Somaesthetics: a Disciplinary Proposal
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Ken Ueno's Jericho Mouth
Martin Jay Page 86-90 The Sound of Somaesthetics: Ken Ueno’s Jericho Mouth Martin Jay Abstract: A sound installation titled Jericho Mouth was mounted at the Beijing Inside-Out Museum in 2013 by the American avant-garde composer and performer Ken Ueno. Drawing on the work of Richard Shusterman and Roland Barthes, this essay presents it as powerful example of acoustic somaesthetics in which the material body—in particular the voice emanating from the throat and guts rather than the lungs and breath—resists cultural sublimation. Keywords: Ueno, Barthes, Shusterman, throat singing, pheno-song, geno-song, Jericho Mouth Aesthetics, it is often noted, emerged in the 18th century as a complement to an overly spiritual or rational philosophy, a way to take seriously the claims of the senses in our knowing the world. In the words of its founding father, Alexander Baumgarten, it was “the science of sensitive cognition.”1 In time, it evolved to mean more specifically the theory of art and lost its connection to science, but the combination of sensuality and something else – call it knowledge or truth or spirituality – remained. Aisthesis, it was understood, involves both sensation and perception, the former relating to pleasure and emotion, the latter to objects and their cognition.2 Insofar as sensation is mediated by the body and rooted in our existence in the material and animal world, it was understood to connect art to the “lower” or “baser” part of our nature. The countervailing perceptual impulse worked to elevate art above our instinctual needs and desires, linking it instead to something more sublime or spiritual, indeed often ethical as well. -
Interviewing Richard Shusterman: Part I
Action, Criticism & Theory for Music Education the refereed scholarly journal of the Thomas A. Regelski, Editor Wayne Bowman, Associate Editor Darryl A. Coan, Publishing Editor For contact information, please point your Web Browser to: ACT Journal: http://act.maydaygroup.org or MayDay Site: http://www.maydaygroup.org Electronic Article Väkevä, L. (2000). Interviewing Richard Shusterman: Part I. Action, Criticism, and Theory for Music Education. Vol. 1, #1 (April 2002). © Lauri Väkevä, 2000 All rights reserved. The content of this article is the sole responsibility of the author. The ACT Journal and the MayDay Group are not liable for any legal actions which may arise involving the article's content, including but not limited to, copyright infringement. Action, Criticism & Theory for Music Education Electronic Article Page 2 of 10 ____________________________________________________________________________________________ LLVV::: There seems to be a general since the mid-1980's. From the 1950's to Interviewing Richard renaissance of pragmatism gaining hold the mid-1980's pragmatism was very Shusterman within many disciplines, including much eclipsed in the States by analytic Part I aesthetics and educational philosophy. philosophy imported from England and Why do you think pragmatism has the continent (e.g. Carnap). However, in Lauri Väkevä attained new popularity both sides of the areas like education, which were very [email protected] Atlantic? Is there a need for these central to Dewey’s interests but revitalized pragmatic standpoints, completely marginal to analytic especially in current theory of art and in philosophy, there remained throughout related fields? Are there competing this time a core of philosophers who This part of the interview was made via positions in the new stream of pragmatic email in May 2000. -
Somaesthetics and the Revival of Aesthetics
Filozofski vestnik volume/letnik XXviii • number/Številka 2 • 2007 • 135–149 somaestHetiCs AnD tHe RevivAl oF AestHetiCs Richard shusterman i welcomed Aleš erjavec’s invitation to contribute an article for the interna- tional issue of Filozofski vestnik devoted to “the Revival of Aesthetics” and organized to coincide with the XVII international Congress for Aesthetics (in 2007). it provides me with an excellent occasion to reflect on the role of somaesthetics in the project of reviving aesthetics and promoting a more expansive scope and style of aesthetics, emphasizing international dialogue and transcultural metissage. it is a particularly opportune moment for such reflection, since 2007 marks the tenth anniversary of my first using this term in an english publication.1 Moreover, the international context of this essay is most appropriate since somaesthetics began in international circumstanc- es and was largely inspired through my transcultural explorations in Asian philosophical traditions. As i sit down to write this text on a gray Paris morning, november 2006, i recall that i first introduced the notion of somaesthetics in my German book Vor der Interpretation (1996), where it immediately caught the attention of a reviewer for the influential daily Frankfurter Algemeine Zeitung (12.11.96) who however completely misunderstood (or perhaps intentionally misrepre- sented) its central ideas. With the anti-somatic and exclusively text-centered 1 that was in my Practicing Philosophy: Pragmatism and the Philosophical Life (new York: Routledge, 1997). For further elaboration of somaesthetics, see my Performing Live (ithaca: Cornell University Press, 2000), ch. 7–8; “somaesthetics and The Second Sex”, Hypatia 18 (2003), pp. -
4 Shusterman.Pm7
Richard Shusterman 25 Self-Knowledge and Its Discontents Richard Shusterman Florida Atlantic University INTRODUCTION On Apollo’s ancient temple at Dephi three Greek maxims were inscribed whose importance was reaffirmed in Roman times, preserved in gilt letters. The most famous of these, “Know thyself,” forms the focus of this essay and constitutes one of philosophy’s most central ideals. If Heraclitus gave the injunction to self- knowledge its earliest surviving expression, recommending “to all men to know themselves and use moderation,” it was Socrates who established it at the core of philosophy. Acclaimed by the Delphic oracle as the wisest of all men, he claims his superior wisdom is only the self-knowledge of his ignorance, while others falsely believe themselves wise and knowledgeable. He even argues that the oracle declared him wisest so as to prompt his critical search for wiser men and thus show that the most reputed “human wisdom is worth little or nothing.”1 Rather than engaging in lofty speculations, Socrates confesses “I am still unable, as the Delphic inscription orders, to know myself; and it really seems to me ridiculous to look into other things before I have understood that.”2 Deploying the injunction of self-knowledge to remind the arrogant Alcibiades of his current limitations, Socrates affirms such knowledge as the necessary spur for cultivating oneself for the political leadership his ambitious young lover seeks. “Trust in me and in the Delphic inscription and ‘know thyself’,” Socrates tells him, for “every human being needs self-cultivation, but especially us.”3 But what, exactly, is the self to be known and cultivated? Some dialogical sleight of hand delivers the Platonic conclusion “that the soul is the man” (and “nothing other than his soul”) so “the command that we should know ourselves means that we should know our souls,” making them the object of our self- cultivation. -
Rorty and Shusterman on Popular Art Csaba Olay ... 28
RORTY AND SHUSTERMAN ON POPULAR ART • pragmatist views, one of the basic characteristic of Csaba Olay which is the refusal of a profound difference between Eötvös Lóránd University [email protected] works of art and products of popular culture. In this paper, after locating the approach among some others ABSTRACT : Works of Richard Rorty and Richard formulated in a similar vein, I will examine and try to Shusterman on art and aesthetic issues are usually categorized as pragmatist views, one of the basic contest the arguments given by Rorty and Shusterman characteristic of which is the refusal of a profound for this idea. The basic claim I shall argue for is that there difference between works of art and products of popular culture. In this paper I examine and try to contest the is a functional difference between works of art and arguments given by Rorty and Shusterman for this idea. The basic claim I shall argue for is that there is a products of entertainment, the generic difference of functional difference between works of art and products which should not be blurred even if we acknowledge the of entertainment, the generic difference of which should not be blurred even if we acknowledge the existence of existence of borderline cases. This is, in turn, not to say borderline cases. that I seek to give an essentialist account of artworks. It may sound like a paradox, but in what follows I seek to establish a substantial difference between art (high art) Denial of the difference between high culture and and entertainment (low/popular art) without defending popular culture has been argued for variously in a series a substantialist or essentialist concept of art. -
Paths from the Philosophy of Art to Everyday Aesthetics
Paths from the Philosophy of Art to Everyday Aesthetics Edited by Oiva Kuisma, Sanna Lehtinen and Harri Mäcklin Paths from the Philosophy of Art to Everyday Aesthetics © 2019 Authors Cover and graphic design Kimmo Nurminen ISBN 978-952-94-1878-7 PATHS FROM THE PHILOSOPHY OF ART TO EVERYDAY AESTHETICS Eds. Oiva Kuisma, Sanna Lehtinen and Harri Mäcklin Published in Helsinki, Finland by the Finnish Society for Aesthetics, 2019 6 Contents 9 Oiva Kuisma, Sanna Lehtinen and Harri Mäcklin Introduction: From Baumgarten to Contemporary Aesthetics 19 Morten Kyndrup Were We Ever Modern? Art, Aesthetics, and the Everyday: Distinctions and Interdependences 41 Lars-Olof Åhlberg Everyday and Otherworldly Objects: Dantoesque Transfiguration 63 Markus Lammenranta How Art Teaches: A Lesson from Goodman 78 María José Alcaraz León Aesthetic Intimacy 101 Knut Ove Eliassen Quality Issues 112 Martta Heikkilä Work and Play – The Built Environments in Terry Gilliam’s Brazil 132 Kalle Puolakka Does Valery Gergiev Have an Everyday? 148 Francisca Pérez-Carreño The Aesthetic Value of the Unnoticed 167 Mateusz Salwa Everyday Green Aesthetics 180 Ossi Naukkarinen Feeling (With) Machines 201 Richard Shusterman Pleasure, Pain, and the Somaesthetics of Illness: A Question for Everyday Aesthetics 215 Epiloque: Jos de Mul These Boots Are Made for Talkin’. Some Reflections on Finnish Mobile Immobility 224 Index of Names 229 List of Contributors 7 OIVA KUISMA, SANNA LEHTINEN & HARRI MÄCKLIN INTRODUCTION: FROM BAUMGARTEN TO CONTEMPORARY AESTHETICS ontemporary philosopher-aestheticians -
Aesthetics and Its Future Morten Kyndrup
Aesthetics and its Future Problems and Perspectives Morten Kyndrup abstract This presentation argues that the question about “future” presup poses an analysis of the current state of the discipline, which again in turn must be seen in the light of its history. The presentation then unfolds a rough reconstruction of that history from Baumgarten and Kant, over Romanticism’s establishing of the partnership with Art and Truth in the continental tradition and up to 20th century’s settling with especially that tradition, led by endeav ours both within art itself, in the art sciences, and in different branches of philosophical aesthetics. On the basis of this, it finally discusses the future of aesthetics: its status as a scholarly discipline, the need for it in our world, and proposes some issues to be at aesthetics’ future agenda of research. keywords Aesthetics (as scholarly discipline), history of aesthetics, future of aesthetics I The reason for dealing with the future of an academic discipline has nothing to do with a wish or need to tell fortunes. In the case of eco- nomics, the future is, of course, of very specific interest. As a discipline, economics is basically concerned with developing means of predicting economic developments. As we know, this task has not been carried out very successfully lately. Conversely, we have no need to really know what is going to happen in the field of aesthetics, at least not as scholars. Our reason for discussing the future would basically be the fact that this question immediately draws attention to the present state of things – to boundaries, functions, agencies and dynamics within the current physi- ognomy of the discipline. -
Political Theory
Political Theory Themes for Comprehensive Examinations: 2020-21 The first theme, comprised of core works in the history of political thought, is required for all students being examined in the field of political theory. Students majoring in the field are responsible for four additional themes; students offering political theory as a minor field are responsible for two additional themes. N.B. : The theme bibliographies listed here are advisory only (except in the case of the “core” theme); they do not constitute necessary and sufficient lists of the works for which students will be held responsible. A written contract regarding the parameters and bibliography for each theme must be worked out by the student and relevant faculty. Examination format: Questions may integrate material from more than one theme prepared by the student, or may be specific to one theme. Students majoring in the field will answer three out of five questions, of which at least one question will involve material from the core theme. Students minoring in the field will answer two out of three questions. Theme 1: History of Political Thought (Required) For example: Socrates, “Apology” and “Crito” Plato, Republic Aristotle, Politics Augustine, City of God Aquinas, The Political Writings of St. Thomas Aquinas (Bigongiari, ed.) Machiavelli, Prince and Discourses Hobbes, Leviathan Locke, Second Treatise of Government Rousseau, Essay on the Origin of Inequality and Social Contract Marx, On the Jewish Question; Economic and Political Manuscripts of 1844; Communist Manifesto; -
Somaesthetics at the Limits Richard Shusterman
Somaesthetics at the Limits Richard Shusterman I Morten Kyndrup kindly invited me to open this conference by sketch- ing how the problematic question of limits has pervaded the contempor- ary field of aesthetics, and he suggested I do so by sketching how the issue of limits has shaped my own trajectory from analytic philosophy to pragmatism and continental theory and into the interdisciplinary field of somaesthetics.* Reviewing my almost thirty-year career in philosophical aesthetics, I realize that much of it has been a struggle with the limits that define this field, though I did not always see it in those terms. When I was still a student at Oxford specializing in analytic aesthetics, my first three publications were papers protesting the limits of prevail- ing monistic doctrines in that field: theories claiming that poetry (and by extension literature in general) is essentially an oral-based performative art without real visual import, and theories arguing that beneath the vary- ing interpretations and evaluations of works of art there was nonetheless one basic logic of interpretation and one basic logic of evaluation (though philosophers differed as to what that basic logic was and whether it was the same for both interpretation and evaluation). When I proposed con- trastingly pluralistic accounts of interpretive and evaluative logic, while suggesting that literature could be appreciated in terms of sight as well as sound, I was not consciously aiming at transgressing prevailing limits. I was more interested in being right than in -
The Natural Power of Intuition
THE NATURAL POWER OF INTUITION: EXPLORING THE FORMATIVE DIMENSIONS OF INTUITION IN THE PRACTICES OF THREE VISUAL ARTISTS AND THREE BUSINESS EXECUTIVES by Jessica Jagtiani Dissertation Committee: Professor Judith Burton, Sponsor Professor Mary Hafeli Approved by the Committee on the Degree of Doctor of Education Date 16 May 2018 Submitted in partial fulfillment of the requirements for the Degree of Doctor of Education in Teachers College, Columbia University 2018 ABSTRACT THE NATURAL POWER OF INTUITION: EXPLORING THE FORMATIVE DIMENSIONS OF INTUITION IN THE PRACTICES OF THREE VISUAL ARTISTS AND THREE BUSINESS EXECUTIVES Jessica Jagtiani Both artists and business executives state the importance of intuition in their professional practice. Current research suggests that intuition plays a significant role in cognition, decision-making, and creativity. Intuitive perception is beneficial to management, entrepreneurship, learning, medical diagnosis, healing, spiritual growth, and overall well-being, and is furthermore, more accurate than deliberative thought under complex conditions. Accordingly, acquiring intuitive faculties seems indispensable amid present day’s fast-paced multifaceted society and growing complexity. Today, there is an overall rising interest in intuition and an existing pool of research on intuition in management, but interestingly an absence of research on intuition in the field of art. This qualitative-phenomenological study explores the experience of intuition in both professional practices in order to show comparability and extend the base of intuition, while at the same time revealing what is unique about its emergence in art practice. Data gathered from semi-structured interviews and online-journals provided the participants’ experience of intuition and are presented through individual portraits, including an introduction to their work, their worldview, and the experiences of intuition in their lives and professional practice. -
Renaissance Theories of Vision Edited by John Hendrix, University of Lincoln, UK and Rhode Island School of Design and Roger Williams University, USA, and Charles H
Renaissance Theories of Vision Edited by John Hendrix, University of Lincoln, UK and Rhode Island School of Design and Roger Williams University, USA, and Charles H. Carman, University at Buffalo, USA Visual Culture in Early Modernity December 2010 244 x 172 mm 258 pages Hardback 978-1-4094-0024-0 £65.00 Includes 18 b&w illustrations How are processes of vision, perception, and sensation conceived in the Renaissance? How are those conceptions made manifest in the arts? The essays in this volume address these and similar questions to establish important theoretical and philosophical bases for artistic production in the Renaissance and beyond. The essays also attend to the views of historically significant writers from the ancient classical period to the eighteenth century, including Plato, Aristotle, Plotinus, St Augustine, Ibn Sina (Avicenna), Ibn al-Haytham (Alhazen), Ibn Sahl, Marsilio Ficino, Nicholas of Cusa, Leon Battista Alberti, Gian Paolo Lomazzo, Gregorio Comanini, John Davies, Rene Descartes, Samuel van Hoogstraten, and George Berkeley. Contributors carefully scrutinize and illustrate the effect of changing and evolving ideas of intellectual and physical vision on artistic practice in Florence, Rome, Venice, England, Austria, and the Netherlands. The artists whose work and practices are discussed include Fra Angelico, Donatello, Leonardo da Vinci, Filippino Lippi, Giovanni Bellini, Raphael, Parmigianino, Titian, Bronzino, Johannes Gumpp and Rembrandt van Rijn. Taken together, the essays provide the reader with a fresh perspective on the intellectual confluence between art, science, philosophy, and literature across Renaissance Europe. Contents Introduction, John S. Hendrix and Charles H. Carman; Classical optics and the perspectivae traditions leading to the Renaissance, Nader El-Bizri; Meanings of perspective in the Renaissance: tensions and resolution, Charles H. -
Avauksia Joogan Estetiikkaan
CORE Metadata, citation and similar papers at core.ac.uk Provided by Helsingin yliopiston digitaalinen arkisto Avauksia joogan estetiikkaan Somaesteettinen tutkielma esteettisestä kokemuksesta joogan harjoittamisessa, esimerkkinä astangajooga Noora-Helena Korpelainen Pro gradu -tutkielma Ohjaaja Prof. Arto Haapala Helsingin yliopisto Filosofian, historian, kulttuurin ja taiteiden tutkimuksen laitos Estetiikka Maaliskuu 2016 Tiedekunta – Fakultet – Faculty Laitos – Institution – Department Humainistinen tiedekunta Filosofian, historian, kulttuurin ja taiteiden tutkimuksen laitos Tekijä – Författare – Author Noora-Helena Pauliina Korpelainen Työn nimi – Arbetets titel – Title Avauksia joogan estetiikkaan: Somaesteettinen tutkielma esteettisestä kokemuksesta joogan harjoittamisessa, esimerkkinä astangajooga Oppiaine – Läroämne – Subject Työn laji – Arbetets Art – Level Estetiikka pro gradu Työn ohjaaja – Arbetets handledare – Supervisor Aika – Datum – Month and Year Prof. Arto Haapala maaliskuu 2016 Tiivistelmä – Abstrakt – Abstract Esteettisyys vaikuttaa liittyvän moderniin joogaan ja sen harjoittamiseen. Erikoistase on siksi, että askeettisuudesta ponnistava joogan harjoittaminen voidaan käsittää sekä päämääriltään että ilmenemismuodoiltaan esteettistä vieroksuvaksi. Modernin asento- joogan popularisoitumisen ymmärtämiseksi esteettisen ja joogan yhteyden uudelleen- tulkinta näyttää kuitenkin tarpeelliselta. Tämän tutkimuksen tavoitteena oli selvittää joogaan liittyviä esteettisiä ulottuvuuksia. Erityisesti tutkimuksessa tarkasteltiin esteettisen