Browse results

Abstract

This chapter presents a philosophical view to the concept of boredom [Langeweile] from its forms (bored for …, bored in …, one gets bored) and structural modes (leaving voids and postponing), worked by Martin Heidegger in his classes at the University of Freiburg during the winter semesters of 1929 and 1930. It is intended to rescue a marginal philosophical stance to the traditional positions of Heideggerian thought, being able, in the proposed hermeneutic-phenomenological transit, to interweave their philosophical images with cinematographic narratives that enrich the real understanding of the modernity. We assume boredom and its essence, Langweiligkeit, as the fundamental mood [Grundstimmung] of our era, allowing other mobility of thought to study the phenomena of cultural entertainment as a symptom of the modern disease by distancing the Dasein of the meeting, interrogation, and self-care.

In: The Culture of Boredom

Abstract

This chapter presents a philosophical view to the concept of boredom [Langeweile] from its forms (bored for …, bored in …, one gets bored) and structural modes (leaving voids and postponing), worked by Martin Heidegger in his classes at the University of Freiburg during the winter semesters of 1929 and 1930. It is intended to rescue a marginal philosophical stance to the traditional positions of Heideggerian thought, being able, in the proposed hermeneutic-phenomenological transit, to interweave their philosophical images with cinematographic narratives that enrich the real understanding of the modernity. We assume boredom and its essence, Langweiligkeit, as the fundamental mood [Grundstimmung] of our era, allowing other mobility of thought to study the phenomena of cultural entertainment as a symptom of the modern disease by distancing the Dasein of the meeting, interrogation, and self-care.

In: The Culture of Boredom
Chapter 12 Aesthetic Experiences and Dewey’s Descendants
Author: Amanda N. Gulla

Abstract

This chapter examines the influence of Dewey’s Art as Experience on 21st century urban teacher education by tracing its themes related to the importance of engagement with works of art in educational contexts through the work of Maxine Greene and Louise Rosenblatt and applying the teachings of these three philosophers in English education teaching methods courses. As Dewey speaks of the nature of perception in the context of having an aesthetic experience, he addresses the need for active engagement in response to works of art. Both Greene and Rosenblatt take up this concept—Greene through art-making as a kind of apprenticeship that opens up learners’ imaginations and allows them to understand the process artists undergo in bringing ideas into the world of concrete reality; and Rosenblatt, through her discussion of the transactional nature of reading literature (which can be extrapolated to other art forms).

I specifically address the use of ekphrastic poetry in a graduate English class taken by first and second year middle and high school English teachers in a graduate program in English education, and include examples of students’ poems and their reflections on their processes and implications for their own teaching practices. The chapter also discusses the process of developing experiences with an intention to help teachers enhance both their content knowledge and their ability to engage their middle and high school students by offering opportunities for creative expression that fosters voice and a sense of agency.

In: Imagining Dewey
Chapter 18 Aesthetic Experiences of Making with Paper

Abstract

Artists bring heightened awareness of sensation and material qualities in the experience of making. In this chapter, I portray the sensate experience of making with paper spurred by artists as embedded living installations in The Corner—a play/making space for under eight year olds in the State Library of Queensland, Australia. I look closely at the experience of making as inherently connected to aesthetics (); in particular making with paper. Three artists make with paper on different days. Each brings different insights of the sensuous qualities and making capacities of paper.

Children and their families make with the artists. Intense focus is experienced. The unlimited possibilities of paper come to be known in a library—a place of books—preserved entities made of paper; yet, in The Corner of the library, paper can be reconfigured—is reconfigured—opening up the wonder of the aesthetic experience of mattering, imagining, and making with paper. Attention to sensation, matter and making were gathered through sensory ethnography (Pink, 2015), aesthetic sensibilities and understanding of the vibrancy of matter (). Performative accounts of artist making experiences with paper are shared to glean what happens in the experiences of making; what we come to sense, to know, to be and connect across generations and communities. Material literacies unfold.

In: Imagining Dewey
In: Imagination and Art: Explorations in Contemporary Theory
Chapter 4 The Aesthetics of Rehearsal
Author: Scott L. Pratt

Abstract

This chapter considers conceptions of music and their relation to rehearsal and then considers music and rehearsal in the context of Dewey’s Art as Experience. For Dewey, music is not a score or an ideal performance, it is an actual performance that unifies the score, performers, & audience in an aesthetic experience. It is argued that rehearsals are also aesthetic experiences and that the aesthetic quality of the rehearsal affects both present experience and the production of future aesthetic experiences. I take as a case study a series of rehearsals and performances of John Adams’s opera, Nixon in China. Rehearsals are part of the process of gaining control over the materials and resources of production. This process is not only technical practice, but also involves achieving qualities of a performance as an aesthetic experience complete in itself.

In: Imagining Dewey

Abstract

This essay examines Queen Christina of Sweden’s material response to accusations of barbarism by establishing that her collections of antique sculpture acted as artistic and intellectual foils to her detractors. The goal is to situate Christina’s development of a classicized persona within existing scholarship about the queen as a collector and patron, thereby illustrating its impact on her decision to build one of the largest collections of ancient Roman antiquities amassed by an early modern woman. This is accomplished by identifying key themes such as knowledge and rulership that formed the queen’s public persona and were projected to visitors through her display-spaces. To help understand why specific imagery related to these themes appears repeatedly in her suite of antiquities, allegorical emblems associated with Christina are contextualized as reflections of early modern intellectual movements that entwined Gothicism with Swedish history. Like her sculptural displays, these movements creatively inserted Scandinavia, and by extension Christina, into the Greco-Roman tradition.

In: Visualizing the Past in Italian Renaissance Art 
In: Quid est sacramentum?
Author: Stuart Lingo

Abstract

Giovanni Stradano’s engraving Amerigo Vespucci Discovering America (late 1580s) exemplifies a conundrum at the heart of early European representations of the Americas. On the one hand, it demonstrates an urge towards documentation, a prehistory of the genre of the ethnographic image that would later dominate European “scientific” representations of non-Western cultures. At the same time, the encounter with the other is inevitably mediated through representational formulas which seek to comprehend that which appears alien by bringing it into relation with known iconographies or figure types. These visual strategies, at times deliberate, at times unconscious, code perceptions of the status and implicit value of the other. Critically, the representational codes may not integrate seamlessly with the texts they often accompany. What should we make, for instance, of the juxtaposition of a text describing “naked, primitive” native Americans and an engraving of an American as an ideal nude in a pose derived from the Apollo Belvedere?

Early European images of the Americas have been considered principally as episodes of incomprehension in the face of otherness. Few attempts have been made to probe how the operation of visual codes register a range of perceptions and debates regarding other cultures. Even rarer have been attempts to uncover what these perceptions might reveal about rapidly evolving European perspectives on a cluster of profound internal concerns, ranging from the religious and political upheavals sweeping the continent to questions about the nature, status, and purpose of art and the artist. Stradanus’ print, in fact, is marked by preoccupations concerning the place of the nude in ambitious art and the relative roles of what we might call flesh and the ideal—the “natural” and the canonical—in the generation of figures and ultimately of art itself.

Questions regarding the foundations and ambitions of art are bound up with questions regarding the inspiration of the artist and the nature of artistic invention. These concerns animate one of the most intriguing paintings of the sixteenth century, Dosso Dossi’s Jupiter Painting Butterflies (ca.1523–1524). At the center of the canvas, a nude Mercury twists artfully beside a painter-Jupiter, who is engrossed in completing an easel painting with an unprecedented subject: fluttering butterflies. Jupiter’s innovation produces a vision of exceptional creative fantasia inflected by the proto-scientific interests that had been accelerated through increasing European contact with flora and fauna heretofore unknown in the West.

It has not been remarked that Mercury’s usually metallic winged helmet evokes a headdress fashioned of featherwork, a New World art extolled by Europeans for its artifice and explicitly linked to exceptional inspiration by an artist of the stature of Dürer. Dosso’s association of featherwork and invention, and Stradanus’ use of American figures to meditate on the role and roots of the ideal nude, may reveal little about the realities of America. But in works such as these, the imaginative encounter with the alien and unprecedented became a laboratory in which pressing European preoccupations could be clarified and addressed afresh.

In: Visualizing the Past in Italian Renaissance Art 
In: Quid est sacramentum?