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Journal articles on the topic 'Poietic and aesthetic'

Author: Grafiati

Published: 16 November 2024

Last updated: 31 July 2025

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1

Jacobs, Joela. "Vegetal Delights: The Phytopoetics of Ross Gay." Philosophies 9, no. 6 (2024): 185. https://doi.org/10.3390/philosophies9060185.

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This article explores the poetics at work in Black American poet Ross Gay’s contemporary two-volume Book of Delights (2019 and 2023). I argue that his delights are phytopoetic, which describes moments when plants impact the human imagination and, by extension, shape human culture and aesthetic production, such as literary texts. Such phytopoetic processes are moments of co-creation, involving plants both as engaged in poietic making and in the shaping of the poetics of a given text. By examining patterns of form in Gay’s prose and close reading some of his delights that center on plants, this

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Giarolo, Alice. "Materialismo e geografia della carne." Chiasmi International 26 (2024): 243–60. https://doi.org/10.5840/chiasmi20242621.

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The question of materialism is studied following the solicitations which come from the phenomenological geographies of Dardel and Berque, and from the more-than-representative geographies, in order to take the path of a geo-poietic/poetic materialism. This gesture is justified by the traditional identification between matter and extension that informs “scientific materialism”. The abandonment of an abstract spatiality for a spatiality of situation, engraved in matter, is accompanied by recasting geographical reality and removing it from the fiction of the isolated object, bringing it back to i

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Starzyk, Lawrence J. "THE NON-POIETIC FOUNDATIONS OF VICTORIAN AESTHETICS." British Journal of Aesthetics 26, no. 3 (1986): 218–27. http://dx.doi.org/10.1093/bjaesthetics/26.3.218.

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Ellis Neyra, Ren. "White Mythologies." Small Axe: A Caribbean Journal of Criticism 26, no. 2 (2022): 176–93. http://dx.doi.org/10.1215/07990537-9901752.

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This response essay engages the three book discussion essays by Ronald Mendoza–de Jesús, Petra R. Rivera-Rideau, and Rocío Zambrana on The Cry of the Senses: Listening to Latinx and Caribbean Poetics (2020). Following questions of anti-Blackness in Spanish Caribbean (especially Puerto Rican) aesthetics, culture, and history that are distinctly presented and theorized in each of the scholarly interlocutor’s book-forum essays, this essay thinks about reading itself and other perceptual modes, such as listening, qua Whiteness, “the ontic,” and “slow violence.” In its (re)considerations of the sen

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ZATTRA, LAURA. "Searching for lost data: outlines of aesthesic–poietic analysis." Organised Sound 9, no. 1 (2004): 35–46. http://dx.doi.org/10.1017/s1355771804000068.

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Fifty years down the line, the analysis of computer music is still a very complex issue, highly dependent on the identity of computer music itself: the variety of software, the lack of a common musical notation for scores, the absence or presence of computer data. This has led to the emergence of a multitude of analytical methods, including aesthesical analysis, which approaches music from the point of view of perception, and poietical analysis, which pays attention to the creative process.This study aims to combine these two methods of analysis in order to understand the relationship between

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Parris, Benjamin. "Baroque Humor: The Aesthetics of Darkness in Thomas Nashe's Terrors of the Night." ELH 92, no. 2 (2025): 527–56. https://doi.org/10.1353/elh.2025.a961797.

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Abstract: This essay argues that Thomas Nashe crafts an untimely and innovative literary aesthetic in his pamphlet, Terrors of the Night: Or, a Discourse of Apparitions . This lesser-known work displays an experimental but canny mode of poiesis in prose writing, which looks to the limits of embodiment and thought at nightfall not simply as inspirational but also self-constituting sources of literary creativity. In this way, Terrors of the Night 's animated and perceptive renderings of nocturnal experience constitute an aesthetics of darkness that allows us to view Nashe's work as an early lite

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Westermann, Claudia. "Poiesis, ecology and embodied cognition." Technoetic Arts 18, no. 1 (2020): 19–29. http://dx.doi.org/10.1386/tear_00023_1.

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Since René Descartes famously separated the concepts of body and mind in the seventeenth century, western philosophy and theory have struggled to conceptualize the interconnectedness of minds, bodies, environments and cultures. While environmental psychology and the cognitive sciences have shown that spatial perception is ‘embodied’ and depends on the aforementioned concepts’ interconnectedness, architectural design practice, for example, has rarely incorporated these insights. The article presents research on the epistemological foundations that frame the communication between design theory a

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Bernau, Anke. "Hedgerow Poiesis." Emotions: History, Culture, Society 7, no. 1 (2023): 119–44. http://dx.doi.org/10.1163/2208522x-02010185.

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Abstract This essay considers the iconic English hedgerow in light of its history as material, made object and its ontological status as vital ecology. It argues that both of these aspects are associated with particular ‘aesthetics of care’, which are entwined with one another in inextricable, and often agonistic, ways. Central to this argument are the interrelated aspects of the hedge understood as commodity or property, its role in materialising property relations, and the hedge’s own living ‘properties’. Caring for the hedge; the hedge as expression of care for the property that is demarcat

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Shusterman, Richard. "Ästhetische Erfahrung und die Macht der Besitzergreifung." Deutsche Zeitschrift für Philosophie 68, no. 3 (2020): 327–57. http://dx.doi.org/10.1515/dzph-2020-0023.

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AbstractAfter briefly noting key contemporary critiques of aesthetic experience, this article revisits its original account in Plato’s theory of aesthetic experience as the madness of divine possession and then Aristotle’s response of defending art’s rationality as poiesis, which largely dominates the ensuing aesthetic tradition. I subsequently explore how the mysterious notion of possession continues to surface in important modern accounts of aesthetic experience (e. g. in Theodor W. Adorno, T. S. Eliot, John Dewey) and explain how the supernatural idea of possession could find a naturalistic

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Hayes, Michael Thomas. "The Poetic Generation of Place: Ethnography for a Better World." Ethnographic Edge 2, no. 1 (2018): 119. http://dx.doi.org/10.15663/tee.v2i1.39.

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In this article, I employ the ethnographer poetic as a strategic provocation to rethink the foundation of contemporary ethnography. The root of the word poet or poem is the ancient Greek concept of poiesis. Poiesis is defined as making. While in the Greek tradition poiesis foregrounded an analysis of the arts or aesthetics, contemporary usages highlight the making of a social or political dimension. Drawing from the social and political dimensions of poiesis, I argue that the ethnographer does more than simply represent a social context, and, instead, calls the place into existence. The ethnog

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Greenway, Kate. "Resisting Indifference Through the Brooch of Bergen Belsen." Brock Education Journal 28, no. 1 (2018): 32–48. http://dx.doi.org/10.26522/brocked.v28i1.780.

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In this extract from, and commentary on, my master’s thesis, “The Brooch of Bergen Belsen: A Journey of Historiographic Poiesis” (winning York University Department of Education Best Major Research Paper 2010), I explore a single aesthetic experience, an encounter with a small hand-made floral cloth brooch donated to the Holocaust Memorial Museum. At the start of my inquiry, I had only the object—the brooch itself—my emotional reaction to it, and the few lines of text on a curated museum card. I wondered, how do we create “spaces for remembrance” (Simon 2005) and what are the implications for

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Cecchi, Dario. "Historical Reality and Political Aesthetics after Jacques Derrida and Bernard Stiegler." KANT Social Sciences & Humanities 11, no. 3 (2022): 4–15. http://dx.doi.org/10.24923/2305-8757.2022-11.1.

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The article aims at showing how far the technologies of audiovisual registration affect not only the ontology of images but also our sense of realism in politics and history. As argue Jacques Derrida and Bernard Stiegler, historical events have become "tele-events" after the birth of these technologies. Our handling with images has changed accordingly. As argues Pietro Montani, we no longer consider them as "copies" of real objects but rather as "occasions" for initiating processes of "validation" of history. Hannah Arendt's opposition between the ancient concept of history being based on prax

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Cecchi, Dario. "Historical Reality and Political Aesthetics after Jacques Derrida and Bernard Stiegler." Open Philosophy 3, no. 1 (2020): 257–65. http://dx.doi.org/10.1515/opphil-2020-0014.

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AbstractThe article aims at showing how far the technologies of audiovisual registration affect not only the ontology of images but also our sense of realism in politics and history. As argue Jacques Derrida and Bernard Stiegler, historical events have become “tele-events” after the birth of these technologies. Our handling with images has changed accordingly. As argues Pietro Montani, we no longer consider them as “copies” of real objects but rather as “occasions” for initiating processes of “validation” of history. Hannah Arendt’s opposition between the ancient concept of history being based

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Musabegović, Senadin. "The Power of Technique and the Absence of Man in a Photographic Picture." Društvene i humanističke studije (Online) 6, no. 4(17) (2021): 141–68. http://dx.doi.org/10.51558/2490-3647.2021.6.4.141.

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The text problematizes the connection between art and the power of technology. The question arises: how can photography as an art, created as a technical invention, respond to the challenges of technical power, which manifests itself as an unconditional desire for domination that knows no limits? The esthetician from Sarajevo, Sadudin Musabegović, understood the very power of photographic representation precisely through the figures of division: mimesis - poiesis - techne. Martin Heidegger's opinion on technique is connected with the figure offered by Musabegović. Sadudin Musabegović's aesthet

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González-Grandón, Ximena A., Ainhoa Suárez Gómez, Mauricio García De la Torre, Katia Castañeda Urzúa, and Evoé Sotelo Montaño. "Intercorporeal Togetherness: Live Arts and Embodied Poiesis." Intermédialités, no. 44 (2024): 1–30. https://doi.org/10.7202/1115026ar.

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In the realm of collaborative improvisation, adept performers undergo a profound state of embodied coordination, affective openness, and shared spatiotemporal awareness, engendering a palpable sense of “togetherness.” This phenomenon unfolds through an intensified bodily focus, particularly evident during the transitions from an individual, first-person perspective to a collective one, thereby disrupting the conventional boundaries between self and others. The TACo Collective delves into this intricate aspect of the performing arts, challenging conventional aesthetic and intra-cerebral approac

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VLASENKO, Nataliia. "THE RENAISSANCE DIALOGUE ABOUT LITERARY CREATIVITY: AESTHETIC AND PHILOSOPHICAL DIMENSIONS OF REVEALING AN ARTIST’S MISSION." Філософія та політологія в контексті сучасної культури 16, no. 2 (2024): 13–27. https://doi.org/10.15421/352442.

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The article reconstructs the dialogical theocentrism – anthropocentrism configuration, formed as the frame of a person’s self-definition on the trajectory of the Renaissance Humanist reflection of the literary creative manifestations of authorship and initiative for the renewal of the traditional concepts of poiesis, reinterpreted by Studia Humanitatis as the artistic way to manifest dialogism on the base of correlating mimesis, stated by traditionalism as the principle of poetical creativity, with demiurgy, comprehended in this status by the Renaissance. The study reveals that such a connecti

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Semonovitch, Kascha. "Incarnate Experience and Keeping the Soul Ajar." Religion and the Arts 14, no. 5 (2010): 590–605. http://dx.doi.org/10.1163/156852910x529359.

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AbstractThis essay offers a phenomenology of the new that entails hospitality and depends on an understanding of being as poetic; this poiesis is, per Jacques Derrida, hospitable, and per Maurice Merleau-Ponty, incarnate. This poiesis intertwines with aesthesis, as action and perception intertwine. Avoiding problems faced by both the materialist and idealist, Merleau-Ponty’s poetic phenomenology shows that perception always indicates a transcendent and vertical excess: the invisible lining of the visible. Two poems which speak of the human hosting the divine Stranger, one by George Herbert and

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Bellarsi, Franca. "A Cosmopolitan Case Study." Bulletin of the John Rylands Library 98, no. 1 (2022): 107–26. http://dx.doi.org/10.7227/bjrl.98.1.9.

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This article explores the reception and transformation of William Blake’s countercultural legacy by focusing on the neo-Romantic resurgences within maelstrÖm reEvolution, an experimental performance and arts collective based in Brussels but with heavy transnational affiliations. In relation to the company’s neo-shamanic and therapeutic conception of poiesis, Blake is an inspirational figure amongst a broader family of mentors ranging from Beat Generation writers to Arthur Rimbaud and Alexandro Jodorowsky. The Blake–maelstrÖm connection is here examined for the first time. Blending classical re

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Agagiù, Chiara. "Pratica artistica e soggettivazione pedagogica. Dal trauma ecologico della Xylella alla rigenerazione comunitaria di un uliveto nel Salento | Artistic practice and pedagogical subjectivation. From the ecological trauma of Xylella to the community-based regeneration of an olive grove in Salento." Educazione Aperta, no. 15 / 2024 (February 10, 2024): 20–40. https://doi.org/10.5281/zenodo.10644196.

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In the context of a Philosophy of Education that sees subjectivation as the core of its research, this contribution aims to enlighten the educational value that lies in the artistic practice, considering it a device of subjectivation. From an analytical point of view, the pedagogical perspective plays its role by the ethical and aesthetical possibilities given to the subject in “retrospectively” reinterpreting its own “endowment”. From the hermeneutic perspective, assuming all the implicit valence of the notion of “projection” (Entwurf), poiesis becomes a wa

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Proaño Gómez, Lola. "Theatrical aesthetics of liberation. The claim for life on the Argentine scene." Resistances. Journal of the Philosophy of History 3, no. 5 (2022): e21085. http://dx.doi.org/10.46652/resistances.v3i5.85.

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We propose a theatrical Aesthetics of liberation understood as one that articulates imaginary, visual, or textual bridges between the opening to the context-world (aisthesis) and its impact on subjectivity (affective atmosphere) and that gives rise to a scenic production (poiesis) favorable to the conservation and improvement of life that raises opposition or rejection of those contexts that are not conducive to it. We will observe the productions of the theatrical scene in three moments of the recent Argentine past to visualize both the resistance and denunciation of the decrease or disappear

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Mattila, Hanna, Signe Hald, and Dylan Chau Huynh. "Interplay of Engineering Skills, Aesthetic Creativity, and Ethical Judgement in the Creation of Sustainable Urban Transformations." Journal of Problem Based Learning in Higher Education 11, no. 2 (2023): 54–77. http://dx.doi.org/10.54337/ojs.jpblhe.v11i2.7771.

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This paper examines a PBL project module “Sustainable Urban Transformation” in an Urban Design master’s education. The module combines urban design and hydrology engineering. Within the module, students are supported by lectures and study circles on various dimensions of sustainability, especially vis-a-vis climate change. However, they are left with the freedom to choose how they balance between design and engineering approaches when they give a physical form for sustainability in the site transformation projects with which they work through the semester. This paper discusses the development

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Zirfas, Jörg. "Reproduktion und Innovation der Lebenskunst." Vierteljahrsschrift für wissenschaftliche Pädagogik 101, no. 1 (2025): 71–87. https://doi.org/10.30965/25890581-10101006.

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Abstract Reproduction and Innovation of the Art of Living Theory, Practice, Poiesis and Pedagogy This article attempts to show that the art of living in the West represents a form of knowledge that draws on both every day and scientific knowledge in order to realize a successful life. In the art of living, both the quantitative as an economic approach and the qualitative as an evaluative description of the state of affairs have retained their relevance to this day. The art of living is understood as the theoretical and practical reproduction of knowledge in the form of exercises and, historica

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Rolfhamre, Robin, and Inga Marie Nesmann-Aas. "Rethinking Music Practise-Sessions beyond Poiesis and Praxis - Towards Practising Democracy." European Journal of Philosophy in Arts Education 07, no. 2022 01 (2022): 63–114. https://doi.org/10.5281/zenodo.6536193.

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How can the (seemingly isolated) process of practising a musical instrument in the context of practice sessions be seen as enabling students to develop skills “that are needed to keep democracies alive’ (Nussbaum, 2010, p. 2). How can we encourage this further? The approach is to explore the various potentials of the practise session to be something more than mere training. An exploration that can be instrumentally fostered in a study environment (formal or informal) through a practical pedagogical approach, not to reach a specific end — i.e. defined learning outcomes —

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Monni, Kirsi. "Considering the Ontological Premises for Tools in Artists’ Education–on Poiesis and Composition." Nordic Journal of Dance 6, no. 2 (2015): 4–11. http://dx.doi.org/10.2478/njd-2015-0011.

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Abstract This article considers the ontological premises for tools in artists’ education, specifically in choreography studies at the master-of-arts level. The topic has proven to be crucial in planning and executing a curriculum of study in the contemporary age of pluralistic aesthetic intentions as any tool, as habitually understood, is ready-to-use according to its disclosed purpose and thus has, in a way, already solved some aspects of the singular research question posed between the artist and the prevailing world. The topic of tools turns out to be a wider question of contemporary poetic

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Martins, Alice Fátima. "O direito e o avesso." Revista de Ensino em Artes, Moda e Design 8, no. 1 (2024): 1–16. http://dx.doi.org/10.5965/25944630812024e4772.

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Neste ensaio visual, reúnem-se imagens de trabalhos desenvolvidos na Oficina dos Fios (FAV/UFG). Ao longo do semestre letivo, são propostos exercícios de bordado livre, constituindo um espaço de experimentação e construção de aprendizagens compartilhadas. O projeto é orientado pela poética da solidariedade, segundo a qual a aesthesis e a poiesis são dimensões indissociáveis dos processos de sentir, pensar, fazer, e dizem respeito à experiência mais do que ao objeto, às relações estabelecidas ‘entre’ do que ao trabalho artístico propriamente dito enquanto produto. Nesse sentido, interessa tanto

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Copeliovitch, Andrea. "Dançar o Zen: Aprendizado e poéticas de um processo." Todas as Artes Revista Luso-Brasileira de Artes e Cultura 3, no. 3 (2020): 85–99. http://dx.doi.org/10.21747/21843805/tav3n3a6.

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This article discusses an experimental creative process that relates Zen Buddhism, Antonin Artaud, Jerzy Grotowski and Brazilian dances (bumba-meu-boi, cavalo marinho, and coco), using the study of a symbolic body proposed by Graziela Rodrigues; taking as an example the choreography The Bull and the Void, based on the Buddhist tale, The Monk and the Bull (by Monja Coen Roshi and Fernando Zenshô Figueiredo). The choreography is a composition that incorporates zen buddhist rites elements, Japanese anime aesthetics and dances from Brazilian north and northeast, organized by theatre techniques, wh

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Manfredi, Federica. "Thinking the Self through Hooks, Needles, and Scalpels: Body Suspensions, Tattoos, and other Body Modifications." Medicine Anthropology Theory 10, no. 3 (2023): 1–25. http://dx.doi.org/10.17157/mat.10.3.6532.

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Body modifications such as tattoo, scarification and body suspension represent not only aesthetic interventions, they can also be social practices with which to challenge and transcend the body’s limits, operating on the perception of wellbeing and moulding specific forms of self. In this Research Article, based on research on body suspension in Europe, I aim to analyse body modifications as a means to voluntarily intervene in human perceptive abilities, shaping individual lives through unconventional sensory experiences. In these practices, pain is signified as a threshold for sensory turmoil

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Montiel, Jorge. "Aztec Metaphysics—Two Interpretations of an Evanescent World." Genealogy 3, no. 4 (2019): 59. http://dx.doi.org/10.3390/genealogy3040059.

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This paper contrasts two contemporary approaches to Nahua metaphysics by focusing on the stance of the Nahua tlamatinime (philosophers) regarding the nature of reality. Miguel León-Portilla and James Maffie offer the two most comprehensive interpretations of Nahua philosophy. Although León-Portilla and Maffie agree on their interpretation of teotl as the evanescent principle of Nahua metaphysics, their interpretations regarding the tlamatinime metaphysical stances diverge. Maffie argues that León-Portilla attributes to the tlamatinime a metaphysics of being according to which being means perma

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Rutgeerts, Jonas, Leni Van Goidsenhoven, and Carrie Sandahl. "Differing bodyminds: Cripping choreography." Choreographic Practices 15, no. 1 (2024): 3–15. http://dx.doi.org/10.1386/chor_00077_2.

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This Special Issue originated from the symposium and doctoral seminar Differing Bodyminds – Choreographing New Pathways, held in Leuven (Belgium) a few years ago. Rather than merely documenting the event, our goal is to extend the discussions and practices initiated there into a broader debate on how crip theory can reshape choreographic discourses and practices. As we argue, ‘cripping choreography’ is more than identifying disability dance or critiquing ableist structures; it involves developing a theoretical, phenomenological and performative lens for creating and analysing dance. This lens

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Sá-Chaves, Idália. "Training, development, and innovation - For a poetics of deviation." Journal of Innovation Management 6, no. 4 (2019): 15–21. http://dx.doi.org/10.24840/2183-0606_006.004_0002.

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Considering, as main reference, Donald Schön’s proposal (1983, 1987) on reflective professionals’ training, and on action competencies development adjusted to solving problems in dynamic and uncertain contexts and volatile circumstances, we intend, in this letter, to resume the reflection on system thinking, considering that its singular design, by the non-standard nature that characterizes it, constitutes the foundation of innovation and development processes. Taking into account the difficulties that resistance to change necessarily brings to the training processes, we also reconvene, on the

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Y. Y. Hung, Ruth. "The Afterlives of Jātaka Deer’s Compassion – In memory of our dog Baibai." AM Journal of Art and Media Studies, no. 25 (September 15, 2021): 49–66. http://dx.doi.org/10.25038/am.v0i25.447.

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This essay evaluates how exhibitions of prehistoric sites and cave art engage a worldwide public to address the issue of animal compassion, consciousness, and pain. The essay also analyzes the significance of representing archaeological discoveries in the global context of human-caused endangerment and the mass extinction of animals, flora, and fauna, including the eventual prospect of the mass extinction of homo sapiens proper. Today, in the midst of what some scientists call a sixth mass extinction event, the daily loss of species has produced desperate efforts to conserve habitats and prese

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Parisi, Luciana, and William Morgan. "What Is (Machine) Philosophy?" Qui Parle 30, no. 1 (2021): 185–207. http://dx.doi.org/10.1215/10418385-8955843.

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Abstract This interview with the digital media theorist Luciana Parisi opens with the hypothesis that cybernetics is not merely the name for that postwar metascience of command and control. For Parisi, cybernetics names a “historical reconfiguration of metaphysics on behalf of technics.” This interview asks about the meaning and consequences of this hypothesis but steers away from the all-too-easy poiesis-as-panacea solution to the computational quagmire. Instead, this interview descends into the computational medium, into the specificity of its logic, asking what it might mean not merely to l

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Raidel, Ella. "A Pile Of Ghosts: A Cinematic Heterotopia of Spectral Urbanization." International Journal of Film and Media Arts 7, no. 1 (2022): 11–26. http://dx.doi.org/10.24140/ijfma.v7.n1.01.

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A Pile of Ghosts (2021) is an artistic hybrid film in-between fiction and documentation created through the process of the art based research project Of Haunted Spaces. This research on Chinese ghost cities was a journey in exploring locations and looking for protagonists for the film, that would embody the urbanization processes surfaced as the phenomena of haunted cities by the spectral production of capitalism. As the process of filmmaking goes, settings and castings are staged to re-enact situations that have been observed during the field trips that were undertaken in many parts of China.

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Wijland, Roel, and Stephen Brown. "Quickening brand poetics: the lyric alternative." Qualitative Market Research: An International Journal 21, no. 1 (2018): 82–100. http://dx.doi.org/10.1108/qmr-05-2016-0046.

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Purpose This paper aims to explore brand rhythm in a lyrical analysis. It aims to provide insights into the appropriation of temporal meaning in material, collective and individual contexts. Design/methodology/approach The design offers a structured advance in lyrical qualitative research and the complementary third alternative to story and drama as more frequent representational forms in interpretive projects. This project presents an aesthetic performance in the sequential constructs of mimesis, poiesis and kinesis. Findings The inquiry confirms the paradoxical evolution of a brand’s tempora

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Muršič, Rajko. "Between Aisthēsis and Colere: Sensoria, Everyday Improvisation and Ethnographic Reality." Amfiteater 9, no. 2021-2 (2021): 134–53. http://dx.doi.org/10.51937/amfiteater-2021-2/136-149.

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The individual experience of everyday city life is essentially an everyday improvisation among other people. It is in urban settings where socially structured formations of daily life meet purely individual situated experience in myriads of spontaneously created and shaped assemblages of everyday life. The visual perception of space, sonic orientation in a given place and olfactory plus tactile experience of the environment are the basic aesthetic performances in cultivating a common urban reality. The author discusses specificities of anthropological knowledge derived from first-hand experien

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Katsouraki, Eve. "Violating Failures: Rosa Luxemburg'sSpartacusManifesto and Dada Berlin Anti-manifestation." Somatechnics 3, no. 1 (2013): 50–71. http://dx.doi.org/10.3366/soma.2013.0078.

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Some of the greatest Marxist historical accounts of revolutionary events are the accounts of great failures. One needs only mention the German Peasants' War, the Jacobins in the French Revolution, the Paris Commune, the October Revolution, the Chinese Cultural Revolution while numerous others lurk behind many of the battles of the proletariat throughout the twentieth century. In the most radical political engagement, such as the Cultural Revolution for Badiou, or the Nazi Revolution for Heidegger, failure also signals the end of the traditional mode of political engagement as such. But what is

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Ferreiro, Carballo David. "La "esfera de creación" de El final de don Álvaro, de Conrado del Campo: un drama lírico español con esencias románticas." Resonancias: Revista de investigación musical 24, no. 47 (2020): 59–82. https://doi.org/10.7764/res.2020.47.5.

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<strong>Español: </strong>En este artículo se estudia el proceso de creación de <em>El final de don Álvaro</em>, drama lírico en un acto y dos cuadros sobre un libreto de Carlos Fernández Shaw y música de Conrado del Campo. Para ello nos serviremos del concepto de “mediación”, de manera que, además de analizar los mecanismos asumidos por ambos autores durante la poiesis de la ópera, veremos de qué manera se proyectan en el proceso las características culturales, estéticas e ideoló

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Hachmann, Gundela. "Network Analysis in Literature and the Arts: Rethinking Agency and Creativity." Journal of Literary Theory 17, no. 2 (2023): 221–40. http://dx.doi.org/10.1515/jlt-2023-2010.

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Abstract The essay proposes to think of the creative subject as an actor in a network, that is, following Bruno Latour, as a »moving target of a vast array of entities swarming toward it« (Latour 2005, 46). It explores what it means to bring a network analysis to lectures on poetics by employing both a structuralist visualization informed by a computational method and a sociological method according to Latour’s Actor-Network-Theory (ANT). ANT is used to make traceable what with Hugh Kenner is called »elsewhere communities« consisting of spirits and minds along with objects and spaces. This ser

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Thorgersen, Ketil, Eva Alerby, Kari Doseth Opstad, Robin Rolfhamre, Inga Marie Nesmann-Aas, and Theocharis Raptis. "European Journal of Philosophy in Arts Education (EJPAE) vol 07 2022, issue 01." European Journal of Philosophy in Arts Education 07, no. 2022, 01 (2022): 138. https://doi.org/10.5281/zenodo.6536106.

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EJPAE is happy to publish a new issue with fresh perspectives in the intersection between learning/education, the arts/aesthetics, and philosophy/theory. It feels good, and at the same time strange, to publish articles about learning and the arts in a European journal, when at the same time Europe is at war. In a situation where Putin, an anti-democratic despot, invades a neighbouring country, killing and torturing innocent people, learning and the arts may seem trivial.  It is my absolute belief, however, that in times of despair, the arts are seminal in creating meaning for people, both

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Thorgersen, Ketil. "Editorial for European Journal of Philosophy in Arts Education (EJPAE) vol 07 2022, issue 01." European Journal of Philosophy in Arts Education (EJPAE) 07, no. 2022, 01 (2022): 3–6. https://doi.org/10.5281/zenodo.6536149.

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EJPAE is happy to publish a new issue with fresh perspectives in the intersection between learning/education, the arts/aesthetics, and philosophy/theory. It feels good, and at the same time strange, to publish articles about learning and the arts in a European journal, when at the same time Europe is at war. In a situation where Putin, an anti-democratic despot, invades a neighbouring country, killing and torturing innocent people, learning and the arts may seem trivial.  It is my absolute belief, however, that in times of despair, the arts are seminal in creating meaning for people, both

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Cassingena-Trévedy, François. "Liturgy as Essentially Poietic." Studia Liturgica, March 30, 2022, 003932072210813. http://dx.doi.org/10.1177/00393207221081302.

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The Christian liturgy is far more than a simple mobilization of a diverse range of artistic expressions in service of its ordinary performance; in fact, the liturgy is in essence a poiesis of the faith. Nor does this poiesis function as a system in harmony with Christian dogma and ethics, because in many regards it transcends these other two approaches. In the midst of the contemporary questioning concerning faith and life, believing and living, the centuries-old poiesis represents an invaluable resource. Truth alone cannot be imposed, nor should it be. More than ever, the symbolic translation

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Lemmon, Eric. "The Politics of Aesthetic Preference in Participatory Music." Organised Sound, February 3, 2022, 1–11. http://dx.doi.org/10.1017/s1355771822000012.

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Bringing together an array of interdisciplinary subjects, this article seeks to proffer a theory of political aesthetic preference emergent within participatory musical works. Beginning with an overview of imitation in music and then recapping the critical work advanced by Kofi Agawu and Jean-Jacques Nattiez on musical semiology, this article first delves into how musical signs are interpreted and propagated within participatory settings. Subsequently, using Jürgen Habermas’s influential theory on the public sphere as well as the critical revisions to said theory proposed by Nancy Fraser and M

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BARRES, Patrick. "Пойетический сценарий и нарративный процесс в фильмах Юрия Норштейна, диалектика художественного видения". Slovo To the East of Pixar :... (2 березня 2019). http://dx.doi.org/10.46298/slovo.2019.5233.

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International audience Юрий Норштейн и свойственные его видению пойетика иэстетика являются частью экспериментального направления в российскойанимации, развивавшегося в 1960 годах и совершившего уход от классическойтрадиции рисования на целлулоидной пленке.В своих фильмах он развивает новые формы наррации, проартикулированнойпосредством пластического эксперимента и пойетические сценарии, включающиев себя пространство студии и рабочие моменты осуществляющегося вмастерской творческого замысла.Нарративные схемы, отображающие художническое видение, используют«материалогию» полученных пробным путем

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Pezzano, Giacomo. "Organa della ragione. Il pensiero visuale tra nuovi media e vecchi abiti." Itinera, no. 27 (August 11, 2024). http://dx.doi.org/10.54103/2039-9251/25177.

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The paper is divided into three paragraphs, which explore the aesthetic and poietic nature of habits of thought, highlighting the concurrently sensitive and plural dimensions of their “clothes”. In § 1, the focus is mainly on visual argument studies and visual studies, questioning whether a “logic” of the image must necessarily resolve itself into other than logic. §§ 2-3 delve into the aesthetic-mediological conditions of knowledge production and dissemination, distinguishing between an alphabetic (§ 2) and a “post-alphabetic” (§ 3) phase. § 2 critically examines the issue of “scriptism” ingr

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Filieri, Luigi. "Directions of objectivity. Cassirer on art as a symbolic language." Continental Philosophy Review, September 23, 2024. http://dx.doi.org/10.1007/s11007-024-09651-5.

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AbstractIn this paper I argue that 1) art is, for Cassirer, a symbolic language whereby images (or poetic expressions) work analogously to verbal signs in order to frame and codify meaningful objective contents, namely symbolic formations that constitute objects in a specific region of culture. I claim that 2a) both art and language rely on what I call symbolic-poietic mimesis: a function meant to 2b) combine imitative and constructive states in order to shape a proto-meaningful core according to its symbolic pregnance and 3a) employ forms that are, on the one hand, pure (not derived from expe

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CALVO REVILLA, Ana, and Eva ÁLVAREZ RAMOS. "NUEVOS PARADIGMAS ESTÉTICO-SEMIÓTICOS DERIVADOS DE LA BREVEDAD." Signa: Revista de la Asociación Española de Semiótica 33 (January 8, 2024). http://dx.doi.org/10.5944/signa.vol33.2024.38811.

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La conceptualización del microrrelato hipermedial ha abierto el campo a la explotación de los paradigmas estético-semióticos, que se derivan de las relaciones que se establecen entre los diferentes lenguajes que faculta la esfera digital y que repercuten en la recepción y comprensión de las nuevas microformas artístico-literarias. Cabe, por tanto, analizar tanto los retos que se abren ante los procesos de recepción del microrrelato hipermedial, como la cambiante producción creativa en la esfera de los lenguajes artísticos y literarios; la galaxia de discursos imperantes, en los que desde una p

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Pulvirenti, Grazia, and Renata Gambino. "Einbildungskraft (Imagination)." Goethe-Lexicon of Philosophical Concepts 2, no. 1 (2022). http://dx.doi.org/10.5195/glpc.2022.59.

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Einbildungskraft (imagination) is a multifaceted mental faculty in Goethe’s theoretical writings and poetic works that is non-systematic and rich in aporias. At work in both cognitive processes and artistic production, it becomes a defining concept in Goethe’s creative understanding of natural and aesthetic processes. Einbildungskraft serves as a faculty that presides over nature, the human mind, and the arts as a source of interdisciplinary knowledge. As a pre-noetic power, moreover, it also manifests the poietic force of language. By creatively expanding the Kantian distinction between the p

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Sarıtaş, Davut, Hasan Özcan, and Agustín Adúriz-Bravo. "On the practice of integrated STEM education as "poiesis"." STEM Education Review 1 (September 28, 2023). http://dx.doi.org/10.54844/stemer.2023.0408.

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The value of science partly lies on the development of useful products for humanity's needs, but basic sciences cannot be said the "protagonists" of their obtention. Human history shows that these processes occur as a result of interactions between science and technology, mathematics, and engineering, as well as ethics and aesthetics. This network of disciplinary relationships facilitating the impact of scientific knowledge on human lives is at the center of discussions in the field of Science, Technology, Engineering, and Mathematics (STEM) education, and will be the focus of this article. Si

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Salvestrini, Amalia, and Fosca Mariani Zini. "Introduzione. La memoria e la regione estetica della retorica." Itinera, no. 27 (August 11, 2024). http://dx.doi.org/10.54103/2039-9251/25164.

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Within the historiographical and theoretical question of the relationship between aesthetics and rhetoric, according to which terms and concepts of aesthetics were also formed thanks to rhetoric, which circumscribes a perceptible and circumstantial sphere of reason, the present issue is dedicated to investigating a poietic idea of memory. Within this framework, the interest in memory and not imagination is legitimised precisely by the desire to analyse the productive capacity of rhetoric from the 'inferior' faculty that seems at first glance the least creative, since traditionally memory has a

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Kyndrup, Morten. "Attention and Aesthetic Value." Nordic Journal of Aesthetics 32, no. 65-66 (2023). http://dx.doi.org/10.7146/nja.v32i65-66.140111.

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We are capable of engaging in different kinds of relations with objects and situations we meet. Any relation is, in principle singular and thus einmalig, unique. Still, certain general types of relationality do exist. Relations may be established with focus (“attention”) on usability, truth, ethics, power, authenticity—and of course, on “beauty,” on aesthetic value. This differentiation is an invention of the Modern world and in itself subject to historical change. In terms of “discursive areas” it has been theorized in varying keys—including quite many universalist ones. We are free to choose

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