Explains musical concepts in clear, accessible language without relying on technical jargon or notated musical examples.Provides a trenchant critique of contemporary affect theory through an ...investigation of an earlier moment in its history.This is the first book to bring together historical music theory with the new and growing domain of affect theory.
Peculiar Attunements places the recent turn to affect into conversation with a parallel movement in European music theory of the eighteenth century. During that time the affects-or passions, as they were also called-formed a vital component of a mimetic model of the arts. Eighteenth-century critics held that artworks imitated or copied the natural world in order to produce copies of the affects in their beholders. But music caused a problem for such theories, since it wasn't apparent that musical tones could imitate anything with any dependability, beyond the rare thunderclap or birdcall. Struggling to articulate how it was that music managed to move its auditors without imitation, certain theorists developed a new affect theory crafted especially for music, postulating that music's physical materiality as sound vibrated the nerves of listeners and attuned them to the affects through sympathetic resonance. This was a theory of affective attunement that bypassed the entire structure of representation, offering a non-discursive, corporeal alternative. It is a pendant to contemporary theories of affect, and one from which they have much to learn. Inflecting our current intellectual moment through eighteenth-century music theory and aesthetics, this book offers a reassessment of affect theory's common systems and processes. It offers a new way of thinking through affect dialectically, drawing attention to patterns and problems in affect theory that we have been given to repeating. Finally, taking a cue from eighteenth-century theory, it gives renewed attention to the objects that generate affects in subjects. Shows how the affective turn that has swept the humanities and social sciences has its origins in theories of music.
Entre 1972 y 1982 Andrés Rivera pausa sus publicaciones y redefine su poética autorial. De una anterior mímesis orgánica va hacia una inorgánica, combinada con experimentación y autoficción. Política ...e historia son redefinidas en su tratamiento. Devienen importantes los sujetos que cuentan sus propias experiencias de luchas sociales y políticas. Se acentúa la relevancia de novelas familiares y lo escritural, como espacios de resignificación de aquellas diversas experiencias. En diálogo con lo histórico y el psicoanálisis, reflexiono sobre Nada que perder, El verdugo en el umbral y La revolución es un sueño eterno.
The text problematizes the connection between art and the power of technology. The question arises: how can photography as an art, created as a technical invention, respond to the challenges of ...technical power, which manifests itself as an unconditional desire for domination that knows no limits? The esthetician from Sarajevo, Sadudin Musabegović, understood the very power of photographic representation precisely through the figures of division: mimesis - poiesis - techne. Martin Heidegger's opinion on technique is connected with the figure offered by Musabegović. Sadudin Musabegović's aesthetic thought provides possible answers to the question: how is a man present in photography itself when the famous film critic Andre Bazin said that photography is the only art we enjoy because of an absence of a human? And what role does art play in overcoming the crisis established by technology in the modern world? In the 'age of mass reproduction', art itself has lost its aura, as Walter Benjamin states, and Musabegović adds that even the photographed being has lost its aura. The problem of losing the aura can also be understood as a new beginning, as a ‘new source’ for art itself. But for the source itself, Musabegović says that he finds himself in the flow, that he is always outside himself, he is in the intertwining, permeation that manifests itself in a dynamic, reversible, and moving figure: mimetic activity – making techne – productive poiesis. This text aims not only to explain the meaning of this figure, which Musabegović established originally within aesthetics, and especially in the field of photography and film, but also to analyze its meaning in the context of unmasking the logic of modern technical control, which marked a modern way of living, thinking, and perceiving the world.
Los tipos de mímesis artística son básicamente tres: ritual, visual y cognitiva. Las dos últimas son las que más han influido en el arte, y se corresponden con las tesis defendidas por Platón y ...Aristóteles. La experiencia estética de la pintura vinciana es diferente. Tal distinción no depende de la fidelidad a un supuesto modelo real, tampoco de la corrección anatómica de sus personajes o de la pureza geométrica de sus perspectivas. Parece guardar relación con lo que en el ámbito de la Estética se denomina ‛identificación’, ‛encarnación’, ‛presentización’ o ‛representación’. En el presente artículo proponemos reseñar que Leonardo fue un artista más aristotélico que platónico. En su obra y escritos hallamos suficientes trazas aristotélicas. Sin embargo, en el pensamiento y el hacer vinciano se da una forma de mímesis inventiva que nos permite reinterpretar qué es una representación. Se pretende advertir el hondo calado representativo, en el sentido de un hacer presente, que subyace en el hacer vinciano. Su destreza no se agota en la semejanza, ni en el conocimiento de la realidad, sino en un convocar a presencia. Semejante hito nos permite aventurar, más allá de tendencias psicoanalíticas o psicológicas, por qué algunas obras vincianas -inacabadas- podemos considerarlos finalizados.
The main aim of the article is to analyze the tragicomic elements contained in
Cervantes´s Don Quixote paying attention to the story of the Curioso impertinente based on the
notion of tragicomedy ...analyzed by Lope in his New Art and in relation to the theme exposed
in Lo fingido verdadero. In our opinion, the problem of poetic mimesis in Plato’s Republic offers
the keys to show the dangers of imitation with Lope’s approaches
El objetivo del artículo es analizar la dimensión tragicómia contenida en
el Quijote prestando atención al relato del Curioso impertinente a partir de la noción de
tragicomedia analizada por Lope en su Arte Nuevo y en relación a la temática expuesta en Lo
fingido verdadero. A nuestro juicio, el problema de la mímesis poética en la República de Platón
ofrece las claves para mostrar la interpretación cervantina sobre los peligros de la mímesis en
consonancia con los planteamientos de Lope.
Tässä tutkimusartikkelissa tarkastelen, miten Adornolle tärkeä käsite mimesis, joka liittyy jäljittelyyn, on hyödynnettävissä demokratiakansalaisuutta koskeviin kasvatuskeskusteluihin. Adornon ...näkökulmassa mimesis parhaassa tapauksessa mahdollistaa yksilön kehittymisen omaksi itsenäiseksi ainutlaatuiseksi persoonakseen. Mimesiksen vahingollisessa muodossa yksilö kadottaa oman itsensä kollektiiviin. Tutkimusartikkeli on motivoitunut siitä huomiosta, että valtavirta demokratiakansalaiskasvatuksen ja -oppimisen teorioista korostaa rationaalista, tietoisuuteen ja yksilön autonomiaan perustuvaa toimijuutta. Tarkoitukseni ei ole kyseenalaistaa näiden ulottuvuuksien merkitystä demokratiakansalaisuuden rakentamisessa. Pikemminkin tavoitteeni on tuoda edellisten rinnalle näkökulma, joka tavoittaa demokratian vahvistamisen kannalta tärkeän inhimillisen olemuspuolen, jota aiemmat keskustelut eivät huomioi. Ehdottamani näkökulma, mimesis, huomioi ihmisen biologisena ympäristönsä kanssa syvällisesti vuorovaikutteisena olentona, jonka (tietoiset ja ei-tietoiset) oppimisprosessit ovat monisyisiä ja usein yhteenkietoutuneita. Artikkelissa subjekti nähdään aktiivisena toimijana ja mimeettisenä oppijana keskinäisriippuvuuksien suhteissa – niin hyvässä kuin pahassa. Mimesiksen käsite tarjoaa teoreettisia työkaluja demokratiakansalaisen kasvu- ja oppimispolun hahmottamiseen.
O texto é uma resposta à resenha crítica “Mimesis performativa: imediatez em ação ou a ação da mediação?” (Conceição | Concept., Campinas, SP, v. 7, n. 2, p. 110–142, jul./dez. 2018 ), de ...Stephan Arnulf Baumgartel ao livro de Luiz Fernando Ramos, Mimesis Performativa: a margem de invenção possível (Annablume, 2015). Seu autor elogia a disposição de Baumgartel ao debate franco e rigoroso e tenta responder aos comentários críticos, sobretudo, abordando seus dois pontos centrais: um olhar restritivo à ideia de “puro opsis” e uma aproximação das perspectivas apresentadas pelo livro àquelas do crítico e historiador norte-americano Michael Fried. Pretende-se com a réplica abrir um debate público, estendendo as questões propostas pelos dois textos à comunidade de pesquisadores em Artes Cênicas.
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