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This article serves as an introduction to a collection of papers that respond to Jonathan Palmer's paper on the role of creativity in psychoanalytic work. The contributors, who are known for their creative approach to psychoanalysis and art, offer their unique perspectives on the theme of creativity in psychoanalysis. They emphasize the significance of creativity, aliveness, and play in the therapeutic process, drawing on personal experiences and artistic references. The papers encourage readers to reflect on their own sources of creative expression and consider the role of creativity in their own analytic encounters. [Extracted from the article]

This article delves into the relationship between art and psychoanalysis, specifically focusing on the concept of aesthetic experience and its impact on therapy. The authors discuss how aesthetic experiences can lead to transformative change for both patients and analysts, allowing for new approaches to life and the ability to confront difficult experiences. They emphasize the importance of the analyst's involvement and openness in creating an environment for these experiences to occur. The article also touches on the role of creativity in therapy and the analyst's responsibility to nurture the patient's own creative self. Overall, the article highlights the interplay between art and psychoanalysis and the potential for aesthetic experiences to deepen the therapeutic relationship. [Extracted from the article]

This paper explores how co-designing urban walkability can be augmented by an innovative hybrid approach, whereby virtual records and visualisations of the walking experience can enhance the awareness, perceptions and immersion of the participant in both real and virtual spaces. From one side of that model, the research explores how people might be intrigued enough to discover the real context, based on their experience informed and enriched by parallel images of the city. On the other side, the study aimed to develop a critical understanding of urban walking through the lens of 3D high-definition LIDAR scanning technology, where visualisation techniques were used to support studies to explore how the rich experience of walking could be captured and represented. The paper presents a theoretical framework to propose how walking could be promoted, and positively influenced by the urban environment, by regarding the city from the abstract perspective of the virtual point cloud. The research has investigated how and whether a place – real and abstracted – could act as a trigger to produce novel ideas and unfold thoughts in a participatory way. The interlinkages between motion and (visual) perception of the environment as an aesthetic experience were critical to informing how digital technology can be utilised as a virtual space within which the richness of real interactions and experiences with urban space can be represented, refined, interacted with and used within a rich(er) process of co-design. [ABSTRACT FROM AUTHOR]

This paper seeks to introduce a meaning-making process called 'sensuous abstraction' as one approach to aesthetic experience in line with Dewey's philosophy. Dewey highlights aesthetic experience as the best form of experience that integrates emotional and intellectual qualities to foster deep learning and insights. Building on contemporary research on sensation, affect, and human brain, this paper identifies two distinct modes of human understanding: the linguistic/conceptual system and the sensuous-imaginative system. The former, often associated with abstraction and intellectual thinking, is heavily emphasized in traditional schooling, but the latter, integral to human cognition, is sadly neglected and overlooked. While situational meaning offers a way to bridge the two systems, it often falls short of leading to aesthetic experience. In response, sensuous abstraction can promote a process of meaning making that becomes more general than sensation but never as general as linguistic categories while maintaining its sensory wholeness as aesthetic experience demands. Using a classical artwork as an example, this paper concludes sensuous abstraction can be adopted as one approach for educators to create learning experiences by integrating sensory experience and generalizations and abstractions that lead to aesthetic experience. [ABSTRACT FROM AUTHOR]

Vasily Sesemann's aesthetics is a transcendental philosophy that seeks to answer the question of how an experience of beauty is possible. Sesemann insists that aesthetics should focus on the study of the aesthetic object itself, and through it go to the problematics of the act of perception and creativity. Sesemann states that not only the relationship between the work of art and the perceiver is important in order to understand the aesthetic object, but also the relationship between the work of art and the creator. The aesthetic object in its sedimented form not only retains indications of the act of creation, but also makes demands on the perceiving subject. Aesthetic objects are sedimented passive structures that can be activated by the performative actions of the perceiver when she discovers the appropriate way of perception. Sesemann, like Moritz Geiger, claims that aesthetics is impossible without an analysis of feelings. He, like Geiger, recognizes the importance of empathy in aesthetic experience. However, Sesemann develops the concept of aesthetic empathy using Max Scheler's arguments. Empathy is necessary, because the perceiver must be able to understand expressions. The aim of this paper is to analyse the phenomenological aspects of Vasily Sesemann's aesthetics. Firstly, this paper analyzes the Sesemann's phenomenology of aesthetic experience. Secondly, it shows that the analysis performed by Sesemann demonstrates why empathy plays a leading role in aesthetic experience. [ABSTRACT FROM AUTHOR]

Jonathan Palmer's account of his artmaking practice illuminates the distinct role of intuition and the centrality of aesthetic experience in the creative process. The paper throws light on the work of creating a setting and framework that lends itself to an intuitive engagement, both in art-making and in analysis, an engagement that allows the painter and analyst to remain open to new formations of not-yet represented elements of experience. This paper shows what is entailed in keeping the possibly of fresh experience alive, by careful attention to the framing of things, the properties of the chosen medium, and the experimental posture of the practitioner. [ABSTRACT FROM AUTHOR]

Copyright of European Journal of Psychotherapy & Counselling is the property of Routledge and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In my discussion of Huang's paper on aesthetic experience, I describe how she explores new territory both conceptually and at the level of clinical observation. Huang's novel clinical observation is that, when working remotely, the therapist can find a sense of embodied connection with the patient through the play of aesthetic resonances (realized in this instance through the song, a movie, and a poem). More broadly, the paper stakes out a model of aesthetic experience in terms of its emergent pre-reflective, presentational, transitional qualities – how it gives rise to fresh states of awareness and to new forms of experience, not yet fixed in the symbolic register. This implies the existence of a shared psycho-sensory domain of experience. As portrayed in this paper, aesthetic experience plays a central role in the discovery of an embodied way of being in the world, expanding consciousness and the sense of self by connecting us, beyond the dyad, to communal ways of sensing and feeling things. [ABSTRACT FROM AUTHOR]

With its vast network of canals, Thailand's capital Bangkok once earned its nickname as 'Venice of the East' during the nineteenth Century. Although many of the 'khlongs' (canals) have long been filled in to form roads, enough remains of their function to stir the hope of the Bangkok Metropolitan Administration (BMA) to 'revive' the city's reputation. Under the plan to modernise the network of waterways and promote water transport as a primary means of transportation, about 50,000 residents along nine canals are required to relocate. After many attempts, the last round of orders by the military government, BMA is finally going ahead with its plan in 2015. From an ethnographic perspective employing visual methods, this paper aims to explore urban interventions through the 'presence' of graffiti in the area of Chumchon Rim-Naam, more generally the relationship between eviction and graffiti under the military government. It pays close attention to socio-political discontent and counterculture through the lens of daily class struggle. Moreover, it attempts to examine the experiences of those impacted by eviction and the stories of those canal squatters who are victims of this injustice. For the authority, graffiti that appears to come in the form of a political statement has become more than just a public nuisance. The paper demonstrates that in embracing the concept of visual politics, and to further crystallise their roles in and relationships to the socio-political movement, there is the need to examine the city through visual methods critically. The specificities of visual tools and aesthetic experience in the contentious political times in which we live can and have been utilised strategically and instrumentally to mobilise people's opinions, memories, experiences and their social relationships. [ABSTRACT FROM AUTHOR]

This paper explores how everyday aesthetics shape and are shaped within dementia care settings. The authors draw upon research that explored the significance of clothing and textiles in care home settings, to identify the varied and complex aesthetic experiences of people with dementia. The study was carried out using a series of creative, sensory and embodied research methods working with people with dementia and care home staff. Findings demonstrate that aesthetics are important in care homes at a number of levels. People with dementia discussed personal aesthetic preferences and demonstrated such preferences through embodied practices. Attending to aesthetics facilitated moments of togetherness between people with dementia and care home staff, creating person-centred encounters outside task-orientated conversations. This paper supports the importance of everyday aesthetics within dementia care settings and demonstrates that greater attention should be paid to this, to reconsider and enhance not only the look and feel of care homes and everyday items, including clothing, but also dementia care practice more broadly. [ABSTRACT FROM AUTHOR]

This paper is a critical exercise in haptic aesthetics. The subject matter of such an inquiry is a rather simple one, namely, me in a canoe with a paddle and nowhere in particular to go, in essence, a form of leisure travel explained phenomenologically. Such humble beginnings are interspersed with arguments that illustrate haptic aesthetics along epistemological lines. Further still, it will be shown that paddling as a sensuous leisure activity is deeply haptic but also acoustic and the theory of ‘soundscape ecology’ will be used here to help further describe the sound and feeling of paddling a canoe in a natural environment. It is in this theoretical and sensory connection that readers should notice some ethical connotations and it is also such a connection that illustrates what could be called a ‘practical’ or ‘everyday’ aesthetics of leisure. [ABSTRACT FROM AUTHOR]

The paper explores the impact of Palmer's spontaneous gesture of a red stripe that completed his abstract painting—emotionally and aesthetically—in response to a difficult analytic relationship. The red stripe arises from his search for greater openness, emotional freedom, and creative responses to the flow of communication with his patient. The analyst's ethical intentions are inward to be open and available to the influx of the patient's emotional world, and outward, found in actions and gestures with the patient striving for honesty, transparency, a willingness to take risks and accept accidents in a search for emotion truth and authentically being present. The analyst inhabits, gathers, and concentrates feeling that provides a medium for feelings to live, take shape, and be recognized by an analytic function called "the aesthetic" that then fosters "aesthetic experiences"—intense passages of shared living that are transformative. [ABSTRACT FROM AUTHOR]

The author describes some of his interest in the painting of Richard Diebenkorn, the poetry of Bob Dylan, and a lifelong enjoyment of entomology and fly fishing as it comes into "play" with his analytic work. Diebenkorn's "Notes to Myself Upon Beginning a Painting," which were discovered after his death in 1995, are remarkably overlapping with elements of the ontological analysis of both Winnicott and Bion. The author elaborates a few elements of analytic listening from inside his personal "aesthetic matrix," a concept so helpfully introduced in Palmer's paper, "The Aesthetic Matrix: A Conversation Between a Painter and a Psychoanalyst." There is special attention to a few varieties of visual and verbal imagery linked to auxiliary containing functions for the analyst. [ABSTRACT FROM AUTHOR]

In this paper I show my painting process. That is, how I arrange my emotional and physical space together with my medium to allow a receptive and responsive experience of painting. I describe how my use of color allowed me to access previously unavailable aspects of my psychoanalytic work with a patient. Through showing as closely as possible my process as a painter, I hope that the reader will find resonance to their psychoanalytic work. [ABSTRACT FROM AUTHOR]

This paper discusses the normalisation of Israeli settlements in the occupied West Bank on the part of their inhabitants. Focusing on the so-called 'non-ideological' settlements that evolved from ideological outposts into middle-class suburbs over the last three decades, this study engages spatial politics in Israel/Palestine in general, and the transformations of the settlement project in particular. Based on ethnographic research in the region, I argue that the acceptance and normalisation of the settlements among Israelis is closely related to their affective and aesthetic experiences. I focus on the co-production of space/territory, affect and aesthetics to show how physical transformations of the settlements since their establishment have turned many of these key nodes of the Israeli occupational apparatus into family-friendly communities, thus erasing the violence of the Israeli control over the Palestinians from settlers' lives. I further demonstrate that these notions are not disrupted even by one of the most prominent symbols and technologies of the occupation, the fence/wall. This study thus contributes to understanding of how the interplay of spatial, territorial, aesthetic and affective practices works to normalise colonial conquest and domination by making their manifestations seemingly natural and even appealing on the part of the privileged segments of the society. [ABSTRACT FROM AUTHOR]

This paper provides, in the first part, a critical examination of the standard framing of the subjectivism vs objectivism dualism in the concept and practice of 'landscape character' (LC) and, in the second part, some philosophical suggestions for its improvement. After a brief overview of the emergence of the LC notion, partly in response to the modernist-aestheticist view of landscape, and of the mentioned dualism that this notion harbours, I will discuss some main problems associated with the currently dominant 'objectivist strain' in the framing of the dualism. Such problems have a common root, namely a narrow unexamined view of experience and the aesthetic dimension. In the constructive part, I will propose to reframe the relationship between subjectivity and objectivity on a pragmatist-aesthetic basis, drawing on Simmel's notion of landscape 'mood'. Finally, I will outline some implications and advantages of the suggested alternative over both the objectivist strain in the current discourse and the modernist-aestheticist paradigm. [ABSTRACT FROM AUTHOR]

Many museum or art gallery visitors record their experience through social media platforms. Instagram is a case in point. Instagram is an application for mobile devices where people post images and comments, sharing their experiences in different places, with different people. This paper shares data from a project exploring people's art gallery visitations and how they engage with Instagram in such spaces. The research aimed to answer the following research questions: What are the current practices of art gallery visitors using Instagram? and why do visitors use Instagram to experience the art gallery? Findings showed people use Instagram in art galleries for a range of reasons and these include to extend and evolve their aesthetic experience, to share their experience, and to mediate gallery space. The significance of these findings may influence decisions made by gallery curators to enhance visitor experience as well as people's expressive response to artworks. [ABSTRACT FROM AUTHOR]

The paper explores two dimensions of visitors' immersion into museum experience: aesthetics and escapism. Following the socio-cultural activity theory, it examines the impact of interactive technology available in museums on aesthetic and escapist experience. Additionally, it examines the role of hedonic expectations and the level of visitor scepticism (or its absence) towards museums with regard to immersion into the experience. Quantitative research was carried out on a sample of 313 museum visitors surveyed in two Croatian cities. Partial least structural equation modelling (PLS-SEM) was used for model testing. The results showed that interactive technology enhances immersion, also helping less sceptical visitors as well as those with hedonic expectations get immersed in the museum experience quickly. Aesthetic experience can enhance escapist experience. While both dimensions of immersion into experience contribute to the overall satisfaction, the aesthetic experience of museum visits was found to contribute to it more. [ABSTRACT FROM AUTHOR]

This paper explores students' involvement in an extra-curricular journalistic activity set up in a transnational university in China, by drawing on the connection between art, emotions and experience postulated by the philosopher John Dewey. The article will show how undergraduate students verbalized their experience of writing news features and other items for a campus magazine, their motivations for taking part in the magazine, their expectations, the obstacles they had to overcome, and the ways in which they felt rewarded by this experience. This study argues that looking into students' reflections on a magazine production can help broaden our understanding of student media practice as an aesthetic dynamic and structured endeavor characterized by the following traits: novelty, instinct, emotion, struggle, and transformation. [ABSTRACT FROM AUTHOR]

The idea of connecting with the sensory realities of others can help us to build empathic ties and to think outside the boundaries of our preconceived ideas. Envisioning these opportunities, this paper introduces a framework with a set of embodied modalities derived from communicating embodied experiences through a prototype for storytelling called SOUL. This prototype was built to transmit some experiential qualities based on a first-person narrative truthfully. Three ways of bodily connecting with the experience of others are here identified as (1) assertion, (2) negotiation or (3) dissension, and described as different ways of generating embodied connections with the prototype. This approach is intended to enrich the value of alterity in HCI, including disagreement and tension in times where the design of one size fits all artefacts appear as the general rule. We conclude that this sensory way of transmitting meaning can be useful for communicating assertive messages. [ABSTRACT FROM AUTHOR]

This paper explores possibilities for more democratic approaches to researching learning in and through everyday workplace practices. This links with a concern with who is able to speak in representations of learning at work, what is able to be spoken about and how knowing, learning and experience are inscribed in theories of workplace learning. I propose that Rancière's notion of 'the distribution of the sensible', which draws attention to an aesthetic dimension of experience, knowledge and politics, provides a useful way of exploring learning in and through everyday workplace practices. The approach points to the possibility of knowledge without hierarchies and a shift from a knowledge - ignorance binary. An understanding of experience as aesthetic enables accounts of learning which counter the story of destiny in literature on learning in and through everyday practice. It also points to a very different way of doing academic research. The presupposition of equality is the point of departure in this approach and the purpose of research is the verification of equality (rather than the verification of oppression). The paper makes a significant contribution to literature on learning in and through everyday workplace practices by disrupting a prevailing view that knowledge is necessarily tied to identity. [ABSTRACT FROM AUTHOR]

Experimental philosophy of aesthetics has explored to what extent ordinary people are committed to aesthetic realism. Extant work has focused on attitudes to normativism – a key commitment of realist positions in aesthetics – the claim that aesthetic judgments/statements have correctness conditions, invariant between subjects, such that there is a fact of the matter in cases of aesthetic disagreement. The emerging picture is that ordinary people strongly and almost universally reject normativism and thus there is no strong realist tendency in ordinary people's thinking about the aesthetic. This has been taken to dissolve the traditional puzzle in aesthetics of how to best account for the fact that (a) aesthetic judgments seem intersubjectively valid, while (b) aesthetic experience seems subjective. This paper presents studies which further enrich our understanding of ordinary thinking about the aesthetic: ordinary thinking about the aesthetic may not be so vehement in its rejection of normativism; and where previous results suggested that, in many cultures, the dominant trend is to reject correctness conditions for aesthetic judgments, the current results suggest participants think aesthetic judgments have correctness conditions (albeit perhaps very finely relativized to specific circumstances of judgment). [ABSTRACT FROM AUTHOR]

In this paper, I offer a defence of aesthetic education in terms of aesthetic experience, claiming that aesthetic experience and art appreciation is a vital component of a flourishing life. Given schools have an important role to play in helping prepare young people for their adult lives, it is crucial they should consider how best to equip students with the means to achieve a flourishing life. It is on these grounds I defend arts education as compulsory across the curriculum. In order to adopt this position, I firstly critically engage with two competing defences of including the arts on the curriculum on the basis of firstly, the role art has to play in supporting self-expression, and secondly, a defence of the arts in relation to their role in supporting moral improvement. After explaining why these arguments fail to do the work required to defend aesthetic education as thoroughly as is needed, I turn to the defence based on aesthetic experience because it allows for a defence of the arts to be made on the basis of art's distinctive value. [ABSTRACT FROM AUTHOR]

We are living through a time when simplistic notions of good/bad, right/wrong, and us/them, have come to dominate our encounters with each-other and our planet. Against this 'persecutory' backdrop, this paper considers the promise of a more relational and mutually supportive way of living. Introducing Aesthetic Critical Realism (ACR), I present a laminated explanation of 'aesthetics in a persecutory time'. This is founded on our capacity for aesthetic experience (the emergent experience of being-in-relation with the natural necessity of the world); doing art (giving shareable form to our aesthetic experiences); and caring for culture (as our system(s) of value recognition). Far from being of interest only to artists and the arts, 'aesthetic reason' bridges theoretical (scientific/philosophical), practical (political/ethical) and productive (creative/artisanal) knowledge. In living 'artfully' we both 'give and get recognition', and this is a requirement for human flourishing. [ABSTRACT FROM AUTHOR]

Aesthetic techniques are increasingly used by marketeers to create enticing digital products. In this paper, I work with the aesthetic experiences of one audience group to consider the psychological impact of living in a culture where digital devices are deliberately designed to influence behaviour. I argue that aesthetic encounters can help with understanding the impact of the interplay between visual stimulus, affect and digital culture, in ways that may support situated understandings of mental distress in a digital age. I show how audiences respond to the artist-led research project Are We All Addicts Now? arguing that they generate ideas connected to submersion and being overwhelmed as a means of reporting on their own personal experiences of living in a digital culture that seeks to influence behaviour. The findings may have value for designers, curators and artists invested in understanding the experiential impact of digital devices. [ABSTRACT FROM AUTHOR]

Keywords: Aesthetics; agency; games; phenomenal experience; C. Thi Nguyen EN Aesthetics agency games phenomenal experience C. Thi Nguyen 380 391 12 12/22/21 20211101 NES 211101 In his fascinating new book I Games: Agency as Art i , C. Thi Nguyen claims that games construct and frame forms of human agency in a way that gives rise to a genuine I aesthetics i of agency. Three extensions of Nguyen's view I'll argue that the aesthetics of agency can incorporate three elements Nguyen left out: emotions of agency, patterns of attention, and affordances. Like Dewey, Nguyen begins with a refreshingly expansive understanding of those experiences that can have (or confer on their objects) genuine aesthetic value.[2] What Dewey left out, according to Nguyen, is the role of a I player i in a game. This is a tall order, but Nguyen does constrain his task: 'I don't mean to imply that aesthetic experiences are essential to art, nor to claim that games' sole purpose is to provide aesthetic experiences', he writes. [Extracted from the article]

Ari Aster's 2019 folk horror film Midsommar, which enjoyed both critical and popular success, features a bright colour palette and an eerily playful tone alongside a dark narrative exploring complexities of grief, depression, and bad relationships. The remote Swedish community to which protagonist Dani, her boyfriend, and his friends travel for a mid-summer festival is designed around beautiful objects, collective experiences, and rituals that foreground communal emotions, all of which contrast the technologically mediated communications foregrounded at the film's outset. In fact, this community offers meticulously constructed antidotes to the loneliness of the modern world, and to Western ideals of masculine emotional distance...but at a cost. This paper examines the intersection of emotion, community, and gender in Midsommar, using the concept of affective design – usually associated with technology design – as well as work on group-based emotions, to interrogate the film's vision of a community that challenges gender norms and the boundaries of emotional experience. Through the depiction of ingroup boundary-policing, stark contrasts between visions of masculinity, and lush visions of aesthetic experience and emotional release, Midsommar offers a series of convincing compensatory mechanisms that invite viewers, along with the main character, to temporarily compromise morality for the sake of belonging. [ABSTRACT FROM AUTHOR]

Researchers have argued that a central goal of science education is to transform students' out-of-school experiences, so that students have aesthetic experiences of the world that would not otherwise be available to them. The goal of this paper is to articulate a set of design principles that support this goal. In doing so, I will first position this as a problem of transfer, and describe a perspective on transfer in which an idea or experience is not so much abstracted from its original context, but one in which the learning context incorporates out-of-class contexts, and vice versa. After characterising a range of context domains that may be positioned intercontextually, I will argue that such transfer of scientific activity is fostered in classrooms that are themselves intercontextual: where out-of-class contexts are invoked by students in scientifically consequential and aesthetically meaningful ways as they develop and vet ideas. I develop a taxonomy of intercontextuality and describe classroom episodes of such intercontextuality from an undergraduate course that shows evidence of high transfer of aesthetic experience. I then offer suggestions for how elements of course design may support students in such aesthetic experiences. [ABSTRACT FROM AUTHOR]

Live Journalism events, not often explored within academia, bring together journalistic values, stories, and professionals with elements of theater and spoken word performances to engage audiences in a physical gathering. This article discusses two case studies from the UK, the festival Sunday Papers Live and the monologue No Direction Home: Refuge Woman, analyzing how their format and set-up shape the content being delivered, and asking if they constitute a realignment of traditional journalistic forms in aspects such as news genres and use of sources. It establishes that live events could potentially foster a slower engagement with news, provide the audience with an opportunity to understand aspects of the production and funding of journalism and, in the case of the monologue studied, present a novel way of working with sources. It also addresses the idea and practice of critique to argue that, despite their significant differences, these live events unpack how stories are constructed and therefore suggest, explicitly or not, that news can be formed in a variety of ways. [ABSTRACT FROM AUTHOR]

In this article, I will take a closer look at the forms of experience that are considered from a point of totality as an abounded and emptied out ideology of subject in relationship to mediated painterly image. The two rather disparate examples are used as a leading thread towards unraveling of the type of experience that is increasingly made virtual and mediated via information technology channels and interactions. The first example comes from a movie by Andrea Arnold titled Fish Tank and highlights the intensity and physical sensations of the actual event we may want to refer as 'real'. The second is the mediated painterly image that is subject to information and technology-based painterly practice here exemplified by the work of the American painter Christopher Wool. The two modes of representation are both questioning of the systems of knowledge that no longer adhere to the authenticity of experience but are part of perpetual mediation and the broadcast of information. [ABSTRACT FROM AUTHOR]

In the city of Dar es Salaam, hip-hop and performance poetry events are a vibrant, visible presence. Research into this phenomenon has generally explored its relation to historical, economic, social or political contexts. Such approaches are only ever rarely concerned with the experiences generated by and within the performances. This paper takes aesthetic experience as a point of departure, exploring how participants experience performance poetry and hip-hop in Dar es Salaam. Reflecting on the notion of 'vibe' as expressed by participants during fieldwork, I suggest it refers to the aesthetic experience of performance which is also a form of knowledge production through which participants engage with their everyday lives. 'Vibe' allows us to grasp the sensuous rendering of hip-hop and performance poetry and highlights the entanglement between body, space and text in producing the aesthetic experience of the performance. [ABSTRACT FROM AUTHOR]

Current academic debate suggests that landscape architects have a crucial role in the conservationof engaging of biodiversity within urban and peri-urban contexts. By modulating the visual and physical interaction between humans and wildlife habitats, landscape architecture projects foster an aesthetic experience of biodiversity, contributing to shaping human understanding of its ecological value. This article discusses the relationship between landscape architecture and the promotion of biodiversity in Italy through a critical reading of a variety of design interventions ranging from the enhancement of sites included within nature reserves, to the reconstruction of lost natural habitats, to the inclusion of existing habitats in newly designed urban landscapes. Proposing four different typologies of spatial practices, defined according to the projects' ability to engage visual perception and bodily movement, this paper aims at positioning the Italian context within the current global discussion on the role of landscape architecture in eliciting an aesthetic experience of biodiversity. [ABSTRACT FROM AUTHOR]

The experience of place in arts-based service learning (ABSL) is personal. It can be difficult to define and challenging to share and build upon. This paper, reporting from a national ABSL project involving three Australian universities, is concerned with experiences of place in forming professional teacher identity. Using a narrative methodology in presenting the stories of six people, pre-service teachers and Indigenous community members, the paper draws on a number of different theoretical frameworks to explore each participant’s experience and its longer-term impact on their thinking. The participant stories revealed the value of spaces between art-making, teaching, and research. The learning experiences led pre-service teachers to reflect deeply in relation to self and to consider the impact of their experiences on both current and future professional interactions. As anticipated, participants found it difficult to communicate these elemental experiences in the written word. The findings have implications for the value of flexible and critical service-learning approaches, particularly in diverse cultural contexts. [ABSTRACT FROM PUBLISHER]

This paper investigates what it may mean to re-imagine learning through aesthetic experience with reference to John Dewey’sArt as Experience(1934). The discussion asks what learning might look like when aesthetic experience takes centre stage in the learning process. It investigates what Dewey meant by art as experience and aesthetic experience. Working with Dewey as a philosopher of reconstruction of experience, the discussion examines responses to poetic writings and communication in learning situations. In seeking to discover what poetic writing (as art) does within the experience of a reader and writer it considers three specific learning situations. Firstly there is an examination of a five-year old child’s experience of shared communication through the story of Horton the Elephant. Secondly there is an account of the responses of an 11-year-old child to poetry in a 1950s classroom setting, and later reconstructions of those experiences by the child as adult. Thirdly, the paper extends to intensive writing with 12 to 13-year-old children. The focus is on the process of learning via acts of expression as aesthetic experiences. Through art as experience the child develops perceptions that recover a coherence and continuity of aesthetic experience in art as in everyday life. [ABSTRACT FROM AUTHOR]

The pertinence and worth of arts in Quebec primary schools vary considerably from one institution and school administration to another. In this paper it is argued that well-integrated arts education would bring a large array of pedagogical benefits to students, not the least of which is the preservation and the development of aesthetic perception and creativity. Actually, teachers can rely on the syncretistic and amodal perception of the young child, a learning mode that is analogous to the aesthetic experience and fostered by art practices. The paper draws notably on Ehrenzweig and Winnicott to advocate that the school, through arts education, should preserve and make use of this precious perceptive faculty, and temper the educational bias that largely favours the logical or analytical mode of the child. It advocates for an essential developmental balance between the child's intuitive and analytical faculties, a healthy equilibrium that arts education has the potential to instil. Children and society both have much to gain from the school's fostering of arts education and aesthetic perception: children from their balanced development and society from future creative citizens' contributions. [ABSTRACT FROM AUTHOR]

This paper aims to define what competitive perception is. Using Dufrenne's phenomenological analysis of the art spectator's experience, namely the concept of aesthetic perception, I will claim that it is useful to apply this phenomenological approach to the experience of watching sport events. I will argue that the concepts of uncertainty and auto teleology, being two main features in sport competition, are helpful to define competitive perception. [ABSTRACT FROM PUBLISHER]

There are concepts of freedom of mind and freedom of belief which do not depend on the freedom of agency. After discussing some impediments to such freedom of mind, the paper explores some arguments of Dennett, Michael Smith and Philip Pettit, and Josefa Toribio. Borrowing ideas from Schiller, the paper concludes that such freedom has an emotional or aesthetic dimension. [ABSTRACT FROM AUTHOR]

Copyright of Tourism Geographies is the property of Routledge and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The assemblages of (post)industrial neoliberal society include the production of vast quantities of post-consumer materials categorized as waste, which for many appears to vanish from everyday spaces. But rather than make it disappear in any final sense, recycling and disposal processes simply move it in new forms into new places within the global flows of waste. In urban contexts, the abject category of waste must be expelled from the sanitary spaces and subjectivities of daily routines, yet its corresponding absence in everyday perception obviates the urgency of action. One approach to unbundling the abject residue of contemporary society without instigating castastrophic rupture of social orders is through the aestheticization of the expelled. Artists working in the realm of abjection can serve as agents disrupting and redefining boundaries and social imaginaries of the status quo. In this paper we examine an artist-in-residence at the Edmonton (Canada) Waste Management Centre, arguing that the Deleuzian assemblages erasing the material consequences of garbage can be short-circuited in a municipal setting by redistributions of aesthetic experience. In this case, the artist residency embedded in human and mechanical assemblages of waste disposal allowed the artist to transform materials into an aesthetic spectacle recategorizing the abject as sympathetic and a vital component of social and spatial discourse. [ABSTRACT FROM AUTHOR]

This paper focuses on Stendhal's Mémoires d'un touriste (1838) and its eco-conscious bourgeois traveller's exploration of the Dauphiné. Stendhal's account of this Alpine region presents a critical stance in which the landscape is filtered through natural history, art, and recent post-revolutionary history. His resistance to a purely aesthetic experience of nature leads to a productive social model in the local populace's sense of a land ethic: in the Dauphiné, the narrator discovers, the inhabitants can effectively live in harmony with the natural resources that they cultivate. [ABSTRACT FROM AUTHOR]

The controversy surrounding trigger warnings has highlighted a mystifying confound in post-secondary education. Faculty, students and school bureaucracies are divided. While trigger warning proponents emphasise the value of protecting students with trauma histories from unscaffolded exposure to content related to sexuality, violence, race and political strife, agonists interpret the trigger warning as a threat to academic freedom, artistry and professor autonomy. This paper presents an episode that occurred at a prominent school of education, in which an instructor's choice of content triggered a post-traumatic response in a student. As the story unfolds, the narrative shifts back and forth between the instructor's and the student's experience of the event. The piece concludes with a commentary made by a clinical psychologist and trauma expert, who weighs in on the challenges confronting both professors and students, as each attempts to navigate handling emotionally charged, potentially triggering contents in the post-secondary classroom. [ABSTRACT FROM AUTHOR]

Arthur Danto’s Transfiguration of the Commonplace is a new theory of art, seeking to catch the flavour and essence of its contemporary phenomenology. It is obliged, however, to pit itself in toto against aesthetic philosophy, leaning on the derivatives from deuteropraxis and institutional definition while committing itself to a concept of arthood extracted from exoteric ideas, which are held to comprise the artworks’ individuation and identity. This paper examines the principal notions in support of his contentions and contrasts them to the chief principles of aesthetic philosophy. In this juxtaposition, it transpires that conviction eludes Danto, as his suppression of aesthetic criteria yields unsuspected aporias from a disconjugate amalgam of inherence, ontology, epistemology and concept integration. Thus the leap from “mere real things” to the plateau of arthood is never accomplished, as it falters at the step where a perceiving subject has a stake in, and the power of authorisation, of this conception of art. [ABSTRACT FROM AUTHOR]

Iki is the key word of Shūzō Kuki’s The Structure of Iki, and it became one of the most widely recognized Japanese aesthetic categories mainly due to this work. However, in The Problems of Contingency, which is Kuki’s most important philosophical work, there is no discussion of iki again, and consequently, most commentators of Kuki fail to see the correlation between his theories of iki and contingency. This article, by contrast, intends to provide a new interpretation of iki in the light of Kuki’s theory of contingency. The specific thesis of this paper is that aesthetic phenomena categorized as subject to the principles of iki are positively evaluated in Japanese culture just because the consciousness of iki is just one form of the consciousness of contingency, in which the awareness of alternatives to the actual situation could produce considerable spiritual entertainment for aesthetic subjects. [ABSTRACT FROM AUTHOR]

In Kafka’s unfinished story, The Burrow, an unidentified subterranean creature struggles while digging in a burrow, constantly engulfed in anxiety for potential intruders. His obsessive anxiety starts to be materialised in his hearing of a noise everywhere and at constant intensity. Incessantly speculating the cause of this noise, his dreadful imagination first finds it as a swarm of small fries, eventually growing into a single gigantic monster threatening his burrow, as if desiring an irresistible entity that goes beyond the idea of the individual. Inspired by this story of a creature suffocating from his lonesome effort of nesting, this paper discusses how an individual sensation of dread could potentially transcend to an ability to imagine social totality, drawing on the philosophical readings of Kafka’s other character Odradek by Benjamin and Adorno. I further argue that this process is aesthetic, correlating Freud’s idea of the uncanny with Adorno’s theory of aesthetic experience which examine the negotiation between individuation and socialisation in an experience of desubjectification. By sketching out the anxious hearing in The Burrow in reference to the disturbing seeing of object-creature Odradek, I discuss the feeling of dread that marks the transformation of individual entities into a transcendent social/collective being. [ABSTRACT FROM AUTHOR]

This paper reviews and analyses an artistic intervention in the context of aesthetic organizational inquiry and theatre in organizations. Having served as inspiration and as a tool within organizations, theatre now has returned the favour: Rimini Protokoll, a group of directors, used Daimler's 2009 Annual General Meeting in Berlin as a ready-made and constructed it as a theatre play entitled Hauptversammlung. Two hundred theatre spectators were channelled into the event via the purchase of shares. This study focuses on the aesthetic experience of the event and underlines the potential of artistic forms for aesthetic organizational inquiry. Implications suggest that a so-called postdramatic, nonlinear aesthetic form can be most promising for enabling critical interpretations of organizational issues. [ABSTRACT FROM AUTHOR]

The standpoint of this paper is the distinguished Ode to Sport from Pierre de Coubertin, specifically the second part of the elegy, the one concerning beauty. Starting with “O Sport, you are Beauty!”, Pierre de Coubertin mentions, beyond beauty, an assemblage of aesthetic categories such as sublime, abject, balance, proportion, harmony, rhythm and grace. He also mentions strength, power and suppleness. Although the first quoted categories are general categories of aesthetics, it seems quite relevant to emphasize the need of the author to introduce specific categories that fits to body movement and sport, such as strength, power and suppleness. There is no doubt that the first group of categories also fits to sport and body movement, but it equally fits to different forms of art, while strength, power and suppleness can only be literally applied to sport and performing arts. The purpose of this paper is to analyze strength as an aesthetic category of sport, developing three main arguments: the feeling of achievement and its conservation, the fight against gravity and the multiple forms of strength’s expression. It is concluded that strength can improve the communicative power of sport and its emotional appeal. In sports such as gymnastics, diving or synchronized swimming, the appreciation of strength exhibited by the athletes communicates to the observer some king of ease and lightness that enhances the aesthetic judgment. In other sports like weightlifting, sumo or rugby, effort and heaviness are stamped on the athlete's faces, what contributes to a sort of communion between the observer and the athlete that can also improve the aesthetic experience. [ABSTRACT FROM PUBLISHER]

In the aftermath of Hurricane Katrina, thousands of people died and millions were displaced from their homes. The deceased and displaced were portrayed as 'expected losses,''collateral damage' and 'inconvenient bodies' in need of disposal. Through discourse and media analysis, this paper will employ the theoretical constructs of embodiment and aesthetics to examine the relationship between historical and ecological patterns that contributed to the visual representations and memorialisation of death in Hurricane Katrina. In viewing the deaths that occurred as fundamentally biopolitical, this paper will propose that the continued displacement of New Orleans' predominantly African American residents inhibits their ability not only to resist neoliberal models of reconstruction currently taking place in New Orleans, but also their ability to engage in culturally familiar ways of grief and bereavement and incorporate the losses of their loved ones, homes and city within their emotional ecosystems. [ABSTRACT FROM AUTHOR]

This paper gives an account of a fieldwork exercise in Paris which attempted to relate social theory and fieldwork practice. The paper begins with a brief historical review of different perspectives on the practice of walking, as a form of movement through the city with aesthetic and critical potential. A more detailed account is then given of the particular theories and practices of the avant-garde group known as the Situationist International, which are drawn upon for the fieldwork exercise. The paper then reflects on the problems encountered in trying to apply these ideas in a fieldwork exercise, and concludes with some comments on improvements and further developments. [ABSTRACT FROM AUTHOR]

What is the current status of museum design research? How has the field progressed and how might we characterise contemporary museum design research? What are the barriers to the ongoing development of museum design and what role might research play in enabling museums to harness their physical, designed forms towards the production of meaningful, active, ethical and ongoing visitor experiences as well as the tangible manifestation of mission? This paper explores one very specific piece of research undertaken with colleagues from the Imperial War Museum North in the early months of 2014. The project proved highly productive, prompting a whole range of questions and generating new insights about the future of museum design research and its ability to make a positive and meaningful contribution to the ongoing transformation of museums into visitor-centred organisations. Most significantly, the project showed the value of design thinking and a research-led approach to museum development; harnessing the possibilities of museum design for a more fundamental thinking through of the visitor-centred visions, values, missions and making of museums. [ABSTRACT FROM PUBLISHER]

This paper offers a close reading of PAW Media animation My Name is Danny. Drawing across a growing body of recent Central and Western Desert experimental cinema, this paper asks what is at stake in the turn to animation. Rather than escapism or otherworldly fabrications which have little to do with lived experience of the "real," animation in this context has potent everyday exigencies and politics. The capacity for bringing to life literally – animate – is here linked to the primacy of a sentient landscape; an object world already alive and enlivened with motion, movement, sensation. The question for contemporary filmmaking (as indeed, for other forms of remote experimental Indigenous art) is how to engage country and its viscera today. How to keep country/Ancestor/story alive literally through sentient forms of affective exchange; a project which animation, as this paper will explore, uniquely provides. Drawing on the phenomenology of Merleau-Ponty and Deleuze, as well as the animation theory of Cholodenko, Lemarre and others, this paper argues for a radical reconsideration of animation not as incompatible with tradition but in fact as facilitating traditional ontologies of affect and sensation in a national context of remote Aboriginal Australia "under occupation." [ABSTRACT FROM AUTHOR]