The Limits of Anthropocene Narratives

The rapidly growing transdisciplinary enthusiasm about developing new kinds of Anthropocene stories is based on the shared assumption that the Anthropocene predicament is best made sense of by narrative means. Against this assumption, this article argues that the challenge we are facing today does not merely lie in telling either scientific, socio-political, or entangled Anthropocene narratives to come to terms with our current condition. Instead, the challenge lies in coming to grips with how the stories we can tell in the Anthropocene relate to the radical novelty of the Anthropocene condition about which no stories can be told. What we need to find are meaningful ways to reconcile an inherited commitment to narrativization and the collapse of storytelling as a vehicle of understanding the Anthropocene as our current predicament

The unacknowledged legacy

This paper presents a critical discussion of the treatment of mimetic art, and particularly poetry and the theatre, in the work of the Athenian philosopher Plato (427-347 BC). It centres on Plato's discussion of the corrupting powers of the arts in the Republic, and the implications that his fierce attack on poetry and theatre have for his construction of the ideal polity. The legacy of Platonic ideas in later elaborations of the corrupting power of the arts is discussed. Furthermore, the paper investigates the relationship between current debates on cultural policy and the Platonic idea that the transformative powers of the arts ought to be harnessed by the state to promote a just society. The conclusion thus reached is that “instrumental cultural policy”, rather then being a modern invention, was in fact first theorized precisely in Plato's Republic

Determinants of impact : towards a better understanding of encounters with the arts

The article argues that current methods for assessing the impact of the arts are largely based on a fragmented and incomplete understanding of the cognitive, psychological and socio-cultural dynamics that govern the aesthetic experience. It postulates that a better grasp of the interaction between the individual and the work of art is the necessary foundation for a genuine understanding of how the arts can affect people. Through a critique of philosophical and empirical attempts to capture the main features of the aesthetic encounter, the article draws attention to the gaps in our current understanding of the responses to art. It proposes a classification and exploration of the factors—social, cultural and psychological—that contribute to shaping the aesthetic experience, thus determining the possibility of impact. The ‘determinants of impact’ identified are distinguished into three groups: those that are inherent to the individual who interacts with the artwork; those that are inherent to the artwork; and ‘environmental factors’, which are extrinsic to both the individual and the artwork. The article concludes that any meaningful attempt to assess the impact of the arts would need to take these ‘determinants of impact’ into account, in order to capture the multidimensional and subjective nature of the aesthetic experience

Nietzsche’s Epistemic Perspectivism

Nietzsche offers a positive epistemology, and those who interpret him as a skeptic or a mere pragmatist are mistaken. Instead he supports what he calls per- spectivism. This is a familiar take on Nietzsche, as perspectivism has been analyzed by many previous interpreters. The present paper presents a sketch of the textually best supported and logically most consistent treatment of perspectivism as a first- order epistemic theory. What’s original in the present paper is an argument that Nietzsche also offers a second-order methodological perspectivism aimed at enhancing understanding, an epistemic state distinct from knowledge. Just as Descartes considers and rejects radical skepticism while at the same time adopting methodological skepticism, one could consistently reject perspectivism as a theory of knowledge while accepting it as contributing to our understanding. It is argued that Nietzsche’s perspectivism is in fact two-tiered: knowledge is perspectival because truth itself is, and in addition there is a methodological perspectivism in which distinct ways of knowing are utilized to produce understanding. A review of the manner in which understanding is conceptualized in contemporary epistemology and philosophy of science serves to illuminate how Nietzsche was tackling these ideas

Beauty in Disability: An Aesthetics for Dance and for Life

To what extent does dance contribute to an ideal of beauty that can enrich human quality of life? To what extent are standards of beauty predicated on an ideal human body that has no disability? In this chapter, we show how conceptions of proportionality, perfection, and ethereality from the Ancient Greeks through the 19th century can still be seen today in some kinds of dance, particularly in ballet. Disability studies and disability-inclusive dance companies, however, have started to change this. The disabled person can be beautiful, we will show, in dance and in life, under a disability aesthetics that follows Edmund Burke (1730-1797) and that suggests an alternative standard of beauty, which we call “beauty-in-experience,” where beauty is perceived in the qualitative experience of abled and disabled dancers moving together in dance.https://ecommons.udayton.edu/books/1023/thumbnail.jp

Global Description of EUSO-Balloon Instrument

For the JEM-EUSO CollaborationThe EUSO-Balloon is a pathfinder of the JEM-EUSO mission, designed to be installed on-board the International Space Station before the end of this decade. The EUSO-Balloon instrument, conceived as a scaleddown version of the main mission, is currently developed as a payload of a stratospheric balloon operated by CNES, and will, most likely, be launched during the CNES flight campaign in 2014. Several key elements of JEM-EUSO have been implemented in the EUSO-Balloon. The instrument consists of an UV telescope, made of three Fresnel lenses, designed to focus the signal of the UV tracks, generated by highly energetic cosmic rays propagating in the earth's atmosphere, onto a finely pixelized UV camera. In this contribution, we review the main stages of the signal processing of the EUSO-Balloon instrument: the photodetection, the analog electronics, the trigger stages, which select events while rejecting random background, the acquisition system performing data storage and the monitoring, which allows the instrument control during operation

Contemporary Asian Artistic Expressions and Tourism – An Introduction

This introductory chapter presents and critically discusses the various themes underpinning this book. Firstly, it provides an examination of the notion of ‘contemporary art’, including an overview of the existing definitions and debates in the current literature. Secondly, this chapter discusses the nexus between tourism and contemporary art by providing an overview of the past studies conducted on cultural and heritage tourism. In this section, the various themes underpinning the different parts of the literature on art tourism (e.g. identity, authenticity, commoditisation and capitalism) are considered. Thirdly, a discussion on the relationship between tourism and Asian contemporary art is presented, which also includes a part problematising and questioning terms like ‘Asia’ and ‘Asian art’. Finally, an overview of the different chapters that constitute the backbone of this collection is offered alongside the four themes around which the book is structured

Neuroaesthetics: The Cognitive Neuroscience of Aesthetic Experience

This research was supported by Grant AAEE124/09 from the Govern de les Illes Balears, Spain