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RN02_04a: The Aesthetic Experience in Everyday Life
6:00pm - 7:30pm
Session Chair: Sari Karttunen, Center for Cultural Policy Research CUPORE
Location:GM.306 Manchester Metropolitan University
Building: Geoffrey Manton, Third Floor
4 Rosamond Street West
Off Oxford Road
Participatory Art Production - Invested Attempts of Equality and Horizontality
NORCE - Norwegian Research Centre, Norway
This article departs from a participatory art project where the participants were a group of children and a professional artist. The project was both an artistic one, aiming at creating an artwork together, and a research project, driven by the urge to explore invested attempts of equality and horizontality in art production. The artist deliberately tried to create a flat structure and an open creative space through strategies of “un-hosting” (Patricia Reed 2008), and the children responded to these in a number of individual ways. With the use of participant observation and qualitative interviews, the socio-material process of creating art is explored.
Through in-depth analysis of both the participatory strategies from the children and the artist, and the actual art work they created, and with reference to theoretical perspectives provided by Rachel Anderson (2010), Claire Bishop (2004; 2012), Shannon Jackson (2011) and Eduardo de la Fuente (2007), the article discusses topics such as authority and horizontality, situational understandings, negotiation strategies and definitional power in art production.
The article asks: Is the goal of equality and horizontality between adults and children in art production utopian? Who mimics whom in a flat structure, and what learning potential does it entail? How can we evaluate socially oriented participatory art projects?
Avantgarde or Pop - On the Relation of Sensual Perception and Discursive Situatedness of Pop Cultural Practices in the Arts.
FernUniversität in Hagen, Germany
That art as well as popmusic performance is heard, seen, smelled, tasted and perceived dif-ferent according to time, space and physical conditions - that is an experience everyone has made joyfully or sorely once. Popular music performance often becomes art or remains business because of what consumers know about it. As sociological research object it de-mands innovating ways of analysis on the ground of a practice based sociology of popular culture, because of its steady transformation by popularization of “the New”. The talk takes practices of perceiving on the border of artistic and commercial music into account and ask about when the output of artificial practices in interaction of the senses of perceiving gen-erate art. The example of an accompanying research project during the exhibition „Komm nach Hagen, mach dein Glück“ at the Osthausmuseum in Hagen Germany about the new german wave, brings answers. NGW consisted of different arts and accumulated in cities like Düs-seldorf affected by Beuys or Hagen affected by music-, avantgardist and aesthetic practices by Wolfgang Luthe, Ideal or Extrabreit. The oscillation between artificial and popular music is caused by affecting socialized bodies within performances and disturbing traditional schemes of perception of pop and art. With the help of poststructural concepts I will pre-sent practices of perceiving as conditions of popular culture on the boarder of becoming art and compare avantgardistic practices with popcultural practices during different events, to define the conditions of art in the field of popular music.
Cultural Logics in the World of Classical Ballet
Norwegian Academy of Music, Norway
The aim of this paper is to provide knowledge of the cultural repertoires of the world of classical ballet by asking the following questions:
1) What are the main cultural logics available in the world of classical ballet?
2) How are the different cultural logics of the world of classical ballet related to each other in a social democratic context?
Previous research has indicated that the hierarchical and authoritarian aspect of the tradition of classical ballet is under reform. Working methods and structures with a more human and democratic foundation has been evolving for a couple of decades. This paper will analyze how a traditional and modern cultural logic seem to be co-existing in the daily life of a ballet company. The paper will illustrate how the relation between the two cultural logics can be characterized as a relation of ambivalence due to some important dimensions of the specific work. First, classical ballet companies work very concretely in the cross-roads between national and international contexts. Second, classical ballet is a craft that is learned by practicing together with ballet masters that have the status of being legendary dancers and/or tradition bearers for canonized ballet repertoire.
The paper is based on a case study of the Norwegian National Ballet in the period from September 2016 to November 2017. The material consists of field observations, 27 semi-structured interviews covering and documents.
The Models Of Contemporary Works Of Art Conveyed By The Dialectic Between Symbolic-Artistic Forms And Society
SAPIENZA Univeristy of Rome, Italy
The paper investigates the dialectical relationship between symbolic-artistic forms and society. The study aims to reconstruct the narrative models of the imaginaries conveyed by the works of art through the hermeneutic and sociological analysis of the interpretations of the users, compared to the narratives of the stakeholders of the artistic universe (Artistic Directors, Critics and Art Historians, Curators, Art Dealers, Artists). The research aims to answer the questions: How contemporary art interprets complex social themes and If it can be considered a form of "storytelling" of the present about themes of fear’s perception, insecurity, uncertainty and identity fragmentation. The survey work presents a multidisciplinary scientific reconstruction and an empirical research. The case study is the Venice Biennal of Art 2019, where have been selected a corpus of contemporary works of art on show.