysical stances diverge. Maffie argues that León-Portilla attributes to the tlamatinime a metaphysics of being according to which being means permanence and stability and thus, since earthly things are continuously changing, being cannot be predicated of them, hence earthly things are not real. I present textual support to show that León-Portilla does not read Nahua metaphysics through the lens of a metaphysics of being and thus that León-Portilla does not interpret the tlamatinime as denying the reality of earthly things. I then provide an exegetical analysis of León-Portilla’s texts to show that, in his interpretation, metaphysical concerns are intimately linked to existential questions regarding the meaning of human life. Ultimately, I argue that, in León-Portilla’s interpretation, the tlamatinime conception of art functions as poiesis, that is, as the process of aesthetic creation that gives meaning to human life.
21
Rutgeerts, Jonas, Leni Van Goidsenhoven e Carrie Sandahl. "Differing bodyminds: Cripping choreography". Choreographic Practices 15, n.º 1 (1 de junho de 2024): 3–15. http://dx.doi.org/10.1386/chor_00077_2.
Texto completo da fonteResumo:
This Special Issue originated from the symposium and doctoral seminar Differing Bodyminds – Choreographing New Pathways, held in Leuven (Belgium) a few years ago. Rather than merely documenting the event, our goal is to extend the discussions and practices initiated there into a broader debate on how crip theory can reshape choreographic discourses and practices. As we argue, ‘cripping choreography’ is more than identifying disability dance or critiquing ableist structures; it involves developing a theoretical, phenomenological and performative lens for creating and analysing dance. This lens is rooted in historical and contemporary practices of non-compliant and anti-assimilationist disability-making, doing and knowing, which explicitly position disability as a desirable aspect of our world. Our collection, while building on previous thinking about disability dance and art, aims to reorient the focus from mere representation and inclusion to transformation and creation. It seeks to explore the creative potential of crip choreography poietics, celebrating often ignored and suppressed methods for crip world-making, while also explicitly attending to hopelessness, failure, ‘unlearning’ (Dind, 89 in this issue), ‘non-docile dysdance’ (Watson, 133 in this issue) and ‘wimping out’ (Melkumova-Reynolds, 17 in this issue). All authors in this issue, therefore, engage with this non-utopian perspective: What if we were to cultivate crip’s complexity, carefully tending to the cracks endemic to crip theory, practice, identity and community? How can we hold space for the complexity of crip world-making – its tensions, its failures, its competing priorities, its joys – as it manifests in dance-making processes and aesthetics?
22
Sá-Chaves, Idália. "Training, development, and innovation - For a poetics of deviation". Journal of Innovation Management 6, n.º 4 (15 de março de 2019): 15–21. http://dx.doi.org/10.24840/2183-0606_006.004_0002.
Texto completo da fonteResumo:
Considering, as main reference, Donald Schön’s proposal (1983, 1987) on reflective professionals’ training, and on action competencies development adjusted to solving problems in dynamic and uncertain contexts and volatile circumstances, we intend, in this letter, to resume the reflection on system thinking, considering that its singular design, by the non-standard nature that characterizes it, constitutes the foundation of innovation and development processes. Taking into account the difficulties that resistance to change necessarily brings to the training processes, we also reconvene, on the thread of history, the concept of deviation, by means of an epistemic and (multi)referential examination of the importance of divergence, in its contours, contributions and boundaries, as a vital way to refresh and reinvent perceptions, knowledge and meanings. We highlight the possibility of choice within decision-making processes, understanding it not only as a means to escape from mimetic repetition, but also as an outlet to the uncertain, the unpredictable, and the novel. That is, we intend to reflect on the nature of the creative act as poiesis, in its deep and seductive relation with the creator’s emancipation, the ethics underlying a compromise with human values, the aesthetics of adventure, and the appeal of the open work.
23
Y. Y. Hung, Ruth. "The Afterlives of Jātaka Deer’s Compassion – In memory of our dog Baibai". AM Journal of Art and Media Studies, n.º 25 (15 de setembro de 2021): 49–66. http://dx.doi.org/10.25038/am.v0i25.447.
Texto completo da fonteResumo:
This essay evaluates how exhibitions of prehistoric sites and cave art engage a worldwide public to address the issue of animal compassion, consciousness, and pain. The essay also analyzes the significance of representing archaeological discoveries in the global context of human-caused endangerment and the mass extinction of animals, flora, and fauna, including the eventual prospect of the mass extinction of homo sapiens proper. Today, in the midst of what some scientists call a sixth mass extinction event, the daily loss of species has produced desperate efforts to conserve habitats and preserve relics of extinct animals for a posterity increasingly defined by the scarcity of creation, with the acceleration of the representation of absence the only sustainable growth. Originally found in the Jātaka tradition, the story of Jātaka Deer crystallized Buddhist compassion. However, through decades of national preservation and propagandistic utilization, it met the fate of destruction in the process. For whatever poiesis of earth ethics Jātaka Deer had intended to convey, it remains an aesthetic ruin in the twenty-first century. With the help of holographic virtual-reality and augmented-reality technology, the latest form is a 3D replica with worldwide currency. Such a rendering reeks of our human species’ self-congratulatory sense of optimism and triumphalism about its civilization despite the coming mass extinction. Article received: April 23, 2021; Article accepted: June 21, 2021; Published online: September 15, 2021. Original scholarly paper
24
Parisi, Luciana, e William Morgan. "What Is (Machine) Philosophy?" Qui Parle 30, n.º 1 (1 de junho de 2021): 185–207. http://dx.doi.org/10.1215/10418385-8955843.
Texto completo da fonteResumo:
Abstract This interview with the digital media theorist Luciana Parisi opens with the hypothesis that cybernetics is not merely the name for that postwar metascience of command and control. For Parisi, cybernetics names a “historical reconfiguration of metaphysics on behalf of technics.” This interview asks about the meaning and consequences of this hypothesis but steers away from the all-too-easy poiesis-as-panacea solution to the computational quagmire. Instead, this interview descends into the computational medium, into the specificity of its logic, asking what it might mean not merely to live in a cyberneticized world but to actively participate and believe in such a world. Parisi’s response puts to philosophy an important task: not to seek the accommodations of an expanding concept of the human within a machinic world but to think with the logic of the ascendant cybernetic metaphysics. For Parisi, a necessary move herein is to negotiate the reality of the algorithm’s syntactic operations, their performativity, a move that for her implies a certain form of belief. In tracking this form of belief across disciplines, this interview broaches questions of scalability, race and colonialism, the nonneutrality of technoscience, and the potential of computational aesthetics. Finally, the interview gestures toward Parisi’s future work, because, as she reminds us, we cannot go back; there are questions emerging from within machines that are eager to emerge and are waiting for us to think them.
25
Raidel, Ella. "A Pile Of Ghosts: A Cinematic Heterotopia of Spectral Urbanization". International Journal of Film and Media Arts 7, n.º 1 (3 de outubro de 2022): 11–26. http://dx.doi.org/10.24140/ijfma.v7.n1.01.
Texto completo da fonteResumo:
A Pile of Ghosts (2021) is an artistic hybrid film in-between fiction and documentation created through the process of the art based research project Of Haunted Spaces. This research on Chinese ghost cities was a journey in exploring locations and looking for protagonists for the film, that would embody the urbanization processes surfaced as the phenomena of haunted cities by the spectral production of capitalism. As the process of filmmaking goes, settings and castings are staged to re-enact situations that have been observed during the field trips that were undertaken in many parts of China. The search for the unknown narrative keeps modifying and displacing the semantics of the film script. Therefore, in A Pile of Ghosts the line between documentary and fiction, a discursive space, is created in which facts, analyses and references are fused. This is not only to scrutinize the social reality and to render its discourse, but also to foster an aesthetic dimension from reexamining the convention of filmmaking and its representations. It is the method of a performative documentary to enact and re-enact situations and sites to reveal the contradictory characteristics of global urbanziation. The research process is transformed into the making of the film from field research to scriptwriting and casting. The protagonists are appearing in changing roles as construction workers, real estate agents, and investors to enact the realities of capitalism. On the threshold between the visible and the invisible, the haunting ghost of capitalism is materializing in the poiesis of the film, lurking in the limbo zone of fiction, reality and the performative.
26
Wijland, Roel, e Stephen Brown. "Quickening brand poetics: the lyric alternative". Qualitative Market Research: An International Journal 21, n.º 1 (8 de janeiro de 2018): 82–100. http://dx.doi.org/10.1108/qmr-05-2016-0046.
Texto completo da fonteResumo:
Purpose This paper aims to explore brand rhythm in a lyrical analysis. It aims to provide insights into the appropriation of temporal meaning in material, collective and individual contexts. Design/methodology/approach The design offers a structured advance in lyrical qualitative research and the complementary third alternative to story and drama as more frequent representational forms in interpretive projects. This project presents an aesthetic performance in the sequential constructs of mimesis, poiesis and kinesis. Findings The inquiry confirms the paradoxical evolution of a brand’s temporal aspects and the importance of rhythm perception as a performative act of semantic bootstrapping and evolving brand meaning in general. Research limitations/implications This project shows the importance of brand rhythm and pace in a triangulated methodological sequence of poetic perspectives as an advance of the current qualitative poetic state of play in research. It has implications for the strategic style management of brands in general. Practical implications This paper proposes the importance of brand rhythm as a differentiating attribute. The project presents a repeatable case study which depicts managers a structured poetic approach to capture the temporal essence of brands. Social implications This project is situated in the context of an area that has become to be known as the Timeless Land. The artistic (re-)appropriation of a temporal aspect has had an impact on the development of public attitudes and policy. Originality/value This project offers new insights into the temporal aspects of brands and the construct of brand rhythm in particular. It completes Altieri’s three literary approaches in a performative inquiry. The proposition of the lyrical third way in a theoretical framework should facilitate the acceptance and increasing currency of future poetic projects in marketing.
27
Muršič, Rajko. "Between Aisthēsis and Colere: Sensoria, Everyday Improvisation and Ethnographic Reality". Amfiteater 9, n.º 2021-2 (5 de dezembro de 2021): 134–53. http://dx.doi.org/10.51937/amfiteater-2021-2/136-149.
Texto completo da fonteResumo:
The individual experience of everyday city life is essentially an everyday improvisation among other people. It is in urban settings where socially structured formations of daily life meet purely individual situated experience in myriads of spontaneously created and shaped assemblages of everyday life. The visual perception of space, sonic orientation in a given place and olfactory plus tactile experience of the environment are the basic aesthetic performances in cultivating a common urban reality. The author discusses specificities of anthropological knowledge derived from first-hand experience of the life of other people in the field. To cope with the complexity of everyday urban improvisation, the author employs two ancient Greek terms to define the space of human interaction: aisthēsis, i.e., sensory perception, and the complex meaning of the Latin verb colere, from which the term culture is derived. The triangulation of everyday improvisation through the sensorial essence of everyday life complements the employment of two other ancient Greek terms, praxis and poiesis. The basic empirical materials used to discuss everyday improvisation in an urban environment are collected narrations of sensory perception and individual lives from sensobiographic walks in Ljubljana, Turku and Brighton. Historically, in the West, the dominance of the senses has shifted from sound, touch and smell, orienting people in orally designed cultural domains, to sight. Smelling is specific embeddedness in place. Its paradoxical position of sensing outside air deeply inside, integrated in breathing, but not always sensing anything special. At the crossroads of distant and close, inner and outer, olfactory experience is simultaneously existentially idiosyncratic and collectively shaped. The paper’s main point is that there are no clear limits between the experienced past and the present. However, both are aesthetically and culturally inscribed in specific registers of individual, social, cultural and embodied memories. The same stands for an ethnographic practice. Everyday life is a continuum of living, weaved together from many discontinuous contingencies. It consists of incongruent, incomplete and chaotic shifts. Repetitive social activities bring order into this everyday mess: rituals and work. For this reason, repetitive music is inevitable for establishing a common ground of the everyday. If ethnography ever touches reality, it is a continuous improvisation in everyday life, shared, collective, and peculiar individual improvisation.
28
Katsouraki, Eve. "Violating Failures: Rosa Luxemburg'sSpartacusManifesto and Dada Berlin Anti-manifestation". Somatechnics 3, n.º 1 (março de 2013): 50–71. http://dx.doi.org/10.3366/soma.2013.0078.
Texto completo da fonteResumo:
Some of the greatest Marxist historical accounts of revolutionary events are the accounts of great failures. One needs only mention the German Peasants' War, the Jacobins in the French Revolution, the Paris Commune, the October Revolution, the Chinese Cultural Revolution while numerous others lurk behind many of the battles of the proletariat throughout the twentieth century. In the most radical political engagement, such as the Cultural Revolution for Badiou, or the Nazi Revolution for Heidegger, failure also signals the end of the traditional mode of political engagement as such. But what is failure precisely? And what our confrontation with such failures really means for revolutionary politics and anarchist artistic movements of the early twentieth century such as Dada Berlin? The aim of this articleis thus toexamine failure's capacity to act as a mode of (political) resistance firmly rooted in revolutionary politics and radical anarchist cultural projects. As I argue, failure's radical properties are found in acts of ‘determinate negation'which exhibit a profound anti-conformist ideology that aims to shatter conventional standards of hegemonic value and seek to reshape and loosen the boundaries that determine lived experience in a socio-political and artistic level. To follow through this hypothesis, I explore the embodied activity of the ‘agonal’ embedded in the manifesto in relation to the failed revolution of SpartacusUprise in Berlin of 1919 and the aesthetic attitude of ‘anti-manifestation'exhibited by the deeply politicised, andintimately aliened to the Spartacus agitational project, cultural movement of Dada Berlin. In this context, failure, I argue, is appropriated into a function of doing of the ‘negative’ –anegative poiesis, whose violent tension,already embedded in the performativity of the genre of the manifesto that seeks to subject to the real the foundational force of a future to come,marks artistic praxis onto the political moment with such a creative vigour as if in violently seeking the arrival of the new world and its making.And by looking at Badiou's theories on the four modes of subjectivities, Zizek's reflections on the formation of Badiou's Event, in relation of Heidegger's ontological violence found in the essencing ability of language and of Luxemburg's political philosophy, failure reveals a truly ‘miraculous’ proposition that is other than acceptance of defeat but the call for fidelity, ‘the work of love,’ which resides at the heart of every such violating failure.
29
Hachmann, Gundela. "Network Analysis in Literature and the Arts: Rethinking Agency and Creativity". Journal of Literary Theory 17, n.º 2 (14 de agosto de 2023): 221–40. http://dx.doi.org/10.1515/jlt-2023-2010.
Texto completo da fonteResumo:
Abstract The essay proposes to think of the creative subject as an actor in a network, that is, following Bruno Latour, as a »moving target of a vast array of entities swarming toward it« (Latour 2005, 46). It explores what it means to bring a network analysis to lectures on poetics by employing both a structuralist visualization informed by a computational method and a sociological method according to Latour’s Actor-Network-Theory (ANT). ANT is used to make traceable what with Hugh Kenner is called »elsewhere communities« consisting of spirits and minds along with objects and spaces. This serves to defend a method of criticism that is not oriented towards unearthing deep textual meanings, but which foregrounds the arts’ relatability and potential for provoking association and attachments. Network analysis in the arts and humanities, so goes the argument, has the potential to be much more than a formalist description of connections made. It offers means for detecting the implicit and explicit presences of a variety of different actors in or relating to works of art and challenges us to move beyond established analytical categories such as intertextuality and intermediality by opening the inquiry to a wider diversity of actors and to redefine our understanding of creativity. The article focuses on networks that emerge in lectures in which renowned artists from around the world share with general audiences their views on work processes, motivations to create, and artistic self-understandings. These are known as Poetikvorlesungen in Germany, Austria, and Switzerland, but do not have a distinct label outside of the German-speaking literary scene. The article departs from the observation that making connections and forming artistic associations are key components of these lectures as this feature can be found frequently. It first outlines genre characteristics of lectures on the arts with particular focus on networks that such lectures participate in. Emblematic examples are the Frankfurt Lectures on Poetics by the German novelist Daniel Kehlmann (given in 2014) and the Tanner Lectures by the Canadian writer and critic Hugh Kenner (given in 1999). Kehlmann depicts his artistic influences, sources of inspiration, and references to existing contexts by pretending to summon spirits, a rhetorical gesture akin to a necromancy. Kenner calls networks that evolve from making such connections »elsewhere communities«. The essay explores what a network-oriented analysis of this genre could look like by turning to the Norton Lectures by the German filmmaker Wim Wenders (given in 2018). These serve to test two different analytical approaches. The article relies both on network visualization and on tracing of networks according to Actor-Network-Theory (ANT). The article thus offers both a graphic representation of references from Wenders’ lectures and a textual tracing of associations according to the methodology outlined by Latour. An important finding is that network analysis, no matter its method, offers exciting opportunities in revealing the significance of relations and associations. Network analysis challenges literary scholars to revisit and rethink intertextuality, intermediality, or intersubjectivity and invites them to unearth a new diversity of actors. The article argues that graphic visualizations done with computational methods can be instrumental in the immediacy with which they communicate findings, especially when it comes to findings from a large corpus. The article then moves on to explore the nuances and theoretical implications that ANT offers in addition to the network visualization. A major appeal of ANT is, so the argument, that it offers insight into processes that are central to literary criticism: translation, mediation, and the evolving dynamics that stem from them. Since lectures on poetics are located at the intersection of artistic creation, authorial self-presentation, and criticism, they offer a particularly good window into the interactions of poiesis and aesthesis, of creative work and its dependency on the reception of other artworks. The argument concludes by suggesting that network analysis invites theorists to reconceptualize reader-response theory toward what scholars call comparative media studies. Finally, the article briefly considers lectures on the arts not as objects of criticism, but as a blueprint for scholarship that looks to re-envision literary criticism and its engagement of the reading public.
30
Cassingena-Trévedy, François. "Liturgy as Essentially Poietic". Studia Liturgica, 30 de março de 2022, 003932072210813. http://dx.doi.org/10.1177/00393207221081302.
Texto completo da fonteResumo:
The Christian liturgy is far more than a simple mobilization of a diverse range of artistic expressions in service of its ordinary performance; in fact, the liturgy is in essence a poiesis of the faith. Nor does this poiesis function as a system in harmony with Christian dogma and ethics, because in many regards it transcends these other two approaches. In the midst of the contemporary questioning concerning faith and life, believing and living, the centuries-old poiesis represents an invaluable resource. Truth alone cannot be imposed, nor should it be. More than ever, the symbolic translation of the faith, or to put it in other words, its aesthetic mediation, as expressed in its communitarian practice, will prove itself worthy of faith.
31
Lemmon, Eric. "The Politics of Aesthetic Preference in Participatory Music". Organised Sound, 3 de fevereiro de 2022, 1–11. http://dx.doi.org/10.1017/s1355771822000012.
Texto completo da fonteResumo:
Bringing together an array of interdisciplinary subjects, this article seeks to proffer a theory of political aesthetic preference emergent within participatory musical works. Beginning with an overview of imitation in music and then recapping the critical work advanced by Kofi Agawu and Jean-Jacques Nattiez on musical semiology, this article first delves into how musical signs are interpreted and propagated within participatory settings. Subsequently, using Jürgen Habermas’s influential theory on the public sphere as well as the critical revisions to said theory proposed by Nancy Fraser and Michael Warner, participatory musics are conceptualised as constituting the formal space of a public in which the aesthetic direction of a participatory music work is negotiated among participants. Based on an analysis of Luke Dahl, Jorge Herrera and Carr Wilkerson’s multi-user instrument and participatory work TweetDreams, this article discusses the ways in which participant inputs and choices impact the poietic process of the work due to the clear rules that are set up within its interactive and algorithmic protocols for sonification. It concludes by pointing towards other recent research on participatory works, where the framing of participatory musics as a political–aesthetic space leads to broader questions about audience power and how the latter is negotiated and shared, then poses questions for future research on the audience’s choice in refusal and dissensus.
32
BARRES, Patrick. "Пойетический сценарий и нарративный процесс в фильмах Юрия Норштейна, диалектика художественного видения". Slovo To the East of Pixar :... (2 de março de 2019). http://dx.doi.org/10.46298/slovo.2019.5233.
Texto completo da fonteResumo:
International audience Юрий Норштейн и свойственные его видению пойетика иэстетика являются частью экспериментального направления в российскойанимации, развивавшегося в 1960 годах и совершившего уход от классическойтрадиции рисования на целлулоидной пленке.В своих фильмах он развивает новые формы наррации, проартикулированнойпосредством пластического эксперимента и пойетические сценарии, включающиев себя пространство студии и рабочие моменты осуществляющегося вмастерской творческого замысла.Нарративные схемы, отображающие художническое видение, используют«материалогию» полученных пробным путем результатов, хроматическуюи фактурную непрозрачность, фрагментарность сценария и ракурс съемки,плавающий между плавным и рваным движениями камеры – всё это являетсяхарактерным для создания его экспериментальных фильмов.Совершается рождение новой эстетики, которую художник-киносоздательназвал «небольшое клише». Выражение было сформулировано в его мастерскойв связи с засвечиванием пленки от источника света, окрашенного под«расплавленный янтарь». Приходящая на ум метафора текучести ифактурности подчеркивает вещественность и «мнущесть» (способностьмяться) целлулоида и усиливает осязательность образа, и раскрывается вразвитие «материалогии», повсеместно присутствующей в его фильмах изадействованной в нарративный процесс – туман, снегопад, тучи листьев изавесы дождя. Подобная эстетика позволяет создателю фильма вернутьсяк «сердцевине вещей» и, исходя оттуда, связно артикулировать различные территории вымысла. Он сплетает небывальщину фантастических эскапад в проявляющийся нарратив и в конечном счете творчески обновляет процесссоздания фантасмагории. with his poietic and aesthetic inventions, Yuri Norstein is part of theexperimental movement of Russian Animation, which was developed in the 1960s andbroke away from a classic tradition of drawing on celluloid. In his films, he developsnew forms of narration, articulated with plastic experiments and poietic scenariosintegrated into the studio and in the middle of workshop projects. The narrativepatterns of invention are from “materialogical” trials, chromatic and textural opacities,fragmented scenographies and camera angle perspectives stretched between fluidityand twitching, all of which are characteristics of his experimental film-making. A new aesthetic emerges, qualified by the artistic filmmaker as a “small cliché”. The expression was formulated in the workshop around the exposure of celluloid to the “plasma amber”light source. It summons to mind, liquid and textile metaphors that emphasize thematerialistic and “crumpled” characters of celluloid and enhance the tactile feeling ofthe image and opens up to the “materialogical” developments that are ubiquitous inhis films and involved in the narrative process like fog, snowfall, flocks of leaves andrain curtains. This aesthetic allows the filmmaker to return to “the core of things” andto articulate from there in the different fictional territories. He spins a fantastic yarnof escapades into the developing narrative and finally renews the creative process ofinvention in phantasmagoria. avec ses inventions poïétiques et esthétiques, Youri Norstein s’inscritdans la mouvance expérimentale du cinéma d’animation russe, qui s’est développéedans les années 1960, en rupture avec une tradition classique du dessin sur cellulo. Ildéveloppe dans ses films de nouvelles formes de narration, articulées aux expériencesplastiques et aux scénarios poïétiques intégrés au chantier de fabrique, au milieude culture de l’atelier. Les motifs narratifs d’invention sont issus des épreuvesmatériologiques, des opacités chromatiques et texturales, des scénographiesfragmentées et des plans cinématographiques tendus entre la fluidité et la saccade,caractéristiques de son cinéma de recherche. Une nouvelle esthétique en émerge,qualifiée par le cinéaste d’esthétique « petit cliché ». L’expression a été formuléedans le cadre de l’atelier à propos de l’exposition du celluloïd au « plasma ambré »de la lumière. Elle convoque des métaphores liquides et textiles qui soulignentles caractères matériologique et « chiffonné » du celluloïd, qui valorisent leregistre tactile de l’image et qui ouvrent aux développements météorologiquesomniprésents dans ses films, nappes de brouillard, chutes de neige, volées de feuilleset rideaux de pluie, impliqués dans le processus narratif. Cette esthétique permetau cinéaste de rentrer dans « l’épaisseur des choses » et d’articuler, à partir de là,différents territoires fictionnels, d’imbriquer des échappées fantastiques dans lanarration en train de se faire, et de renouveler finalement le travail d’invention dela fantasmagorie.
33
Pezzano, Giacomo. "Organa della ragione. Il pensiero visuale tra nuovi media e vecchi abiti". Itinera, n.º 27 (11 de agosto de 2024). http://dx.doi.org/10.54103/2039-9251/25177.
Texto completo da fonteResumo:
The paper is divided into three paragraphs, which explore the aesthetic and poietic nature of habits of thought, highlighting the concurrently sensitive and plural dimensions of their “clothes”. In § 1, the focus is mainly on visual argument studies and visual studies, questioning whether a “logic” of the image must necessarily resolve itself into other than logic. §§ 2-3 delve into the aesthetic-mediological conditions of knowledge production and dissemination, distinguishing between an alphabetic (§ 2) and a “post-alphabetic” (§ 3) phase. § 2 critically examines the issue of “scriptism” ingrained in Western epistemological practices, contending that the linguistic bias within logic reflects a textual bias, according to which the alphabetic-typographic word is deemed the exclusive conduit for rigorous and higher-order knowledge. In contrast, § 3 observes a transformative shift associated with digital media, underscoring the growing importance of the visual in knowledge, and outlining the question of epistemic injustice fuelled by traditional research practices, which tend to sideline visual ways of thinking. The conclusions suggest that as the organa of reason are increasingly “visivizing” or “aestheticizing”, it is at least limiting to remain firm in the belief that this will have no profound impact on the structure of the logos itself.
34
Filieri, Luigi. "Directions of objectivity. Cassirer on art as a symbolic language". Continental Philosophy Review, 23 de setembro de 2024. http://dx.doi.org/10.1007/s11007-024-09651-5.
Texto completo da fonteResumo:
AbstractIn this paper I argue that 1) art is, for Cassirer, a symbolic language whereby images (or poetic expressions) work analogously to verbal signs in order to frame and codify meaningful objective contents, namely symbolic formations that constitute objects in a specific region of culture. I claim that 2a) both art and language rely on what I call symbolic-poietic mimesis: a function meant to 2b) combine imitative and constructive states in order to shape a proto-meaningful core according to its symbolic pregnance and 3a) employ forms that are, on the one hand, pure (not derived from experience) and, on the other hand, sensuous (figurative signs). The idea is that while 4a) both language and art are oriented towards objectivity as the constitution of cultural objects, 4b) they also differ in their respective directions. On the one hand, language pursues stable and fixed verbal references. On the other, art relies on moving and living forms meant to codify a dynamic weft of aesthetic values.
35
CALVO REVILLA, Ana, e Eva ÁLVAREZ RAMOS. "NUEVOS PARADIGMAS ESTÉTICO-SEMIÓTICOS DERIVADOS DE LA BREVEDAD". Signa: Revista de la Asociación Española de Semiótica 33 (8 de janeiro de 2024). http://dx.doi.org/10.5944/signa.vol33.2024.38811.
Texto completo da fonteResumo:
La conceptualización del microrrelato hipermedial ha abierto el campo a la explotación de los paradigmas estético-semióticos, que se derivan de las relaciones que se establecen entre los diferentes lenguajes que faculta la esfera digital y que repercuten en la recepción y comprensión de las nuevas microformas artístico-literarias. Cabe, por tanto, analizar tanto los retos que se abren ante los procesos de recepción del microrrelato hipermedial, como la cambiante producción creativa en la esfera de los lenguajes artísticos y literarios; la galaxia de discursos imperantes, en los que desde una perspectiva poética y estética se alzan construcciones creativas intersemióticamente, así como la relación entre ideología y estas criaturas narrativas híbridas. Abstract: The conceptualization of the hypermedial microfiction has opened the field to the exploitation of the aesthetic-semiotic paradigms, which derive from the relationships between the different languages that empower the digital sphere nd that have an impact on the reception and understanding of the new artistic-literary microforms. It is therefore possible to analyze both the challenges that open in the face of the processes of reception of the hypermedia micro-story, as well as the changing creative production in the sphere of artistic and literary languages; the galaxy of prevailing discourses, in which creative constructions rise intersemiotically from a poietic and aesthetic perspective, as well as the relationship between ideology and these hybrid narrative creatures. Keywords: Hypermedial microstory. Semiotics. Intermediality. Multimodal literacy.
36
Sarıtaş, Davut, Hasan Özcan e Agustín Adúriz-Bravo. "On the practice of integrated STEM education as "poiesis"". STEM Education Review 1 (28 de setembro de 2023). http://dx.doi.org/10.54844/stemer.2023.0408.
Texto completo da fonteResumo:
The value of science partly lies on the development of useful products for humanity's needs, but basic sciences cannot be said the "protagonists" of their obtention. Human history shows that these processes occur as a result of interactions between science and technology, mathematics, and engineering, as well as ethics and aesthetics. This network of disciplinary relationships facilitating the impact of scientific knowledge on human lives is at the center of discussions in the field of Science, Technology, Engineering, and Mathematics (STEM) education, and will be the focus of this article. Since the problems encountered in people's everyday activities cannot be solved with the knowledge and skill of a single discipline, there emerges an aim for general education to attain more holistic understandings required by human needs. Our conceptualization of STEM education, based on classical Greek philosophy, addresses this issue. We acknowledge that the traditional paradigm of monodisciplinary education, formed as a result of the separation of sciences over history, has been challenged in the last two decades with the rise of integrating approaches in science and technology education. STEM is consistently mentioned as a way for gaining the integrated knowledge and skills deemed important for the near future, but theoretical searches towards solving its basic problems are still ongoing and we take this as our general research problem. In this argumentative study, the philosophical approach proposed to shed light on STEM education practices is structured along two conceptual axes: integration of disciplines and inclusion of humanistic goals. Suitable foundations for our proposal are sought in Aristotelian philosophy: We use Aristotle's conception of a particular kind of human activity—poiesis, that aims to create "useful" and "aesthetic" products in order to propose an engineering "center" or "core" in the design of STEM school practices. Our model, labeled as "poietic" STEM, incorporates key elements of the nature of engineering; under the light of such a model, some aspects of what is called the "nature of STEM" are discussed. We conclude that, in an education envisaging more holistic approaches towards citizen literacy, it is necessary to connect the performance of STEM with responsible human interaction. In accordance with this requirement, our approximation to STEM centered on an epistemologically sophisticated conception of engineering makes room for fostering shared awareness in students.
37
Pulvirenti, Grazia, e Renata Gambino. "Einbildungskraft (Imagination)". Goethe-Lexicon of Philosophical Concepts 2, n.º 1 (19 de dezembro de 2022). http://dx.doi.org/10.5195/glpc.2022.59.
Texto completo da fonteResumo:
Einbildungskraft (imagination) is a multifaceted mental faculty in Goethe’s theoretical writings and poetic works that is non-systematic and rich in aporias. At work in both cognitive processes and artistic production, it becomes a defining concept in Goethe’s creative understanding of natural and aesthetic processes. Einbildungskraft serves as a faculty that presides over nature, the human mind, and the arts as a source of interdisciplinary knowledge. As a pre-noetic power, moreover, it also manifests the poietic force of language. By creatively expanding the Kantian distinction between the productive and reproductive imagination, Goethe theorizes a third kind of Einbildungskraft at work in poetic language with an internal law (Gesetzlichkeit) that “circumspectively surveys” the inner and outer worlds. As a kind of analogical thinking, this “umsichtige Einbildungskraft” (surveying imagination) participates in cognitive processes by actively elaborating thought, affect, vision, and memory. And as an artistic power, it mirrors in metaphorical language the organic forces of nature, which share the same principles of human life: synthesis, expansion, and transformation. According to Goethe, Einbildungskraft is the faculty responsible for shaping perceptual inputs, affects, memories, and mental images into artistic and verbal forms, thereby reconfiguring all the fragmented pieces of existence into an organic system that represents reality in its ontological essence.
38
Salvestrini, Amalia, e Fosca Mariani Zini. "Introduzione. La memoria e la regione estetica della retorica". Itinera, n.º 27 (11 de agosto de 2024). http://dx.doi.org/10.54103/2039-9251/25164.
Texto completo da fonteResumo:
Within the historiographical and theoretical question of the relationship between aesthetics and rhetoric, according to which terms and concepts of aesthetics were also formed thanks to rhetoric, which circumscribes a perceptible and circumstantial sphere of reason, the present issue is dedicated to investigating a poietic idea of memory. Within this framework, the interest in memory and not imagination is legitimised precisely by the desire to analyse the productive capacity of rhetoric from the 'inferior' faculty that seems at first glance the least creative, since traditionally memory has an accumulative and conservative function. Instead, our intention is precisely to suggest, thanks to the contributions published here, how memory is not simply a place of storage, but a source of invention. A memory that is therefore the very condition of the creative act and of the passage from the already known to the possible new. The issue is thus divided into two parts: the first deals with the specific topic of poietic memory, the second explores some aspects of the more general question of the relationship between aesthetics and rhetoric.
39
Kyndrup, Morten. "Attention and Aesthetic Value". Nordic Journal of Aesthetics 32, n.º 65-66 (17 de agosto de 2023). http://dx.doi.org/10.7146/nja.v32i65-66.140111.
Texto completo da fonteResumo:
We are capable of engaging in different kinds of relations with objects and situations we meet. Any relation is, in principle singular and thus einmalig, unique. Still, certain general types of relationality do exist. Relations may be established with focus (“attention”) on usability, truth, ethics, power, authenticity—and of course, on “beauty,” on aesthetic value. This differentiation is an invention of the Modern world and in itself subject to historical change. In terms of “discursive areas” it has been theorized in varying keys—including quite many universalist ones. We are free to choose our modes of attention. Still, institutionalized discourses in practice pre-configure these modes. Especially when it comes to art and Modernity’s “great divide” between poiesis and aesthesis, the conditions for attentional approaches appear largely pre-figured. The article discusses this pre-configuration and the institutionalized “freedoms” of art and its audience, respectively—including current calls to abolish such differentiations and to transgress the discursive boundaries of art.
40
"Aesthetic Participation as a Realisation of Social and Cultural Poiesis". Art Inqiuiry 20 (2018). http://dx.doi.org/10.26485/ai/2018/20/1.
Texto completo da fonte
41
Pham, David. "Touching Ash in Vietnamese Diasporic Aesthetics". American Literature, 28 de abril de 2023. http://dx.doi.org/10.1215/00029831-10679251.
Texto completo da fonteResumo:
Abstract Water has held a privileged place in theorizations of Vietnamese refugee being. Drawing from Ocean Vuong’s chapbook Burnings (2010) and novel On Earth We’re Briefly Gorgeous (2019) along with Tuan Andrew Nguyen’s film The Boat People (2020), this article traces an alternative genealogy of Vietnamese diasporic aesthetics based on the element of fire. Theorizing fire as another critical site of refugee passages, these works evince a pyric refugee onto-epistemology, one that conceives of fire and ash as explicit matter-metaphors of living and beauty that refuse the sensory diminution of racialized subjects as a result of US imperial and militaristic violence. Fire carries with it a destructive valence, and ash is taken as evidence of ruin and disaster. However, the explorations of fire and ash in both artists’ work not only attest to the various onto-epistemological unravelings signified by fire and ash but also conceive of the possibilities and openings for a refugee poiesis that emerges in the aftermath of destruction. Both Vuong and Nguyen stage haptic encounters with ash that wrestle with questions of sensation and subjectivity in the narration of personal and collective trauma. Paradoxically, these texts espouse the notion that any possibility of refugee futurity happens through contact with the subjunctive power of that which is insensible, ash.
42
Coeckelbergh, Mark. "The Work of Art in the Age of AI Image Generation". Journal of Human-Technology Relations 1 (12 de junho de 2023). http://dx.doi.org/10.59490/jhtr.2023.1.7025.
Texto completo da fonteResumo:
AI image generators such as DALL-E 2 are deep learning models that enable users to generate digital images based on natural language text prompts. The impressive and often surprising results leave many people puzzled: is this art, and if so, who created the art: the human or the AI? These are not just theoretical questions; they have practical ethical and legal implications, for example when raising authorship and copyright issues. This essay offers two conceptual points of entrance that may help to understand what is going on here. First it briefly discusses the question whether this this art and who or what is the artist based on aesthetics, philosophy of art, and thinking about creativity and computing. Then it asks the question regarding human-technology relations. It shows that existing notions such as instrument, extension, and (quasi) other are insufficient to conceptualize the use of this technology, and proposes instead to understand what happens as processes and performances, in which artistic subjects, objects, and roles emerge. It is concluded that based on most standard criteria in aesthetics, AI image generation can in principle create art, and that the process can be seen as poietic performances involving humans and non-humans potentially leading to the emergence of new artistic (quasi)subjects and roles in the process.
43
Cheverie, Calder. "Explorations in Non-Binary Poiesis: A Sartorial Path to Wholeness in Queer Body". Qualitative Inquiry, 11 de outubro de 2023. http://dx.doi.org/10.1177/10778004231202946.
Texto completo da fonteResumo:
The path toward coming home to an embodied sense of wholeness in queer identity is often a long journey marked by personal severance. For trans and non-binary people, the arts have become an invaluable space for reclamative wayfinding and liberation. Artistic pathways offer processes to (re)presence the severed parts of ourselves that were laid down to survive in a binary framework that collapses wholeness. Here, I offer forward a sartorial expression of non-binary poiesis as a reclamative act of (re)weaving the lost threads of self. In the disassembling of my adopted aesthetic, sewing and sartorial expressions become a pathway home to wholeness in queer body, where (re)stitching binary endpoints gestures toward a third space for belonging.
44
Vega Balbás, Rubén. "The Performative Nature of Dramatic Imagination". Revista Brasileira de Estudos da Presença 10, n.º 1 (2020). http://dx.doi.org/10.1590/2237-266092193.
Texto completo da fonteResumo:
Abstract: Creative imagination is a central concept in critical philosophy which establishes the framing faculty of the subject in the middle of the cognitive process. Linking the internal and the external, imagination is also key for dramatic acting methodologies. This mediation has been alternatively interpreted in Western tradition under a reversible perspective, giving priority to either the process that goes from the outside inwards (aesthesis) or just the opposite (poiesis). Going beyond dialectics, this article will connect philosophy with dramatic theory. My proposal explores the virtual drama of identity to emphasise how the transcendental and empirical get linked theatrically.
45
Stevens, Joshua. "Child of the Elder Blood: A Semiotics of Folklorism in the Soundtrack of The Witcher 3: Wild Hunt". Games and Culture, 3 de abril de 2020, 155541202091470. http://dx.doi.org/10.1177/1555412020914701.
Texto completo da fonteResumo:
This article considers how folklorism (i.e., artistic representations of folk culture) is aesthetically coded in the soundtrack of the commercially and critically successful The Witcher 3: Wild Hunt video game. Using the tripartite model developed by French musical semiotician Jean-Jacques Nattiez, I consider how the player encounters music and its attendant folklorism in the game (neutral level), how folklorism is embedded in the text through composer activities (poiesis), and how that folklorism can be interpreted by the game’s primarily Western Anglophone player-base (esthesis). The soundtrack’s folklorism as a stylistic musical phenomenon is also related to relevant ethnomusicological scholarship and considered within the larger cultural industry surrounding the game. In doing so, it is shown not only how The Witcher 3’s musical folklorism contributes to the game’s spatiotemporal aesthetics but also how creative musical intentions are transmitted, received, and mediated through the video game medium and its surrounding cultural discourses.
46
Israeli, Alec. "Human Labor and Natural Labor in Henry David Thoreau's Works". Modern Intellectual History, 16 de maio de 2024, 1–23. http://dx.doi.org/10.1017/s1479244324000131.
Texto completo da fonteResumo:
This article argues that Thoreau's concept of “labor” presented as a defense of poiesis—any generative, world-altering activity. Thoreau understood Nature's labor as the ultimate creation for humans to imitate. Human labor best approached this ideal in the absence of market-based divisions of labor, particularly when mental and physical labor were united (even undifferentiated beyond their contemporary, reified distinction, a distinction which deeply troubled Thoreau). Thoreau's epistemology undergirds my discussion of his theory of labor. As I argue, his attempts to transcend divisions between subject and object, between ideal and material—divisions pertinent to his intellectual influences and interlocutors—were isomorphic to his attempts to transcend divisions of mental and physical labor, insofar as sensuous knowing itself was laborious. As Thoreau sought to know Nature and bring human labor closer to it, he expressed a consistent, dialectically complex philosophy, in which political economy and aesthetics, science and poetry, ran in parallel.
47
Betz, John R. "The Trinity and the Arts: Toward a Christian Poetics". Modern Theology, 10 de setembro de 2023. http://dx.doi.org/10.1111/moth.12890.
Texto completo da fonteResumo:
AbstractThe purpose of this essay is to explore the question of a Christian poetics, and to see what, if anything, the doctrine of the Trinity has to do with it. Our conclusion is that the doctrine of the Trinity, far from being accidental to Christian poiesis, is fundamental to any account of it—if indeed all phenomena are analogues of the eternal phenomenality of the Son vis‐à‐vis the Father, and if all that is made is made through the Son by the power of the Creator Spirit. To this end, however, it is argued that Christian poetics implies a particular kind of metaphysics as well, namely, an analogical metaphysics, which is able to do justice to the interplay of essence and existence in creatures, which is cognate with the aesthetic interplay of form and novelty. The result of these explorations is not only a proposed standard, comprising four theses, for Christian art, but also an ecumenical proposal for how to think about the Trinity (and the Filioque) anew—not by dispensing with Augustine's psychological analogy, but by supplementing it with an artistic analogy, specifically, with the help of the patristic trope of the Son as the Ars Patris in whom the Father eternally delights. The final result is a clearer picture of the role of the Holy Spirit, in God and in creation, and of the spiritual‐poetic vocation of the imago Dei.
48
Sarkar, Jayjit, e Anik Sarkar. "In Search of a Pathographical Ecopoetics: A Study of Elizabeth Tova Bailey’s The Sound of a Wild Snail Eating". Journal of Ecohumanism 2, n.º 2 (10 de junho de 2023). http://dx.doi.org/10.33182/joe.v2i2.2993.
Texto completo da fonteResumo:
What connects a pathography (an illness narrative) with the school of ecopoetics is poiesis: the Greek for “the act of creation”. Pathographical ecopoetics is “creation-with” the natural surroundings during illness. As opposed to Thoreau’s Walden where we find an autobiographical account of one’s relationship with nature, in pathographical ecopoetics the same relationship is unfolded through pathos (the Greek for “pain”) and disease. Illness as a method helps in bracketing out our pre-reflective involvement with the natural surroundings and paves the way for newer ways of understanding nature. As opposed to various other intersections between medicine and ecology, like ecopsychology, ecotherapy or green cure, there is a sense of Keatsian spontaneity and aesthetic wonder in pathographical ecopoetics. Elizabeth Tova Bailey’s The Sound of a Wild Snail Eating (2010) is one such account. Her debilitating illness, with “severe neurological symptoms”, brings her close to an unremarkable wild snail. Her world starts to get entwined with the world of the snail. The work is a curious admixture of illness memoir, biology, art, environmentalism, and more importantly a deep sense of compassion and empathy for the natural surroundings. The chapter will explore the concept of ecopoetics with the help of Bailey’s pathographical account. The Sound of the Wild Snail Eating as a pathographical ecopoetics is away from the techno-scientific gaze of not only modern medicine but modernity in general. Bailey’s world of illness finds effortless connections with the world of the wild snail: her spatial and temporal confinement is attuned to that of the spatio-temporality of the snail. Both the worlds posit a challenge to the speed and “homogeneous, empty time” of modernity. Both the worlds keep the enchantment and mysteriousness of the natural world alive. In general, the work provides an alternative space in the metanarrative of 21st century modernity and techno-capitalism.
49
Pickersgill, Sean. "Love’s labour’s lost: Alberto Pérez-Gómez’s Polyphilo". Interstices: Journal of Architecture and Related Arts, 30 de agosto de 2024, 39–55. http://dx.doi.org/10.24135/ijara.v23i23.785.
Texto completo da fonteResumo:
Alberto Pérez-Gómez’s Polyphilo, or The Dark Forest Revisited, An Erotic Epiphany (1994) is an imaginative re-telling of the famous architectural text Hypnerotomachia Poliphili (1499) by Francesco Colonna. Pérez-Gómez transfers the events of the original from a Renaissance dreamscape of forests, processions, and architectural set-pieces to the dissociated spaces of air travel from airports to experience of flight itself. In the original the temper of the narrative is directed at the manifold experiential qualities of architecture, metaphorically expressed by the protagonist, Poliphilo, pursuing his love, Polia, through a picaresque journey of discovery. In Pérez-Gómez’s modern version, the estranging effects of modernity have interposed themselves into the narrative and created a melancholic Weltanschauung centred on the alienating effects of technology. However, a form of redemption occurs through, as the title notes, ‘an erotic epiphany of architecture’. Pérez-Gómez’s intention in the text is to build a contemporary argument for an ‘ethics’ of architecture based on the sensory richness, the poiesis or ‘bringing forth’ as he characterises it, that comes from the attuned observer of architecture. His merging of aesthetics and ethics form a kind of categorical imperative for architecture – you must create what you love. However, in Pérez-Gómez’s telling it can be argued, the narrative for fulfilling this state becomes muddled in its abstraction. As an antidote to this, we can look to contemporary narratology and the developed understanding of the rhetorical device of ekphrasis that has been present from Classical times to the present, including the Renaissance of Colonna. How images illustrate and illuminate a text, and how the character arc of narratives generally fulfill a world-making function reveals another aspect of the Hypnerotomachia Poliphilo, and of illustrated architectural texts in general: architectural ethics is a story illustrated and told.
50
Volcher, L. E. "Language as Mimesis". Law Text Culture 5, n.º 2 (1 de janeiro de 2001). http://dx.doi.org/10.14453/ltc.686.
Texto completo da fonteResumo:
This essay brings the idea that language is mimesis, in something like the Greek sense, into contact with certain Eastern images and ideas. Heidegger defined mimesis, well enough for my purposes, as the presentation or production of something in a manner that is typical of something else. (Heidegger 1991, vol I: 173) Keeping this image of mimesis in mind, I want to extend to language the inversion of traditional aesthetic theory that Nietzsche accomplished when he thought of art from the point of view of the artist--the creator of images--rather than from the point of view of the one who merely views or contemplates the so-called "finished work of art." (71) Just as Nietzsche elevated the artist to prominence in his theory of art, I make language into something that is above all an active doing from the speaker's or writer's perspective, and not just a passive receiving from the perspective of a hearer or reader. When Hegel wrote that "the act of dividing is the force and labor of the understanding, of the most wonderful and grandest, or rather, of absolute power," (Heidegger 1991, vol III: 223, citing Hegel Werke 1832-45, vol II: 25) he wrote from the perspective of a recipient--someone before whom the divisions made by speech appear as something else that they themselves are not. In contrast, what I mean by mimesis is very definitely not the linguistic picture that is made, taken by an observer to be an act of understanding. Still less do I take it to be a pictorial thing that stands in relation to what it represents. Rather, what I call mimesis is the creative energy of picturing itself. And while I do not deny that language is also poiesis, in the Greek sense of producing something in words. (Heidegger 1991, vol I: 165), I am far more interested in displaying the act of production itself as image-making--as a kind of mimesis--even, or rather especially, in those cases where a speaker or writer produces words that no one takes to be an image.