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Magazin erwachsenenbildung.at (2014) 22, 10 S., Das Bedürfnis nach einem ethischen Lebensentwurf, nach einem guten Leben, verstanden als schönes, aktives und politisches Leben, scheint ungebrochen. Aber sind wir heute nicht gezwungen, „virtuosi“ zu werden, die ihren Körper, ihre Sinne, all ihre Talente und Geschicke, einschließlich der sprachlichen, schöpferischen Fähigkeit einsetzen müssen, um im globalisierten, neoliberalen Wettbewerb zu bestehen? Angesichts von Globalisierung und Digitalisierung, aber auch der Finanz- und Staatsschuldenkrise und der daraus erwachsenden Herausforderungen erfahren Schillers „ästhetische Erziehung“, vor allem seine Forderung nach spielerischer Vermittlung zwischen Vernunft und Erfahrung, und die Frage nach kultureller Bildung an Brisanz. Wie sieht also ein „Update“ ästhetischer Bildung für die Erwachsenenbildung aus? Die vorliegende Ausgabe des Magazin erwachsenenbildung.at (Meb) versammelt Beiträge, die über ästhetische Bildung, ästhetische Erfahrung und ästhetische Wahrnehmung in Theorie und Praxis, in Kunst und Musik reflektieren und dabei ein großes kritisches und emanzipatorisches Potenzial zu Tage fördern. Wird Kreativität nur mehr im Sinne einer strikten kapitalistisch-rationalistischen Verkürzung der Bildungsidee gelebt? Ist Kunst, verstanden als eine kritische Hinterfragung der Gegenwart, heute Katalysator der Persönlichkeitsentwicklung und Emanzipation? Vorgestellt und hinterfragt werden u.a. die emanzipativen Möglichkeiten von Gamification, intergenerative Kulturvermittlung im ästhetischen und feministischen Tun, politisch-partizipative Theaterarbeit, szenische Lehrforschung, die partizipative Entwicklung digitaler Lernmedien und Modelle ästhetischer Lernerfahrung. Das Gute und Schöne, revisited? (DIPF/Orig.), The need for an ethical way of life, for a good life, which is understood to be a beautiful, active and political life, seems to remain. Yet today, aren‘t we forced to become “virtuosi” who must make use of our bodies, our senses, all our talents and gifts including linguistic, creative ability in order to survive the globalized, neoliberal competition? In the face of globalization and digitalization as well as the financial and government debt crisis and the challenges arising from them, Schiller‘s “aesthetic education” is extremely topical, above all his demand for playful communication between reason and experience and the question of cultural education. What would an “update” of aesthetic education for adult education look like? This issue of the Austrian Open Access Journal on Adult Education (Magazin erwachsenenbildung.at – Meb in German) is a collection of articles on aesthetic education, aesthetic experience and aesthetic perception in theory and practice, in art and music that reveal a great critical and emancipatory potential. Is creativity only experienced in the sense of a strict capitalistic and rationalistic reduction of the idea of education? Is art, understood as a critical examination of the present, a catalyst for personality development and emancipation today? This article presents and examines the emancipative possibilities of gamification, intergenerational cultural communication in aesthetic and feminist action, political and participative theatre work, teaching research projects with performance methods, participative development of digital learning media and models for aesthetic learning experiences. The good and the beautiful, revisited? (DIPF/Orig.)

My research investigates exhibitions as sites of research and appraises the possibilities and contradictions of a progressive and socially engaged media art practice. The international art movement New Tendencies (NT) (1961-1973) provides the material evidence through its exhibitions, symposia, artworks, catalogues, newsletters and artist's statements. The basic methodological assumption behind my research is that new insights are gained by questioning the various interdependencies between NT and historical change. \ud \ud NT was searching for a synthesis between socialist emancipation and artistic modernism by proposing to replace the notion of art with visual research. The project emerged in Zagreb, capital of Croatia which was then part of Yugoslavia, a Socialist nation which did not belong to the Eastern bloc and experimented with market Socialism combined with social self-management and self-government. Yugoslavia's unique role between the hegemonic power blocs made it possible that an international, humanistic, and progressive art movement could emerge from its territory. \ud \ud With every exhibition and conference NT articulated its artistic position and set itself into relation with the respective techno-economic paradigm. NT began during the height of Fordism, continued during Fordism's moment of crisis in 1968, and ended when a new paradigm – informational capitalism – started to develop from within the old one. In this historical context, my hypothesis is that NT's exploration of participatory art stands in direct relation to the rise of automation and cybernation in society. A further layer of inquiry is the historically changing relationship between manual and intellectual labour and how art addresses it. \ud \ud By contextualising NT my research contributes a new dimension to the history of media art. Through the chosen methodology, a new understanding is gained not only of this important art movement but of the general dynamics of media art in the second half of the 20th century.