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Art as experience of the living body / L’art comme experience du corps vivant

an East/West dialogue / un dialogue Orient/Occident

Christine Vial Kayser (Ed.)

by Alice Dupas (École Normale Supérieure de Lyon, France), Aya Kamperis (CARU (Contemporary Arts ReSearch Unit)), Tetsuya Kono (Rikkyo University, Tokyo, Japan), Alaner Imamoglu (Osmangazi University in Eskisehir, Turkey), Simon Morley (Dankook University, South Korea), Anna Chiara Sabatino (University of Salerno, Italy), Giorgia Ciampi (University of Exeter), Giovanna Colombetti (University of Exeter), Gustavo E. Subero (Imperial College London), Katarina Voigt (TUM School of Engineering and Design, Germany), Lauren Weingarden (Florida State University), Matthew Pelowski (Vienna Cognitive Science Hub, Austria), Corinna Kühnapfel (University of Vienna, Austria), Pascale Weber (Sorbonne School of Arts, France), Zélia Chueke (Universidade Federal do Paraná, Brazil)

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This book analyses the dynamic relationship between art and subjective consciousness, following a phenomenological, pragmatist and enactive approach.
It brings out a new approach to the role of the body in art, not as a speculative object or symbolic material but as the living source of the imaginary. It contains theoretical contributions and case studies taken from various artistic practices (visual art, theatre, literature and music), Western and Eastern, the latter concerning China, India and Japan.
These contributions allow us to nourish the debate on embodied cognition and aesthetics, using theory–philosophy, art history, neuroscience–and the authors’ personal experience as artists or spectators. According to the Husserlian method of “reduction” and pragmatist introspection, they postulate that listening to bodily sensations–cramps, heartbeats, impulsive movements, eye orientation–can unravel the thread of subconscious experience, both active and affective, that emerge in the encounter between a subject and an artwork, an encounter which, following John Dewey, we deem to be a case study for life in general.

Ce livre analyse la relation dynamique entre l’art et la conscience subjective, selon une approche phénoménologique, pragmatiste et enactive. Il vise à faire émerger une nouvelle approche du rôle du corps dans l’art, non pas comme objet spéculatif ou matériau symbolique, mais comme source vivante de l’imaginaire. Les contributions théoriques et les études de cas sont prises à diverses pratiques artistiques (arts visuels, théâtre, littérature et musique), occidentales et orientales, ces dernières concernant la Chine, l’Inde et le Japon.
Selon la méthode husserlienne de « réduction », en écho à l’introspection pragmatiste, les textes témoignent que l’écoute des sensations corporelles – crampes, battements de cœur, mouvements pulsionnels, orientation des yeux – mises en jeu par l’œuvre, permet de dénouer le fil de l’expérience inconsciente, à la fois kinesthésique et affective, qui émerge dans la rencontre entre un sujet et une œuvre d’art, une rencontre comprise, à la manière de Dewey, comme un cas d’école de la vie en général.

Christine Vial Kayser (PhD, HDR) is an art historian and museum curator (emeritus). She is an Associate researcher with Héritages (CYU) and a member of the Doctoral School 628 - AHSS. Her research relates to the capacity of art to transform representations within an individual and in the collective mind, through embodied, mnemonic, and affective processes, in a global, comparative (East/west context). She works at the crossroads of art theory, anthropology, and neuroaesthetics.

Christine Vial Kayser (PhD, HDR) est historienne de l'art et conservatrice de musée (émérite). Elle est chercheur associé à Héritages (CYU) et membre de l’ED 628 - AHSS. Ses recherches portent sur la capacité de l’art à transformer les représentations au sein d'un individu et dans le cadre collectif, à travers des processus incarnés, mémoriels et affectifs, dans un contexte global et comparatif (Est/Ouest). Elle travaille au croisement de la théorie de l'art, de l'anthropologie et de la neuroesthétique.

Grounded/modal cognition, art as energy, living/lived body, body-mind, quale, autopoietic, embodied action, participatory/interactive art, relational aesthetics, social body, First-/third-person experience, mushin (no-mind), ma, no-self, Noh, riken no ken (distant gaze), Zeami, Aristotle, choreography, ergonomy, performance, rhythm, soul,
Anthropology of nature, environment, memory, projection, somatic adjustments, affect, Charles Marville, empirical aesthetics, gaze, haptics, Haussmann, photography, projection
Architecture, Joseph Beuys, dance, Siri Hustvedt, somatic practice, resonance, Helmut Rosa.
Alexander Apóstol, drag, Merleau-Ponty, male/female binary, political portrait, representation,
Affectivity, Indian theatre, Navarasa S?dhan?, psychophysical acting, rasa, Gopal Venu, Philipp Zarrilli.
Agency, autism, camera, narrative medicine, self-representation (selfie), self-other binary.
Agnès Martin, François Jullien, Lakoff/Johnson, inner and outer landscape, Subject-Self binary, schizophrenia.
Abject, Asl? Erdo?an, Bataille, eroticism, the body in Muslim culture, travel literature.
Body techniques, Don Ihde, Kata/Katachi, kendo, Miki, Minamoto, Noh theatre, Saegusa, Zeami.
Butoh, in-betweenness (Ma/Gen), mushin (no-mind), ningen, postphenomenology, Watsuji, Zen arts

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Bibliographic Information

Book Title
Art as experience of the living body / L’art comme experience du corps vivant
Book Subtitle
an East/West dialogue / un dialogue Orient/Occident
ISBN
978-1-64889-606-4
Edition
1st
Physical size
236mm x 160mm
Publication date
September 2023
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