Search for Articles:
Title / Keyword
Author / Affiliation / Email
Journal
Article Type
 
 
Advanced Search
 
Section
Special Issue
Volume
Issue
Number
Page
 
1.3
0.6
Journals
Philosophies
Special Issues
The Aesthetics of the Performing Arts in the Contemporary Landscape
share announcement

The Aesthetics of the Performing Arts in the Contemporary Landscape

A special issue of Philosophies (ISSN 2409-9287).

Deadline for manuscript submissions: closed (20 December 2024) | Viewed by 15310

Special Issue Editors

Prof. Dr. Alessandro Giovanni Bertinetto

E-Mail Website
Guest Editor
Department of Philosophy and Education Sciences, University of Turin, 10124 Torino, Italy
Interests: aesthetics; philosophy of art; philosophy of music and the performing arts; theory of image; creativity and improvisation; habits and aesthetic experience; German idealism; normativity; philosophy of action; hermeneutics & contemporary philosophy; theory of subjectivity
Dr. Lisa Giombini

E-Mail
Co-Guest Editor
Department of Philosophy, Communication and Performing Arts, Roma Tre University, 00146 Rome, Italy
Interests: aesthetics; philosophy of art; philosophy of music; philosophy of art conservation and restoration; everyday aesthetics

Special Issue Information

Dear Colleagues,

The history of the performing arts weaves together theater, dance, music, performance art, and other expressive practices, including circuses and stand-up comedy. Despite their profound impact on human culture, philosophical explorations of the performing arts have often been overshadowed by those of the visual arts, leaving their intricacies and depths unexplored.

In our evolving contemporary world, where art continually adapts to epochal transformations, it is crucial to reinvigorate the philosophical and aesthetic discourses surrounding performance, performativity, and the performing arts. These art forms possess specific ontological properties, different from visual arts, warranting further investigations into their aesthetic consequences.

In this Special Issue of Philosophies, we invite contributions exploring the philosophy and aesthetics of the performing arts from diverse traditions and methodologies. Topics of interest include:

  1. Ontology: Ontological inquiries into the realm of the performing arts have often been parasitic on the ontology of the visual arts, limited to discussions that, though often insightful and sophisticated, focus on distinctions such as type/token or autographic/allographic arts. However, the performing arts possess specific ontological properties. For instance, certain aspects of the artistic production process—a composition or an interpretational rendition—are presented to the audience, either live or through a recording. Moreover, whether one believes in the possibility of repeating a performative work or not, the ontological consistency and "portability" of the performing arts differ from those of the other arts. These, among other aspects, have aesthetic consequences worthy of further investigation;
  1. Performative beauty: In the realm of the performative arts, beauty takes on a dynamic form. Performers not only aim to create aesthetically pleasing visuals, gestures, or sounds, but also engage in a deliberate act of conveying emotions, stories, and ideas through their artistry. This act of expression becomes an embodiment of “performative beauty,” where the performers actively shape and influence the audience's perceptions and emotional responses. "Performative beauty," in the context of the aesthetics of the performative arts, encompasses the active and transformative nature of beauty in artistic expression and, arguably, also highlights the collaborative nature of the arts;
  1. Time and space: The temporal and spatial dimensions of music, theater, dance, and related practices deserve exploration. Inquiries may delve into how time influences artistic expressions and audience perceptions, and into the interplays between time, memory, technology-mediated performances, and artistic experiences. Further, the spatial elements and concepts contributing to artistic expressions and aesthetic experiences in relation to theater, choreography, music, and performance art, as well as the connections between spatial and temporal aspects of the performing arts and their aesthetic impact, deserve philosophical reflection;
  1. Emotions, expressivity, and aesthetic experience: Expressivity lies at the core of performing arts, where artists evoke emotions and ideas through their medium, eliciting affective and cognitive responses from their audiences. We invite articles exploring how expressiveness manifests through different media in performing arts and contributes to the overall aesthetic experience. Contributions may investigate various theories of emotions as applied to artistic practices and their aesthetic significance, or they could discuss conceptual notions, such as the idea of an "aesthetics of imperfection," in order to account for the contingent nature of performers' actions. Philosophical analyses of the expressive aspects of the creativity in play in the performing arts are encouraged;
  1. Modes of signification: How do the performing arts produce meaning through various sensory elements, movement, gestures, and symbolic representations? Artists convey messages not only through spoken or written language, but also through multi-sensory and symbolic elements. The use of symbols, metaphors, and allegories in dance, theater, and music raises questions about their interpretation and emotional resonance. Interdisciplinary approaches examining the relationships between signifiers and the signified in performing arts are welcome, including connections with literature, visual arts, and digital technologies;
  1. Reality and fiction: Philosophical inquiries into the interplay between reality and fiction within the performing arts explore how performers navigate the boundaries between self-expression and fictional personas. Moreover, the performing arts have a unique capacity to transport audiences into imagined worlds, prompting questions about truth and illusion. How does fiction intersect with "lived experiences"? How do performers embody fictional characters while still remaining authentically expressive? How can a staged representation evoke genuine emotions and resonate with the real-life situations of people? Exploring audience perceptions of reality and fiction uncovers the complex dynamics of interpretation and experience, delving into the transformative power of fictional representations;
  1. Authenticity and interpretation: Authenticity and interpretation are aesthetic and ethical concerns in the performing arts. Articles could focus on the following related subjects: the different types of authenticity (ontological, historical, expressive, interpretative), dimensions (artistic, aesthetic, ethical), and their impact on successful performances in various art forms; the interpretative modalities available to performers, the differences between performative and critical interpretations, and the relationships between interpretations and audience appreciation; the creative aspects of interpretations in practices such as cover songs, re-enactments, and mash-ups. Philosophical explorations may also touch on truth and interpretations in the performing arts, and the role of authenticity in the audience's judgments;
  1. The role of atmospheres in the performing arts: Expressive atmospheres play an important role in the aesthetic experience of performing arts. The ways in which artists craft atmospheres to evoke specific moods, sensations, and responses from the audience, as well as the interplays between atmospheres and emotions in performances, and the impact of lighting, soundscapes, set designs, and spatial arrangements, are among the topics that could be discussed;
  1. Body, movement, and embodied cognition: The physicality of performers and audience experiences shape the creation, perception, and understanding of performances. Articles may address issues related to embodied cognition and how movement and kinesthetic experiences impact the artistic meanings of performances, analyze the performers’ use of the body as an artistic expression, integrating movements, gestures, and facial expressions, and examine the audience's corporeal experiences and their role in interpretation;
  1. Improvisation in the performing arts: Improvisation is a key practice in all performing arts. Its role for the aesthetic merit of an artistic performance deserves discussion. Thus, articles could investigate the tensions between planned structures and spontaneous creativity in various artistic practices, explore the impacts of embodied knowledge and muscle memory on the improvisational process, and analyze the unpredictability of improvisation and its effects on audience experiences, authorship, creativity, and expressiveness;
  1. Types of presence and mediality: Telematic performances and digital platforms impact the nature of presence in the performing arts. The dynamic interplays between physical and virtual realms and their impact on the ontology and significance of the performative act, as well as the relationships between virtual and live performances and the audience's sense of presence, could be philosophically investigated;
  1. The role of the audience: The ways audiences aesthetically experience performances should be philosophically discussed. Articles could analyze the audience's impact on artistic works and the related performers’ responses, and investigate the audience’s engagement, embodiment, and interactions in immersive performances or virtual environments. Moreover, they could discuss the perceptual and cognitive engagements of listeners and spectators;
  1. Genre in performing arts: The evolution, intersections, and hybridization of genres in various art forms deserve exploration. Genres from different disciplines influence each other, leading to innovative styles and expressions. Hence, the inquiry of the impact of cross-genre collaborations on the production and experience of performing arts is a further task for philosophical discussion;
  1. Performing arts and everyday aesthetics: Articles could examine the transformative potential of public engagements with the performing arts, turning ordinary spaces into sites of aesthetic experiences. In addition, they could explore the significance of amateur performing arts in shaping everyday aesthetics, and investigate how festivals, street performances, and public art installations could impact the cultural fabric of society;
  1. Ethics and politics: Related to inquiries into specific aesthetic aspects of artistic practices is the investigation of their ethical and political aspects and impacts. Contributions may focus on the ethics of interpretation and the ethical themes tackled by the performing arts; analyze how art forms communicate messages related to identity, equality, oppression, and social change; examine the transformative potential of the performing arts as a means of resistance and protest; discuss how ethical and political flaws of artistic performances may impact their aesthetic value; and vice versa. An important, more specific subject is the relationship between performance and gender: contributions may address how performing arts have historically shaped societal norms around gender, and how contemporary artists challenge traditional representations, or they could explore queer aesthetics and performances as a means to reimagine gender and identity;
  1. Sport and the performing arts: Sports are also performances. Thus, the parallels and distinctions between sports and the performing arts could be discussed. Articles could, for instance, investigate how physicality, discipline, and creativity intersect in both domains, and/or analyze the incorporation of athleticism in contemporary dance and the fusion of martial arts and dance in theater performances.

In conclusion, the purpose of this Special Issue is to provide a rich and innovative framework for the philosophical understandings of the performing arts, keeping up with the changes of the contemporary world.

The Special Issue welcomes submissions from participants of the World Congress of Philosophy (Rome, 1–8 August 2024): https://wcprome2024.com/

I look forward to receiving your contributions!

Prof. Dr. Alessandro Giovanni Bertinetto
Dr. Lisa Giombini
Guest Editors

Manuscript Submission Information

Manuscripts should be submitted online at www.mdpi.com by registering and logging in to this website. Once you are registered, click here to go to the submission form. Manuscripts can be submitted until the deadline. All submissions that pass pre-check are peer-reviewed. Accepted papers will be published continuously in the journal (as soon as accepted) and will be listed together on the special issue website. Research articles, review articles as well as short communications are invited. For planned papers, a title and short abstract (about 100 words) can be sent to the Editorial Office for announcement on this website.

Submitted manuscripts should not have been published previously, nor be under consideration for publication elsewhere (except conference proceedings papers). All manuscripts are thoroughly refereed through a double-blind peer-review process. A guide for authors and other relevant information for submission of manuscripts is available on the Instructions for Authors page. Philosophies is an international peer-reviewed open access semimonthly journal published by MDPI.

Please visit the Instructions for Authors page before submitting a manuscript. The Article Processing Charge (APC) for publication in this open access journal is 1400 CHF (Swiss Francs). Submitted papers should be well formatted and use good English. Authors may use MDPI's English editing service prior to publication or during author revisions.

Keywords

  • performing arts
  • aesthetic experience and performative beauty
  • ontology of art
  • emotions and expression
  • authenticity
  • interpretation
  • improvisation
  • fiction and performance
  • aesthetic atmosphere
  • audience and spectatorship
  • artistic genres and styles
  • aesthetics, ethics and politics

Benefits of Publishing in a Special Issue

  • Ease of navigation: Grouping papers by topic helps scholars navigate broad scope journals more efficiently.
  • Greater discoverability: Special Issues support the reach and impact of scientific research. Articles in Special Issues are more discoverable and cited more frequently.
  • Expansion of research network: Special Issues facilitate connections among authors, fostering scientific collaborations.
  • External promotion: Articles in Special Issues are often promoted through the journal's social media, increasing their visibility.
  • e-Book format: Special Issues with more than 10 articles can be published as dedicated e-books, ensuring wide and rapid dissemination.

Further information on MDPI's Special Issue policies can be found here.

Published Papers (15 papers)

Download All Papers
Order results
Result details
Show export options expand_more Show export options expand_less
Select all
Export citation of selected articles as:

Research

Jump to: Other

21 pages, 274 KiB  
Article
Automatism and Creativity in Contact Improvisation: Re-Inventing Habit and Opening Up to Change
by Serena Massimo
Philosophies 2025, 10(2), 39; https://doi.org/10.3390/philosophies10020039 - 30 Mar 2025
Viewed by 269
Abstract
This article aims to show that the artistic creativity at work in improvised dance depends on the acquisition of automatisms through the capacity of gestural repetition to dissolve the instrumental character of the movements performed and leads to a focus on the mode [...] Read more.
This article aims to show that the artistic creativity at work in improvised dance depends on the acquisition of automatisms through the capacity of gestural repetition to dissolve the instrumental character of the movements performed and leads to a focus on the mode of their performance. After illustrating how the rupture and experimental character of postmodern dance relies on repetition and the guiding role of feeling in contact improvisation, an analysis is made of how the abandonment of feeling—conveyed by the abandonment of gravity—that takes place in contact improvisation is indicative of the transition from a controlling attitude aimed at “problem solving” to a creative attitude aimed at “problem finding”. The recourse to the Straussian notion of pathicity, the valorisation of an aesthetic—affective, expressive, emergent, and relational—character of creativity, and the adoption of a neophenomenological approach will be functional in showing that improvisational artistic creativity arises from the acquisition of a sensitivity to otherness that makes one accustomed to respond in ever new ways to the affective stimuli coming from the circumstances and the affective state underlying the dance style and one’s own interpretation of it. Full article
(This article belongs to the Special Issue The Aesthetics of the Performing Arts in the Contemporary Landscape)
22 pages, 626 KiB  
Article
Absorbed Concert Listening: A Qualitative, Phenomenological Inquiry
by Simon Høffding, Remy Haswell-Martin and Nanette Nielsen
Philosophies 2025, 10(2), 38; https://doi.org/10.3390/philosophies10020038 - 27 Mar 2025
Viewed by 613
Abstract
This paper pursues a phenomenological investigation of the nature of absorbed listening in Western, classical music concert audiences. This investigation is based on a data-set of 16 in-depth phenomenological interviews with audience members from three classical concerts with the Stavanger Symphony Orchestra and [...] Read more.
This paper pursues a phenomenological investigation of the nature of absorbed listening in Western, classical music concert audiences. This investigation is based on a data-set of 16 in-depth phenomenological interviews with audience members from three classical concerts with the Stavanger Symphony Orchestra and the Norwegian Radio Orchestra conducted in spring 2024. We identify seven major themes, namely “sharedness”, “attention”, “spontaneous thought/mental imagery”, “modes of listening” “absorption”, “distraction”, and “strong emotional experiences”, and interpret these in light of relevant ideas in phenomenology, cognitive psychology, and ecological aesthetics, more precisely “passive synthesis” from Husserl, the “sense of agency” from Gallagher, and “mind surfing” from Høffding, Nielsen, and Laeng. We show that, like absorbed musical performance, absorbed musical listening comes in many shapes and can be grasped as instantiating variations of passive synthesis, the sense of agency, and mind surfing. We conclude that absorbed listening circles around a kind of paradox of passivity, characterised by a sense of loss of egoic control arising from particular forms of invested, intensive perceptual, cognitive, and affective engagement. Full article
(This article belongs to the Special Issue The Aesthetics of the Performing Arts in the Contemporary Landscape)
►▼ Show Figures

Figure 1

14 pages, 244 KiB  
Article
Aesthetic Communication in Infancy: A Layered Aesthetic Self
by Pauline von Bonsdorff
Philosophies 2025, 10(2), 32; https://doi.org/10.3390/philosophies10020032 - 11 Mar 2025
Viewed by 407
Abstract
The article discusses communicative exchanges between infants and adults with a view to their performative aesthetic dimensions and implications for self and self–other relationships. It argues that infants are deictic and relational selves, who both respond and initiate aesthetic and performative exchanges with [...] Read more.
The article discusses communicative exchanges between infants and adults with a view to their performative aesthetic dimensions and implications for self and self–other relationships. It argues that infants are deictic and relational selves, who both respond and initiate aesthetic and performative exchanges with other persons. By recognising that aesthetic communication is operative on two levels, one more basic if also predominantly tacit (sharing), the other explicit and active (exchange), we can better understand the significance of aesthetic communication for selfhood and intersubjectivity in infancy, but also beyond. Full article
(This article belongs to the Special Issue The Aesthetics of the Performing Arts in the Contemporary Landscape)
11 pages, 192 KiB  
Article
Artistic Aesthetic Value in Participatory Art
by Matilde Carrasco-Barranco
Philosophies 2025, 10(2), 29; https://doi.org/10.3390/philosophies10020029 - 4 Mar 2025
Viewed by 598
Abstract
In this article, I seek to outline a theoretical framework to critically assess as artistic the aesthetic value of participatory art, namely, art where the audience’s activity is constitutive of the artwork proper. I depart both from the idea that, in participatory art, [...] Read more.
In this article, I seek to outline a theoretical framework to critically assess as artistic the aesthetic value of participatory art, namely, art where the audience’s activity is constitutive of the artwork proper. I depart both from the idea that, in participatory art, aesthetic qualities emerge in the participants’ performances, and from a functional account of art criticism that assesses works in terms of the kinds of objects they are, the goals they pursue, and manners in which they do so. My paper raises the issue of whether and how a functional account of art criticism, which makes artistic value dependent on the artist’s intentions can apply to the criticism of participatory art, whose aesthetic qualities arise in the activity performed by the audience detached from the specific artefacts designed by artists. I analyse the question considering how such detachment varies across forms of participatory art—from interactive art such as installations to fully collaborative artistic projects. Full article
(This article belongs to the Special Issue The Aesthetics of the Performing Arts in the Contemporary Landscape)
15 pages, 7763 KiB  
Article
From Spectacle to Scene: A Pragmatist Approach to Performing Live
by Barbara Formis
Philosophies 2025, 10(1), 25; https://doi.org/10.3390/philosophies10010025 - 13 Feb 2025
Viewed by 726
Abstract
Drawing from the philosophies of pragmatism and somaesthetics, as developed by Richard Shusterman, this inquiry argues that performance holds a unique ontological status, one that emphasizes participation, shared meaning making, and the aesthetic qualities of ordinary, lived experience. As a philosopher trained as [...] Read more.
Drawing from the philosophies of pragmatism and somaesthetics, as developed by Richard Shusterman, this inquiry argues that performance holds a unique ontological status, one that emphasizes participation, shared meaning making, and the aesthetic qualities of ordinary, lived experience. As a philosopher trained as a dancer, I share some insights from my own experience as a performer offering a first-person aesthetic experience as a tool for conceptual inquiry. This experience allows the inquiry to explore the distinction between “scene” and “spectacle”, positioning the scene as a space of co-creation, in contrast to the distant, objectifying gaze encouraged by spectacle. By examining participatory projects and firsthand artistic experiences, I try to illustrate how performance can dissolve the boundaries between art and life, proposing a model of art that is shared, embodied, deeply connected to the rhythms of the everyday and gives foundation to a political transformation. Full article
(This article belongs to the Special Issue The Aesthetics of the Performing Arts in the Contemporary Landscape)
►▼ Show Figures

Figure 1

10 pages, 219 KiB  
Article
Types of Recording, Types of Performance and the Ontological Identity of Musical Works
by Alessandro Arbo
Philosophies 2025, 10(1), 24; https://doi.org/10.3390/philosophies10010024 - 12 Feb 2025
Viewed by 616
Abstract
While all types of musical works have been affected by the advent of recording, it has not always been in the same way or to the same extent. The aim of this paper is to delve into these differences and to clarify the [...] Read more.
While all types of musical works have been affected by the advent of recording, it has not always been in the same way or to the same extent. The aim of this paper is to delve into these differences and to clarify the role played by recording in defining the ontological identity of musical works. Starting from the discussion of some ontological approaches, it considers music recording in light of the conceptual tension between its meaning as a document of a performance of a pre-existing musical work and its meaning as a construction of an autonomous musical work. It argues that the diverse roles that recording can play depend not only on a grasp of the ontological identity of works but on an adequate understanding of the (type of) performance to which they refer. An expansion of the “logical space” of the notion of performance is ultimately necessary to account for the ontological identity of musical works, whether documented or constructed through recording. Full article
(This article belongs to the Special Issue The Aesthetics of the Performing Arts in the Contemporary Landscape)
11 pages, 214 KiB  
Article
Time, Risk and Control in Musical Performance Practices
by Michela Garda
Philosophies 2025, 10(1), 20; https://doi.org/10.3390/philosophies10010020 - 3 Feb 2025
Viewed by 574
Abstract
Time, control and risk are interrelated concepts that provide a valuable framework for exploring the connections among various performative practices and their cultural functions. By referencing sports, circus arts, and musical performance, this article examines the similarities and differences between musical reproductive performance [...] Read more.
Time, control and risk are interrelated concepts that provide a valuable framework for exploring the connections among various performative practices and their cultural functions. By referencing sports, circus arts, and musical performance, this article examines the similarities and differences between musical reproductive performance and improvisation. It focuses on the concept of transformational processes through analogies. Full article
(This article belongs to the Special Issue The Aesthetics of the Performing Arts in the Contemporary Landscape)
16 pages, 258 KiB  
Article
Music Criticism Reconsidered: Bias, Expertise, and the Language of Sound
by Lisa Giombini
Philosophies 2025, 10(1), 18; https://doi.org/10.3390/philosophies10010018 - 31 Jan 2025
Viewed by 1019
Abstract
Despite its growing prominence on social and media platforms, scholarly engagement with music criticism today remains unexpectedly limited, especially when compared to the extensive attention devoted to visual and literary criticism. This article seeks to revitalize the discourse by confronting the biases that [...] Read more.
Despite its growing prominence on social and media platforms, scholarly engagement with music criticism today remains unexpectedly limited, especially when compared to the extensive attention devoted to visual and literary criticism. This article seeks to revitalize the discourse by confronting the biases that have long undermined the credibility of music critics in the eyes of both musicians and the public. Inspired by the myth of King Midas—punished by Apollo for his “misguided” musical judgment—the discussion investigates the persistent critiques leveled at music critics, such as accusations of arbitrariness, inadequacy, and irrelevance. Central to this analysis are key questions: how can critics establish authority when their judgments are often shaped by prevailing cultural trends, what expertise distinguishes them from the average listener, and how do they articulate music’s ephemeral essence in words? To address these questions, the article examines the critic’s role through the lenses of journalism, musicology, and criticism itself, highlighting the tension between objectivity and subjectivity and identifying the distinctive skills necessary for effective critique. Full article
(This article belongs to the Special Issue The Aesthetics of the Performing Arts in the Contemporary Landscape)
15 pages, 202 KiB  
Article
Do It Again: Repetition, Reproduction, Reenactment in Performance and Music
by Christian Grüny
Philosophies 2025, 10(1), 17; https://doi.org/10.3390/philosophies10010017 - 31 Jan 2025
Viewed by 1164
Abstract
Any human action can be repeated; none can be repeated exactly. In fact, most human actions will be repeated—in its most basic sense, culture is the establishment of forms and standards of repeatability. The performing arts are based on this fact, they make [...] Read more.
Any human action can be repeated; none can be repeated exactly. In fact, most human actions will be repeated—in its most basic sense, culture is the establishment of forms and standards of repeatability. The performing arts are based on this fact, they make it explicit and explore it, albeit in very different ways. In light of these differences, it becomes obvious that ontological questions in music and the performing arts have a cultural index—rather than asking about the nature of identity and repetition, we should ask what counts as identical under what circumstances. These circumstances differ widely across cultures as well as across disciplines, and they are subject to change. Drawing on examples from performance art and music, this paper will explore the different constellations of repeatability we find in these fields. This comparative perspective promises to reshape some gridlocked debates in music as well as in the theory of performance. In particular, Christopher Bedford’s idea of a “viral ontology” of performance and the displacement of the concept of the work by Bruno Nettl’s notion of the model prove fruitful. Full article
(This article belongs to the Special Issue The Aesthetics of the Performing Arts in the Contemporary Landscape)
11 pages, 232 KiB  
Article
Performance Art in the Age of Extinction
by Gregorio Tenti
Philosophies 2025, 10(1), 13; https://doi.org/10.3390/philosophies10010013 - 20 Jan 2025
Viewed by 665
Abstract
This paper aims to map out the transformations in contemporary performance art during the current ‘age of extinction’. The first section extends Claire Bishop’s notion of “delegated performance” in order to categorize a turn towards the inclusion of other-than-human entities in the performance [...] Read more.
This paper aims to map out the transformations in contemporary performance art during the current ‘age of extinction’. The first section extends Claire Bishop’s notion of “delegated performance” in order to categorize a turn towards the inclusion of other-than-human entities in the performance field. This operation leads to the concept of ‘performative animism’, referring to the strategies of re-animation of reality through artistic performance. The second section works out the idea of ‘planetarization’ of the performance field, which designates its opening to spatial and temporal fluxes coming from a dimension that overcomes the scale of human experience, that is, the planetary dimension. The third and final section interprets the meaning of these two transformations by introducing the concepts of ‘exbodiment’ and ‘excarnation’, which tie closely to a new political task for performance art. Full article
(This article belongs to the Special Issue The Aesthetics of the Performing Arts in the Contemporary Landscape)
20 pages, 271 KiB  
Article
Aesthetic Habits in Performing Arts
by Alessandro Bertinetto
Philosophies 2025, 10(1), 11; https://doi.org/10.3390/philosophies10010011 - 17 Jan 2025
Viewed by 823
Abstract
This article explores the connection between habits and the performing arts, arguing that habits are not only fundamental to the practice and appreciation of these arts but also inherently performative in nature. Drawing on insights from various philosophical traditions (including cognitive science, pragmatism, [...] Read more.
This article explores the connection between habits and the performing arts, arguing that habits are not only fundamental to the practice and appreciation of these arts but also inherently performative in nature. Drawing on insights from various philosophical traditions (including cognitive science, pragmatism, and phenomenology), it examines how habits function within artistic processes as resources for creativity and adaptation. Engaging critically with Noë’s interpretation of the entanglement between art and life, this article highlights the dual nature of habits: as routine practices that scaffold artistic expression and as dynamic, transformative elements responsive to specific cultural and performative contexts. By focusing on key notions such as gesture, style, and rituality in the performing arts, this article discusses the role of habits in aesthetic experiences, highlighting how habits shape both artistic performances and audience engagement. This perspective challenges traditional views that oppose habits to creativity, defending instead the idea that habits are creatively operative in both the performing arts and their reception. Full article
(This article belongs to the Special Issue The Aesthetics of the Performing Arts in the Contemporary Landscape)
22 pages, 303 KiB  
Article
Musical Expression: From Language to Music and Back
by Eran Guter
Philosophies 2025, 10(1), 9; https://doi.org/10.3390/philosophies10010009 - 14 Jan 2025
Viewed by 1149
Abstract
The discourse concerning musical expression hinges on a fundamental analogy between music and language. While the extant literature commonly compares music to language, this essay takes the reverse direction, following Wittgenstein’s approach. The discussion contrasts the theoretical underpinnings of the “music as language” [...] Read more.
The discourse concerning musical expression hinges on a fundamental analogy between music and language. While the extant literature commonly compares music to language, this essay takes the reverse direction, following Wittgenstein’s approach. The discussion contrasts the theoretical underpinnings of the “music as language” simile with those of the “language as music” simile. The emphasis on characterization, performance, mutual tuning-in relationships, the interaction between language and music, and the open-ended effort to reorient ourselves as we draw in significance challenges the “informing paradigm” that has been paramount across contemporary philosophical theories of musical expression. One of the most promising philosophical avenues that emerges as we move beyond the “informing paradigm” is recognizing the inseparable relationship between musical expression and our power to shape our own language. Full article
(This article belongs to the Special Issue The Aesthetics of the Performing Arts in the Contemporary Landscape)
17 pages, 257 KiB  
Article
Philosophy of Musical Relationships: Care Ethics and Moral Responsibility of Musical Agency
by Chiara Palazzolo
Philosophies 2024, 9(6), 183; https://doi.org/10.3390/philosophies9060183 - 5 Dec 2024
Viewed by 1339
Abstract
This article addresses the inherently relational nature of musical agency, drawing upon interdisciplinary research. It argues that music does not exist in isolation but within social and emotional contexts shaped by a network of relationships among musicians. These interactions create a collaborative space [...] Read more.
This article addresses the inherently relational nature of musical agency, drawing upon interdisciplinary research. It argues that music does not exist in isolation but within social and emotional contexts shaped by a network of relationships among musicians. These interactions create a collaborative space that transcends mere technical execution, fostering a collective experience enriched by shared sensitivity and emotional engagement. Consequently, musical practice, whether compositional or performative, entails a moral responsibility, particularly challenging the perspectives of Levinas; Bauman; and Wilde, who traditionally separated art from ethics. As outlined in Nielsen and Cobussen’s work “music contributes to a better understanding of one’s place within the world, and thus, to an ethical sensibility”, emphasizing how musical practice cultivates ethical awareness through its relational nature. Music is thus conceived as a moral endeavor, where care extends not only to the music itself but also to the individuals involved in its creation and performance. Moreover, this moral responsibility extends to future generations, as musical tradition is conceived as a temporal bridge linking the past, the present, and the future. The tradition is composed of individuals actively engaged in the practices that shape the tradition or traditions. Musicians bear an intergenerational responsibility toward those who will inherit and reinterpret current practices—a responsibility not grounded in direct reciprocity, but in what Randall describes as “conceptual ties”. The continuity of musical tradition and its aesthetic value depend on the care and responsibility each generation shows toward both the participants and the evolving cultural products of this process. Thus, the discussion elucidates the ethical dimensions of musical agency and practice, particularly in Western classical music, and highlights how our obligations to future generations are intrinsic to the practice itself, thereby contributing to broader debates on intergenerational care ethics. Full article
(This article belongs to the Special Issue The Aesthetics of the Performing Arts in the Contemporary Landscape)
14 pages, 254 KiB  
Article
Landscape between Representation and Performativity
by Paolo Furia
Philosophies 2024, 9(5), 153; https://doi.org/10.3390/philosophies9050153 - 29 Sep 2024
Cited by 1 | Viewed by 1794
Abstract
This article explores the concept of landscape through the lens of performativity, challenging the traditional visual-centric understanding rooted in Western art and culture but without denying the visual and representational character of landscape. It examines the evolution of landscape representation, from its origins [...] Read more.
This article explores the concept of landscape through the lens of performativity, challenging the traditional visual-centric understanding rooted in Western art and culture but without denying the visual and representational character of landscape. It examines the evolution of landscape representation, from its origins in linear perspective and Cartesian dualism to contemporary approaches that integrate performative practices. The analysis highlights the dialectical tension between visual representation and immersive, multisensory experiences, arguing for a more integrated view that acknowledges the performative aspects of the visual. By re-evaluating the role of distance, vision, and representation, the article advocates for a nuanced understanding of landscape that balances the visual with embodied practices, ultimately proposing that landscape should be seen as a dynamic interplay between seeing and performing. Full article
(This article belongs to the Special Issue The Aesthetics of the Performing Arts in the Contemporary Landscape)

Other

Jump to: Research

15 pages, 329 KiB  
Essay
A Performance of “Aesthetics”—Conflicts and Commons in the Translation of a Nomenclature
by You Nakai
Philosophies 2025, 10(1), 23; https://doi.org/10.3390/philosophies10010023 - 12 Feb 2025
Viewed by 750
Abstract
This paper recounts the author’s reluctant journey of translating Matthew Fuller and Eyal Weizman’s Investigative Aesthetics: Conflicts and Commons in the Politics of Truth into Japanese, a process that turned out to be a mix of philosophical tightrope walking and comedic pratfalls. Along [...] Read more.
This paper recounts the author’s reluctant journey of translating Matthew Fuller and Eyal Weizman’s Investigative Aesthetics: Conflicts and Commons in the Politics of Truth into Japanese, a process that turned out to be a mix of philosophical tightrope walking and comedic pratfalls. Along the way, we meet Baumgarten, the original translator who coined the aesthetica nomenclature, Kant, who insists that there can be no such thing as a science of sensibility, and a parade of Japanese translators who took great artistic liberties in rendering an alien term into a complicated language formed by three layers of different writing systems. The author reflects on his coining of a new translation for “aesthetics” in Japanese—Kansei-Jutsu (“Sensibility-Art”)—a term that baffled publishers, thrilled a few cultural studies scholars, and may have earned a side-eye from beauty salons already using “estetikusu” for facials. The translation saga spirals into debates about what “aesthetics” even means, culminating in a bittersweet realisation: translation is less about getting it right and more about sparking delightful, sometimes ridiculous, new ways of thinking. By the end, aesthetics re-emerges as a celebration of difference, proving that even conflicts can create a strange and wonderful commons when approached with an openness to diverse sensibilities. Full article
(This article belongs to the Special Issue The Aesthetics of the Performing Arts in the Contemporary Landscape)
Show export options expand_more Show export options expand_less
Select all
Export citation of selected articles as:
 
Displaying articles 1-15
Back to TopTop