Send the link below via email or IMCopy
Present to your audienceStart remote presentation
- Invited audience members will follow you as you navigate and present
- People invited to a presentation do not need a Prezi account
- This link expires 10 minutes after you close the presentation
- A maximum of 30 users can follow your presentation
- Learn more about this feature in our knowledge base article
Do you really want to delete this prezi?
Neither you, nor the coeditors you shared it with will be able to recover it again.
Make your likes visible on Facebook?
You can change this under Settings & Account at any time.
Aesthetic Experience in Performance, Film and Arts
Transcript of Aesthetic Experience in Performance, Film and Arts
"Presence and Aesthetic Experience in Perfomance and Arts"
Research-Zone Aesthetics Pool I
PHILOSOPHY AND AESTHETICS Pool II
AESTHETICS - THEORY OF ART- PICTURE THEORY Pool III
Performances - Theater - Film Arts
Stages of Knowledge
Zone of Interaction Tools and Methods
of Interaction Gadamer, Han-Georg
Gumbrecht, Hans Ulrich
Adorno, Theodor W.
Danto, Arthur C.
Ranciere, Jacques Art and theory between experience and practice Richard Shusterman No definition so far! What is art? Shusterman uses examples of other philosophers
He dives into the subject and takes you with him
Then he snaps out and will tell you all is wrong of what was just said
This way, he gets closer to his goal
TO CONVINCE YOU
of his own definition of art This text tries to convince you The birth of philosophy
A resistance against the arts
The arts is based on lies
Philosophy will find truth A high speed journey trough history The concept of art as an imitation remains
Still no defenition of art Art tells you only lies Morris Weitz
A definition of art is "logically impossible"
Shusterman uses Weitz to make his first step from art as a theory to art as a practice. A big leap to 1955 You cannot confine art into a classificatory sense
The artworld conferres the status of candidate for appreciation From Weitz to George Dickie Shusterman uses bits of theory of other philosophers and opposes them.
This way, up until now he made sure the definition of art can no longer be theoretical or a classification. Shusterman takes you wherever he wants to Dickie's theory provides no substantive insight which would explain why art is valued
"beauty lies in the eye of the beholder"
Question to group:
What is art to you?? From Dickie to Arthur Danto Danto defines art in terms of its history
Art is more a cultural or social tradition
Any object successfully claiming to be art must bear an interpretation as a particular artwork
It must obtain certain structures and contexts in art history Today's most powerful "wrapper" theory Shusterman responds to Danto
If one should understand art through its historical essence, art has fulfilled its historical mission and thus, in a sense, has finished its history
Time to define art as a practice. Art is not dead, it just smells funny Shusterman claims
Since art is a crucial instance and cherished resource of human flourishing, philosophy betrays its mission if it merely looks on with abandoning neutrality at art's evolving history without joining the struggle to improve its future Theory and practice All practical decisions as to what counts as art or in art should not be left to the internal decisions of the practice as recorded by art history
There is a need of theoretical intervention in today's art.
Dewey's art experience Practice Once we give up the foundationalist view of theory as revealing the invariably necessary principles for practice, and further relinquish its hope of apodictic, incontestably final justification; once we instead see our practices as contingent products whose encounter with changing situations has necessitated continual adjustment, clarification, justification, and improvement; then theory's abiding role as critical reflection on practice is secure and seemingly ineliminable. Not a definition, but a new concept. Pragmatist Aesthetics Chap. II Example of the participation
Clip On Time and Clocks
Theatrical elements of his work, for example: use of space, physical participation of the spectators, use of characters Willian Kentridge
The Refusal of Time (2012) Temporal in a radical sense
Pushing against the boundaries separating art and life dOCUMENTA (13)
Kassel, Germany “What rends him from himself at the same time gives him back the whole of his being.”
Self-forgetfulness Hans-Georg Gadamer
“The Temporality of the Aesthetic”
Truth and Method, 1960 Dasein: being there
- determined by the movement towards death
- implies a temporality
A work of art (play) exists only in being presented.
Transformation into structure
Dabeisein: being there present
- Theoria (true participation)
- self-forgetfulness Hans-Georg Gadamer
“The Temporality of the Aesthetic”
Truth and Method, 1960 The mode of being of every understanding of an artwork is bound to the experience of temporality: time, movement, changing moments, transitoriness. Willian Kentridge
Black Box (2005) Coming to terms with mortality: avoiding death
Abstract notion of time materialized
Animation as a record of the passage of time Willian Kentridge
The Refusal of Time (2012) William Kentridge & Peter Galison, historian and philosopher of science
Discusses the consequences that different ideas of time have on our lives today Willian Kentridge
The Refusal of Time (2012) Sense-experience
Placing the body in the world
Conditions of dOCUMENTA (13): on stage
Body-schema and body-image Maurice Merleau-Ponty
Phenomenology of Perception (1945) Hans-Georg Gadamer
“The Temporality of the Aesthetic”
Truth and Method, 1960 Initially: co-presence.
Aesthetic consciousness, superseding mediation
Relationship Freek Duinhof
Presence & Aesthetic Experience in Performance, Film and the Arts
William Kentridge Ranciere also talks about the disappearing line between fiction and fact, because since the Romantic Age in order to make something understandable, and useable for interpretation, we always change it or we’ll be selective in choosing what facts we’ll use.
In film this is especially the case! For in the montage we ‘calculate the values of truth’ we make our own distribution of the material to produce a meaning and in that way create a fiction. Documentary is even more fictional because it’s guided by strict plotlines and characters, there’s a freedom in the montage that makes it more selective and subjective. In politics as well these fictions are being made, arrangements between words, sings and images. This is a nightmare to the those in power, because the fiction can make people think and challenge the distribution of the sensible. Representative regime: Mimesis bounds artistic practices to rules and hierarchy
Aesthetic regime: free from rules and hierarchy, the distribution of the sensible has become foreign to itself. What ties politics and aesthetic? Politics is the relationship between
the stage and the public!
‘A man is a political animal because he is
a literary animal who lets himself be
diverted from his ‘natural’ purpose by
the power of words’ Avant Garde: political-guided change Post-Modernity: seperation & sublime revolutionary radicalism
& aesthetic education Modernity
-Free from rule and hierarchy
-L’art pour l’art
-Seperates art from context
-One way of looking at history Aesthetics
-Free from rule and hierarchy
-No refusal of representation
-Relationship with politics
-Values temporality, old and new Aesthics problem with Modernity
'a way of dividing the knowledge, meaning and experience for a audience or community.' Distribution of the Sensible The Politics of Aesthetics Jacques Rancière Aesthetics artistic practices can simultaneously bound us together and effect us personally. Ranciere uses this way of thinking to reflect on social structures and politics. The Distribution Modernity: influences in art: ‘the ordinary becomes
beautiful as a trace of the true.' On fact, fiction and film! Mogen we filosofie gebruiken om Beckett te ‘verklaren’. Adorno geeft aan dat het eigenlijk niet kan maar doet het zelf wel. Fragment 5 (1:01:00)
De sleutel van het stuk Fragment 1 (0:00:11)
Het beestachtige van de personages komt volgens Adorno tot uitdrukking
Fragment 2 (0:13:30)
Hoe is dit stuk tekst te interpreteren?
Eens met Adorno? Begrijpen betekent, betekenis/zin ontdekken van iets en het zien van de betekenis/zien is de eerste stap naar de legetimatie ervan.
Vb. Holocaust Beckett als ‘hoge’ kunst, maakt maatschappij kritisch Theodor Adorno
Trying to Understand Endgame
Adorno & Beckett
Fragmenten van Endgame en vraagstukken
Discussie “Filosofie is culturele rotzooi.” Andere kunstvorm volgens Adorno’s filosofie wordt goedgekeurd. Parodie van de filosofie is te zien in de tekst van Endgame. Fragment 3 (0:14:40)
“Bij conversatie bereiken wij elkaar net zo weinig als de personages in de vuilnisbakken”, aldus Adorno
Fragment 4 (0:31:20)
“De betekenis van de taal verdwijnt.” Samuel Beckett 1906-1989
Studeerde kunst en moderne talen
Maakte deel uit van het verzet tijdens WO2
Waiting for Godot 1952
Nobelprijs voor de literatuur 1969
Endgame 1957 Bestaat er iets individueels zonder relatie tot generaliteit of universaliteit. Kortom kan iets op zich zelf staan. “Geschiedenis van de kunst is de geschiedenis van de vooruitgang”
Vb. “Beethoven staat boven Mozart” Autoriteit in muziekwetenschappen
Wetenschappelijke vooruitgang mag niet met maatschappelijke en culturele vooruitgang gelijk worden gesteld
Muziek al massakunst > ideologische functie
Techniek via cultuurindustrie effect op bewustzijn van massa’s The Endgame Adorno & Beckett (Het is wel met spaanse ondertiteling) http://ge.tt/7ubi5BQ/v/0 http://ge.tt/2Jfx7BQ/v/0 An anthropology of images: Picture, Medium, Body by Hans Belting Intermediality: Rethinking the Relationship between Theatre and Media
by Christopher B. Balme The mystery of the in-between
by Kati Röttger &