scholarly journals Non-standard Emotions and Aesthetic Understanding

2020 ◽  
Vol LVII/XIII (2) ◽  
pp. 135-149
Author(s):  
Irene Martínez Marín
Keyword(s):  
Aesthetic Understanding

The designing of ocean threat comics by elementary students

2021 ◽  
Vol 0 (0) ◽  
Author(s):  
Sylvia Pantaleo
Keyword(s):  
Critical Thinking ◽  
Elementary Students ◽  
Visual Art ◽  
Meaning Making ◽  
Descriptive Analysis ◽  
Elementary Classrooms ◽  
Student Knowledge ◽  
Art And Design ◽  
Ocean Literacy ◽  
Aesthetic Understanding

Abstract A paucity of research has been conducted with learners in elementary classrooms on both the use of and the student creation of science comics. During the classroom-based research featured in this article, Grade 4 students designed ocean threat comics for the culminating activity of an interdisciplinary Ocean Literacy unit, one component of a larger study. Throughout the research, the students were afforded with opportunities to develop their visual meaning-making skills and competences, as well as their aesthetic understanding of and critical thinking about multimodal ensembles through participation in activities that focused on various elements of visual art and design, and conventions of the medium of comics. The visual and descriptive analysis of one student’s ocean threat comics, which includes excerpts from the interview about her work, reveals her motivations for selecting and orchestrating specific semiotic resources to represent and express particular meanings that realized her objectives as a sign-maker. Overall, the descriptions of the pedagogy featured during the research and the student’s ocean threat comics demonstrate how the development of student knowledge about elements of visual art and design, and conventions of the medium of comics can inform and deepen students’ semiotic work of comprehending, interpreting and designing science comics.

scholarly journals Absent Subjects and Empty Centers: Eichendorff's Romantic Phantasmagoria and Schumann's Liederkreis, Op. 39

2017 ◽  
Vol 40 (3) ◽  
pp. 201-222
Author(s):  
Benedict Taylor
Keyword(s):  
Extreme Case ◽  
Literary Production ◽  
Prose Fiction ◽  
Question Mark ◽  
Loss Of Self ◽  
Aesthetic Understanding ◽  
Subjective Identity ◽  
Vacant Space

A recurring theme in the reception of Schumann's Eichendorff Liederkreis is the question mark over its sense of narrative continuity and the presence (or otherwise) of a central protagonist. Up until now, however, scarcely any attempt has been made to view these features in the context of Eichendorff's wider literary production. This article proposes applying an Eichendorffian aesthetic to Schumann's op. 39, viewing its phantasmagoric interconnections, absence of clear narrative order, sense of temporal dislocation and persistent theme of the loss of self as profoundly reflecting the concerns of Eichendorff's prose fiction. Neither the view that Schumann's cycle does possess a unified narrative and central protagonist, nor the converse, that it should be seen as a disparate group of songs, is adequate. Instead, it is the tension between the two views that emerges as crucial in coming to an aesthetic understanding of the cycle. Schumann's procedure, in juxtaposing a number of poems drawn from disparate works, presents an extreme case whereby narrative and subjective identity are put to the test, and the listener is invited to fill the vacant space left by the withdrawal of a unifying subject with his or her own sense of subjectivity.

scholarly journals Emerging Urban Mobility Technologies through the Lens of Everyday Urban Aesthetics

2019 ◽  
Vol 20 (2) ◽  
pp. 146-170 ◽  
Author(s):  
Miloš N. Mladenović ◽  
Sanna Lehtinen ◽  
Emily Soh ◽  
Karel Martens ◽  
Keyword(s):  
Aesthetic Experience ◽  
Philosophy Of Technology ◽  
Technological Development ◽  
Responsible Innovation ◽  
Urban Mobility ◽  
Aesthetic Understanding ◽  
Urban Aesthetics ◽  
Innovation Processes ◽  
Shed Light

The goal of this article is to deepen the concept of emerging urban mobility technology. Drawing on philosophical everyday and urban aesthetics, as well as the postphenomenological strand in the philosophy of technology, we explicate the relation between everyday aesthetic experience and urban mobility commoning. Thus, we shed light on the central role of aesthetics for providing depth to the important experiential and value-driven meaning of contemporary urban mobility. We use the example of self-driving vehicle (SDV), as potentially mundane, public, dynamic, and social urban robots, for expanding the range of perspectives relevant for our relations to urban mobility technology. We present the range of existing SDV conceptualizations and contrast them with experiential and aesthetic understanding of urban mobility. In conclusion, we reflect on the potential undesired consequences from the depolitization of technological development, and potential new pathways for speculative thinking concerning urban mobility futures in responsible innovation processes.

scholarly journals Die Kunst der zweiten Natur und die andere Natur der Kunst

2018 ◽  
Vol 66 (3) ◽  
pp. 339-361
Author(s):  
Thomas Khurana
Keyword(s):  
Ethical Life ◽  
Work Of Art ◽  
Self Reflection ◽  
Second Nature ◽  
The Aesthetic ◽  
Aesthetic Understanding ◽  
First Nature ◽  
Point Of Reference

Abstract This contribution traces an aesthetic shift in the concept of second nature that occurs around 1800 and raises the question as to what role art might play in a culture that already conceives of itself in generally aesthetic terms. The paper recalls Kant’s rejection of habit as a proper realization of ethical life and shows that in his third critique, Kant proposes a second nature of a different kind. To realize ethical life as a “second (supersensible) nature”, we cannot confine ourselves to mere habituation but require a different type of second nature that is exemplified by the work of art. The paper asks what role art may adopt in an aestheticised culture arising from the success of such an aesthetic understanding in the wake of Kant, from Schiller through to Nietzsche. It argues that art redefines its role by taking not first nature but the second nature of ethical life as its main point of reference. Art thus reconceives itself as a self-reflection of our second nature. The paper discusses three models of such self-reflection: the aesthetic estrangement, the beautiful completion, and the dialectical renegotiation of our second nature.

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