The article's form is a dialogue among five scholars of somaesthetics. The dialogue's topic is so... more The article's form is a dialogue among five scholars of somaesthetics. The dialogue's topic is somaesthetics and methodology, addressing questions such as: What are the relevant methods for somaesthetic inquiries and practices? What are the methodological difficulties? Which important dimensions do methods and methodologies exclude? The article consists of five pieces, each addressing questions
The chapter argues that the aesthetics of participatory art discloses a veiled and hidden aspect ... more The chapter argues that the aesthetics of participatory art discloses a veiled and hidden aspect of Kantian aesthetics. Kant regarded the purposeless inter play of imagination and understanding as the primary foundation for subjective aesthetic judgments. The chapter shows that this interplay between imagination and understanding not only yields pleasurable contemplation, but it also harbours agency in the form of possible action. However, this poietic dimension can only be made aesthetically available, if the conceptual part of a work of art points that out. Participatory works of art conceptually and performatively include participant actions into the unfolding of the particular artwork. After clarifying the notion of participation, the chapter elaborates on the aesthetic function and significance of the interplay between imagination (the human faculty of creating perceptual represen tations of past, present and future (possible) phenomena) and conceptual under standing. In participatory aesthetics, imagination supports agency by imagining a possibility field and conceptual understanding reveals itself to be an instance of fictionalisation, cognitively framing perception and action. In the chapter theoreti cal elaborations are initiated by and its findings exemplified through an analysis of Maria Sester's participatory artwork, Sester (2003).
This article is an academic reflection about a video project that I conducted in the summer of 20... more This article is an academic reflection about a video project that I conducted in the summer of 2016. The video documents my collaboration with artist Thomas Wolsing. My ambition for this collaboration was to discover and experience interlacements between, on the one hand, art theory (epitomized by some sentences of Heidegger's " The Origin of the Work of Art ") and on the other hand, artistic and physical-constructional work that is building a land art piece. The article cites and reflects on dialogues and monologues presented in the video by discussing the mutual dependence between and incompatibilities of art theory and art making. The conceptual cornerstone of the discussion is the notion of embodiment as outlined by Edgar Wind and Fischer-Lichte augmented by Barad's related notion of agential intra-action. The article discusses the experienced integration of physical and discursive actions that, in the moment of performance, are elusive and refute any ethical assessment.
The article presents a theoretical elaboration of the potential relationship between the academic... more The article presents a theoretical elaboration of the potential relationship between the academic and artistic approaches within a problem-based educational setting. The investigation is based on Koestler's idea of the " bisociation " (blending) of dissimilar thinking and action matrices as the foundational mechanism of human creation in academic discovering, artistic creation, and humour, respectively. On the basis of my own experiences with higher education pedagogy exemplified by a concrete workshop held with students from two different educational programmes at Aalborg University, the article investigates the bisociation of artistic and academic matrices and codes by scrutinising how these apparent incompatibilities could be functions of a blending mechanism. The article proposes that the bisociation of the artistic and academic approaches should be understood as mutual inscriptions leading to an emphasised correspondence between academic abstractions and associative-emotional experiences leading to an increase in complexity, specifically, a multifaceted understanding including an emotional perception of today's societal challenges.
The article's form is a dialogue among five scholars of somaesthetics. The dialogue's topic is so... more The article's form is a dialogue among five scholars of somaesthetics. The dialogue's topic is somaesthetics and methodology, addressing questions such as: What are the relevant methods for somaesthetic inquiries and practices? What are the methodological difficulties? Which important dimensions do methods and methodologies exclude? The article consists of five pieces, each addressing questions
The chapter argues that the aesthetics of participatory art discloses a veiled and hidden aspect ... more The chapter argues that the aesthetics of participatory art discloses a veiled and hidden aspect of Kantian aesthetics. Kant regarded the purposeless inter play of imagination and understanding as the primary foundation for subjective aesthetic judgments. The chapter shows that this interplay between imagination and understanding not only yields pleasurable contemplation, but it also harbours agency in the form of possible action. However, this poietic dimension can only be made aesthetically available, if the conceptual part of a work of art points that out. Participatory works of art conceptually and performatively include participant actions into the unfolding of the particular artwork. After clarifying the notion of participation, the chapter elaborates on the aesthetic function and significance of the interplay between imagination (the human faculty of creating perceptual represen tations of past, present and future (possible) phenomena) and conceptual under standing. In participatory aesthetics, imagination supports agency by imagining a possibility field and conceptual understanding reveals itself to be an instance of fictionalisation, cognitively framing perception and action. In the chapter theoreti cal elaborations are initiated by and its findings exemplified through an analysis of Maria Sester's participatory artwork, Sester (2003).
This article is an academic reflection about a video project that I conducted in the summer of 20... more This article is an academic reflection about a video project that I conducted in the summer of 2016. The video documents my collaboration with artist Thomas Wolsing. My ambition for this collaboration was to discover and experience interlacements between, on the one hand, art theory (epitomized by some sentences of Heidegger's " The Origin of the Work of Art ") and on the other hand, artistic and physical-constructional work that is building a land art piece. The article cites and reflects on dialogues and monologues presented in the video by discussing the mutual dependence between and incompatibilities of art theory and art making. The conceptual cornerstone of the discussion is the notion of embodiment as outlined by Edgar Wind and Fischer-Lichte augmented by Barad's related notion of agential intra-action. The article discusses the experienced integration of physical and discursive actions that, in the moment of performance, are elusive and refute any ethical assessment.
The article presents a theoretical elaboration of the potential relationship between the academic... more The article presents a theoretical elaboration of the potential relationship between the academic and artistic approaches within a problem-based educational setting. The investigation is based on Koestler's idea of the " bisociation " (blending) of dissimilar thinking and action matrices as the foundational mechanism of human creation in academic discovering, artistic creation, and humour, respectively. On the basis of my own experiences with higher education pedagogy exemplified by a concrete workshop held with students from two different educational programmes at Aalborg University, the article investigates the bisociation of artistic and academic matrices and codes by scrutinising how these apparent incompatibilities could be functions of a blending mechanism. The article proposes that the bisociation of the artistic and academic approaches should be understood as mutual inscriptions leading to an emphasised correspondence between academic abstractions and associative-emotional experiences leading to an increase in complexity, specifically, a multifaceted understanding including an emotional perception of today's societal challenges.
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