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Articles 1 - 7 of 7
Full-Text Articles in Aesthetics
"Let Your Body Do The Talkin'": An Investigation Of Aesthetic Experience Through Phenomenological Psychology, Tone Roald, Anders Essom-Stenz
"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
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
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
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
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
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
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.