The Non-time of Lived Experience

2016 ◽  
Vol 136 (1) ◽  
pp. 77-95
Author(s):  
André Lepecki
Keyword(s):  
Lived Experience ◽  
Political Action ◽  
The Aesthetic

This essay analyzes the approach of Brazilian artist Hélio Oiticica (1937–80) to what he called “the problem of color.” Oiticica’s conceptual-aesthetic pursuits between 1959–65 offered a renewed onto-political conceptualization of notions of time, particularly of the “liveness” of inert matters and of the “thingness” of participation. His notion of “vivência estética” (the lived experience of the aesthetic) bridged supposed gaps between performance and objecthood while offering a redefinition of what constitutes political action and what constitutes artistic matter.

scholarly journals The aesthetics of political resistance: On silent politics

Thesis Eleven ◽  
2021 ◽  
pp. 072551362110351
Author(s):  
Katariina Kaura-aho
Keyword(s):  
Political Action ◽  
Effective Resistance ◽  
Representative Democracy ◽  
Political Resistance ◽  
Starting Point ◽  
The Aesthetic ◽  
Aesthetic Meaning ◽  
Political Subversion

This article analyses the aesthetics of silent political resistance by focusing on refugees’ silent political action. The starting point for the analysis is Jacques Rancière’s philosophy and his theorisation of the aesthetics of politics. The article enquires into the aesthetic meaning of silent refugee activism and interprets how refugees’ silent acts of resistance can constitute aesthetically effective resistance to what can be called the ‘speech system’ of statist, representative democracy. The article analyses silence as a political tactic and interprets the emancipatory meaning of silent politics for refugees. It argues that refugees’ silent acts of political resistance can powerfully affect aesthetic, political subversion in prevailing legal-political contexts.

The What-Has-Been and the Now of a Communist Past in Malaya in the Films of Amir Muhammad

2021 ◽  
Vol 29 (1) ◽  
pp. 47-65
Author(s):  
Carlo Bonura
Keyword(s):  
Small Group ◽  
Lived Experience ◽  
British Empire ◽  
Village People ◽  
Communist Past ◽  
The Aesthetic ◽  
Malayan Emergency ◽  
The Village ◽  
Communism Today ◽  
Aesthetic Forms

This article considers two films by the Malaysian filmmaker Amir Muhammad, The Last Communist of 2006 and the Village People Radio Show of 2007. Both films are focused on the Malayan Emergency and the lives of a small group of Malayan communists. Through an engagement with Walter Benjamin’s essay “The Storyteller,” the analysis in this article examines the aesthetic forms that structure Amir’s films, namely nonlinear narratives, intertextuality, and the use of images and stories as comparative frames. This article argues that Amir’s films enable audiences to recognize how the truth of a communist past in Malaysia, both of its politics and suppression, inflects the present. The films provide an opening to recognize how the absence of communism today is the effect of the ideological clearing of all leftism that became the hallmark of the end of the British Empire in Malaysia. Communism is made meaningful in Amir’s films both as a lived experience and as a displacement that is absent from the postcolonial everyday.

Revisiting Cognitive Mapping

2020 ◽  
Vol 9 (1) ◽  
pp. 28-40
Author(s):  
Özgün Eylül İşcen
Keyword(s):  
Lived Experience ◽  
Urban Space ◽  
Social Order ◽  
Cognitive Mapping ◽  
Media Arts ◽  
Global Capital ◽  
The Social ◽  
Global North ◽  
State Capital ◽  
The Aesthetic

The increasingly complex, algorithmically mediated operations of global capital have only deepened the gap between the social order as a whole and its lived experience. Yet, Fredric Jameson’s notion of cognitive mapping, attentive to the conflicting tendencies of capitalist operations, is still helpful for addressing the local instantiations of capital’s expanding frontiers of extraction. I am interested in tracing the historicity of those operations as well as the totality they are actively part of in the present from the vantage point of the Middle East, especially along with the entangled trajectories of oil, finance, and militarism. To this end, I examine countervisual practices in the realm of media arts that contest the aesthetic regime through which the state-capital nexus attempts to legitimize its imperial logic and violence. My reconfiguration of cognitive mapping as countervisuality in Nicholas Mirzoeff’s terms demonstrates that there is no privileged position or method of cognitive mapping, which ultimately corresponds to an active negotiation of urban space across the Global North/ South divide.

Ordinary Extraordinary Activism: Student-led filmmaking in disability studies

2020 ◽  
Vol 16 (1) ◽  
pp. 29-41
Author(s):  
Chelsea Temple Jones ◽  
Kim Collins
Keyword(s):  
Lived Experience ◽  
Disability Studies ◽  
Online Pedagogy ◽  
Disability Culture ◽  
The Arts ◽  
The Aesthetic

Abstract In this article, we, as disability studies educators in Toronto, Canada, reflect on our interpretations of a student group's call to 'people' disability culture. This request tasked us with mapping disability culture in Canada, and representing it through the arts-based approach of new disability documentary. We produced five student-directed films, Ordinary Extraordinary Activism, that bridge theory with lived experience by profiling activists whose lives involve participating in disability culture. Here, we describe how our work supported and transcended the affirmative model by drawing on intersectionality and Disability Justice. We critically consider the aesthetic and representational tensions of producing films under crip time. Through this writing, we reflect on the three-year process of filmmaking as a gesture of online pedagogy and analyse three out of five films.

scholarly journals La experiencia estética y los estratos de la obra de arte. La estética como la esencia del arte

2014 ◽  
pp. 265
Author(s):  
Pau Pedragosa
Keyword(s):  
Lived Experience ◽  
Aesthetic Experience ◽  
Phenomenological Approach ◽  
Philosophy Of Art ◽  
Work Of Art ◽  
The Difference ◽  
Siglo Xix ◽  
The Aesthetic ◽  
Xix Century ◽  
Siglo Xx

El contenido de este artículo consiste en mostrar que la experiencia estética es la esencia de la experiencia de la obra de arte. Argumentaré en contra de la concepción del arte de Arthur C. Danto según la cual el arte moderno ya no requiere de la experiencia estética y este hecho determina el fin del arte. La experiencia estética permitiría dar cuenta del arte desde el Renacimiento hasta el siglo XIX pero el arte moderno del siglo XX solo puede ser explicado conceptualmente y, por tanto, la filosofía del arte es necesaria para explicitar ese contenido.Para defender el estatuto estético de la obra de arte mostraré que la experiencia estética se identifica con la experiencia fenomenológica. Esto quiere decir que la experiencia estética nos hace concientes de la diferencia entre el contenido de la obra (lo que aparece ) y el medio de la experiencia sensible en el que este contenido se da (el aparecer). El “aparecer” y “lo que aparece” se corresponden en la experiencia estética con los dos polos de la relación intencional y constituyen los dos estratos fundamentales de la obra de arte. A través de la aproximación fenomenológica intentaré mostrar que la obra de arte no excluye el contenido conceptual, pero este contenido ha de estar necesariamente incorporado. No es la filosofía la que tiene que comprender este contenido sino exclusivamente la experiencia estética.The subject of this paper is to claim that the aesthetic experience is the essence of the experience of the work of art. I argue against the view hold by Arthur C. Danto, according to which modern art does not require the aesthetic experience any more and that this fact means the end of art. The aesthetic experience allows explaining only the art made be-tween the Renaissance and the XIX century. The modern work of art of the XX century can only be explained conceptually and therefore a philosophy of art is required to make that content explicit and clear.To defend the aesthetic status of the work of art I will show that the aesthetic experience identifies itself with the phenomenological ex-perience. This means that the aesthetic experience makes us aware of the difference between the content of the work (what appears) and the sensible lived experience in which this content appears (the appearance). The “appearance” and “what appears” are the two poles of Intentionality and the two fundamental layers of the work of art. Through the phenomenological approach I will make clear that the work of art does not exclude the conceptual content at all. This content has to be necessarily embodied. It is not philosophy that has to disclose this con-tent but the aesthetic experience alone.

Narrative Inquiry: Story as a Basis for Curriculum Studies

2021 ◽  
Author(s):  
Suniti Sharma ◽  
JoAnn Phillion
Keyword(s):  
Narrative Inquiry ◽  
Lived Experience ◽  
Political Action ◽  
Educational Policies ◽  
Curriculum Studies ◽  
Pedagogical Practice ◽  
Master Narrative ◽  
Traditional Curriculum ◽  
Teaching Learning ◽  
Policies And Practices

Since the 1970s, following the crisis of representation, narrative inquiry has opened educational research to story as a valuable source of knowledge production across the field, in general, and curriculum studies, in particular. While competing approaches continue to shift and expand how scholars understand narrative inquiry across curriculum studies, a common thread in the scholarship is the positioning of story at the heart of teaching, learning, and research. Narrative inquiry has pushed the field of curriculum studies toward exploration of story as a way of examining the master narrative and its construction of the universal human subject that privileges some discourses and marginalizes others. Scholars who engage with story as the basis for “doing” curriculum studies interrupt positivist methodologies, universal ontologies, and foundational epistemologies that inform educational policies and practices to shape the lived experience of exclusion. On the one hand, scholars of narrative inquiry use story to deconstruct exclusionary educational policies and practices and highlight the social, cultural, and political significance of the lived educational experience of those historically marginalized from traditional curriculum discourse. On the other hand, critics contest the limits of story as a research genre or pedagogical practice, arguing that narratives perpetuate ways of silencing or lose critical importance when personal stories do not connect with political action. Each side of the debate, in its way, generates spaces for new ways of thinking about the place of story in the production of educational knowledge, especially how curriculum scholars engage with the multiplicity of human experience within a network of changing and contextual relations. Reflective of diverse orientations, narrative inquiry in curriculum studies continues to be conceptualized, practiced, and contested in differing ways as methodology/form of inquiry; modes of expression; and, pedagogical and political practice for engaging with the telling, analyzing, and interpreting of story as a way of understanding lived experience.

Spivak's Planetarity and the Limits of Professional Reading

2020 ◽  
Vol 17 (3) ◽  
pp. 459-478
Author(s):  
Hayley G. Toth
Keyword(s):  
Political Action ◽  
Aesthetic Education ◽  
Public Realm ◽  
The Public ◽  
Praxis I ◽  
Revolutionary Politics ◽  
The World ◽  
Professional Reading ◽  
The Aesthetic ◽  
Ethics And Politics

This article argues that Gayatri Chakravorty Spivak's notion of planetarity is premised on a practice of reading. Reading for the planet involves deferring the world in order to participate in the text world and its latent re(-)production of ourselves and our world. To the extent that this ethical attention moves us toward different horizons of thinking and feeling, it may also engender political action in the public realm. Reading for Spivak is therefore an important foundation for revolutionary politics and, ultimately, the production of the planet to which we aspire as readers. I proceed to evaluate the planetary efficacy of Spivak's complementary teaching praxis. I show that the aesthetic education she provides does not enable but rather forecloses the experience of literariness and its associated ethics and politics. In response to the limits of professional reading and the worldliness of Spivak's fieldwork in India, I conclude by thinking about the value of deprofessionalization.

Some Relations between Ethics, Aesthetics and Politics in Contemporary Art in Times of Crisis

2019 ◽  
Vol 29 (2) ◽  
pp. 9-27
Author(s):  
Maria Elena Ramos ◽  
Keyword(s):  
Contemporary Art ◽  
Political Action ◽  
Human Action ◽  
Aesthetics And Politics ◽  
Artistic Creation ◽  
The Aesthetic ◽  
Ideal Sphere ◽  
Aesthetic Ideas ◽  
Aesthetic Structure ◽  
The Ideal

The inclusion of ethics and politics into artistic creation process is for many contemporary creators/artists an essential motivation while they consciously act in an aesthetic space polluted with the realities of a world in crisis. Art, which produces visible and sensible forms, can reveal aesthetic ideas and fundaments through aesthetic objects: drawing, video-installing or poem/poetry. And artists can make someone feel with their creations—whether these are beautiful, sublime, tragic, or ironic—ethical contentions violated by human action or the exertion/exercise of political power. Works of art that are not only guided by the categories signed by beauty, because in artistic languages, violence and suffering also make/create form. And times of crisis are the ideal sphere/dimension for an art that gives a vivid way of seeing/watching the uncertainty, the perversion, the terrible. In bringing these philosophical—ethical, aesthetic and political—topics, I do it from an approach that departs form artistic creations and curatorial research. I try to penetrate the narrow thread between an ethical topic and the plastic form in which it incarnates/embodies itself, or between a political action and the aesthetic structure of language as a creative, expressive consequence.

Overture

2018 ◽  
Author(s):  
Xing Fan
Keyword(s):  
Eighteenth Century ◽  
Lived Experience ◽  
Cultural Revolution ◽  
Original Form ◽  
Practical Application ◽  
Close Attention ◽  
Late Eighteenth Century ◽  
Late Eighteenth ◽  
The Aesthetic ◽  
The Cultural Revolution

The author refutes the flawed assumption that artistry was sacrificed to politics, or that there is not much art left, in model works. The author situates the study of model jingju at the intersection of three contexts: historic, comprising its original form—the jingju that originated in the late eighteenth century—and its revolutionary trajectory under the CCP from the Yan’an period (1935–1947) to the Cultural Revolution (1966–1976); artistic, encompassing the artistic choices in the five major aspects—playwriting, acting, music, design, and directing—and their practical application in mounting the final productions; and aesthetic, addressing the interrelation and interaction among the major artistic aspects which produce and define model jingju’s style, including its conformity to and deviation from the aesthetic principles of jingju. The author calls for close attention to practitioners and their lived experience of creating model jingju.

Experiencing documents

2014 ◽  
Vol 70 (4) ◽  
pp. 544-561 ◽  
Author(s):  
Kiersten F. Latham
Keyword(s):  
Lived Experience ◽  
Reader Response ◽  
Information Behavior ◽  
Holistic Approach ◽  
Content Type ◽  
Transactional Theory ◽  
Text Document ◽  
Theory Of Reading ◽  
Unique Experience ◽  
The Aesthetic

Purpose – The purpose of this paper is to invite further consideration of how people experience documents. By offering a model from Reader Response theory – Louise Rosenblatt's Transactional Theory of Reading – as well as examples from research on numinous experiences with museum objects, the author hopes to open further avenues of information behavior studies about people and documents. The goal is to incorporate more aspects of lived experience and the aesthetic into practice with and research of documents. Design/methodology/approach – Theoretical scope includes Louise Rosenblatt's Transactional Theory of Reading, John Dewey's concepts of transaction and experience and lived experience concepts/methods derived from phenomenology. Findings – Rosenblatt's Transactional Theory explicates the continuum of reader response, from the efferent to the aesthetic, stating that the act of “reading” (experience) involves a transaction between the reader (person) and the text (document). Each transaction is a unique experience in which the reader and text continuously act and are acted upon by each other. This theory of reading translates well into the realm of investigating the lived experience of documents and in that context, a concrete example and suggested strategies for future study are provided. Originality/value – This paper provides a holistic approach to understanding lived experience with documents and introduces the concept of person-document transaction. It inserts the wider notion of document into a more specific theory of reading, expanding its use beyond the borders of text, print and literature. By providing an example of real document experiences and applying Rosenblatt's continuum, the value of this paper is in opening new avenues for information behavior inquiries.

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