Aesthetics Commons^™

"Let Your Body Do The Talkin'": An Investigation Of Aesthetic Experience Through Phenomenological Psychology, Tone Roald, Anders Essom-Stenz

Duquesne Studies in Phenomenology

How does the experience of one’s own body contribute to aesthetic experience? This article answers the question from the point of view of phenomenological psychology by portraying how the body is lived from within in intense experiences with works of visual art. Based on descriptions of aesthetic experiences juxtaposed with phenomenological insights about the body and, in particular, Maurice Merleau-Ponty’s thoughts on concrete and abstract movement, it is shown how the lived body gives form to the experience. The experience of one’s own body reflects the expressions of the works of art and comprises not only movement, and with it …

Emotions As Work Material: On Dancers' Refined Use Of Affectivity, Camille S. Buttingsrud

Duquesne Studies in Phenomenology

As part of their professional practice, dancers allow their affectivity to enhance their kinesthetic work. Their intentional and disciplined use of personal, emotional resources ensures both creativity, interpretation, absorption, and connections in ways that extend beyond the traditional phenomenological understanding of affectivity as pre-reflectively based. The affective regulations dancers employ can be seen as an “artistic epoché,” and their layered performance awareness corresponds with Edmund Husserl’s descriptions of “image-consciousness.” Through qualitative interviews with three professional dancers, phenomenological theory, and additional supportive literature, this article shows how affectivity can be experienced through high-order levels of Leib, constituting states of “bodily …

Participatory Presence In Aesthetic Experiences Of Performance, Sophie Morrissey, Shaun Gallagher

Duquesne Studies in Phenomenology

In the context of the performing arts, presence can generally be thought of as an experienced connection between performer and audience that heightens the affective impact of the performance. Explorations of how presence is experienced during live performance contribute to our understanding of the relation of presence to participants’ overall aesthetic experience and participation in the performance. However, they also reveal the complex phenomenology of presence and the challenge of offering a unified framework that can account for its various phenomenal manifestations. In this article, we conceive of presence as a recursive dynamical feedback loop that emerges through and modulates …

Atmospheres Create Interest: Experiencing And Utilizing Shared Situations, Andreas Rauh

Duquesne Studies in Phenomenology

Even though atmospheres are usually only subtly perceived in the manner of a felt body in everyday life, they possess a specific efficacy. They hold the potential to address people in their felt-bodily constitution and to arouse interest in the shared situation. In the following, the phenomenon of atmosphere is explored through case analyses from an art education project and defined as a shared situation in contrast to affect and mood. This is followed by an examination of the fundamental importance of atmosphere for learning environments. With a focus on pedagogical relationships, the role of atmospheres in educational contexts and …

Artworks As Affective Atmospheres: Dufrenne's View Of Their Aesthetic And Philosophical Significance, Dimitris Apostolopoulos

Duquesne Studies in Phenomenology

This article reconstructs and critically evaluates Mikel Dufrenne’s arguments for the claim that our embodied engagement with art is the most fundamental variety of affective experience. I show how, on his account, aesthetic affectivity, or feeling, emerges in aesthetic experience, and identify the central role that aesthetic atmosphere plays in its constitution. I propose an interpretation on which aesthetic feeling, for Dufrenne, is a founded and skilled form of intentional activity that has epistemic (evidence-responsive) and metaphysical (world-disclosive) import. An aesthetic atmosphere, I contend, is an affective and perceptual context that is tied to an artwork and exercises a regulative …

With Images In Time. Atmosphere And Art: Mediation And Dialogue, Pauline Von Bonsdorff

Duquesne Studies in Phenomenology

The article challenges the idea that atmospheres are always sensed immediately. Instead, atmospheres in art are mediated and arise in a dialogue between work and audience. To understand how, we should pay attention to temporal structures in and around the work, such as the dynamics and duration of aesthetic experience and the historicity of both work and perceiver, including pasts and present. Mikel Dufrenne’s phenomenological aesthetics, complemented with insights from Maurice Merleau-Ponty’s analyses of perception, offer resources for this. Writing on expression, Dufrenne distinguishes “presence,” in which sense is felt immediately and firmly connected to embodiment, and “sentiment,” which arises …

Rapture "At A Distance": Searching For Pathic-Atmospheric Aesthetics, Tonino Griffero

Duquesne Studies in Phenomenology

The paper proposes a rethinking of the role of aesthetics as a theory of sensory experience as it is encountered in the lifeworld (and only secondarily in relation to art). Accordingly, pathic and atmospheric (bottom-up) aesthetics, which centers on the ability to expose oneself to intense experiences without attempting to control them and conceives feelings as atmospheric powers that permeate a particular space without being reduced to projections of the perceiver’s moods, should replace the idealistic (top-down) approach.

Entropy And Incarnation In The Duchamp Room: An Inquiry Into Aesthetic Time, Jesse Goodman

Electronic Theses and Dissertations

This thesis investigates the posthumous installation of Marcel Duchamp, Étant donnés, as a test case for how particularly historically situated artworks may or may not change over time. It begins with an overview of Duchamp’s biography, and his own theories of art’s relationship to temporality (which influenced the piece’s construction). It then moves through contrasting accounts of aesthetic time from Adorno and Robert Smithson. Section two works with Walter Benjamin’s writing on photography and aura to produce an account of estrangement between the piece and the viewing subject induced by the historical development of the artwork’s “translation” and “replication”—through …

A Metaphysics Of The Moral Imagination: John Ruskin's Realism, Revisited, Jesse Goodman

Graduate Student Research Symposium

The Victorian philosopher John Ruskin is primarily remembered for his political writing, as a forerunner of what we would today call Christian Socialist politics. In aesthetic circles, he is also often considered something of a punchline: a stuffy conservative who represents the worst vagaries of his day, an enemy of abstraction. Ruskin thus has a double-being in cultural memory: both an admired social reformer and a laughingstock art critic.

These views of Ruskin can be potentially reconciled by showing how his critics have misunderstood his aesthetic philosophy. Ruskin is often described as an aesthetic realist, the view on which art …

Inner Song Phenomenological Description Of A Musical Object Of Phantasy, Ellen Moysan

Electronic Theses and Dissertations

This dissertation is the phenomenological description of a musical object of phantasy I call “inner song,” i.e., the music that the musician “sings in his or her head” while practicing his or her instrument. It describes the specific inner song of a single musician playing a melodic instrument, and rehearsing in a solipsistic situation. The description is based on three resources: my personal experience as a cellist; the third person experiences of other musicians I have interviewed on that topic since 2010; and the Husserlian corpus. Each chapter starts with excerpts of interviews focusing on specific aspects the inner song. …

Cultivating Eliot's Historical Sense: Eliotic Time And The Waste Land's Response To Alienation, Thomas Ball

Electronic Theses and Dissertations

In this dissertation, I argue that T.S. Eliot’s The Waste Land marshals his account of historical sense as a response to the problem of alienation in modernity. Eliot’s historical sense depends upon an awareness of the endurance of the past, demanding a reorientation to the structure of temporality. I interrogate the temporal ramifications of Eliot’s account, arguing that it resonates with Henri Bergson’s durational theory of time. I ultimately investigate Eliot’s relationship to Bergson, suggesting that Eliot intervenes in the Bergsonian framework by establishing duration as a cultural, rather than individual or ontological, reality.