Emotional experience of art

Σημερινό απόκτημα: ένα βιβλίο - διδακτορική διατριβή - εξαιρετικά ενδιαφέρον, όπως καταλαβαίνει κανείς αμέσως μόλις αρχίζει να το ξεφυλλίζει.

Damien Freeman, "Art's Emotions. Ethics, Expression and Aesthetic Experience", Routledge (2012) 2014.

3 μικρά αποσπάσματα από την αρχή και το τέλος του βιβλίου, πολύ γοητευτικά, νομίζω.

"In China, art that combine poetry, calligraphy and painting is known as a work of the three perfections. The three perfections have long been regarded as the highest arts on account of their expressive qualities, and Shih-t'ao (1642-1707) was regarded as a master of all three expressive arts. His masterpiece, Returning Home, is a book of twelve pairs of leaves, each consisting of a poem written in calligraphy on one leaf and a painting on the facing leaf. A pair of leaves such as "Gathering Lotus Flowers" is conceived of as a single entity. What makes this a single entity? What is the sense in which the poetry, calligraphy and painting are unified to form a whole?" (p. 1)

"What do our experiences of poetry, calligraphy and painting have in common that is distinctive and valuable about them as experiences of the expressive arts? There is something that the experience of reading a poem about a man in a boat has in common with the experience of looking at a painting of a lotus flower, but which is lacking in the experience of actually seeing a man in a boat. Understanding the expressiveness of the three perfections is a matter of understanding what our experience of the painting of the flower has in common with our experience of the poem about the man, and which distinguishes both of these from the experience of seeing the actual man. In other words, there is something about the emotional experience of art that differs from other emotional experiences, and it is this difference that we must analyse in the following chapters." (p. 3)

"Human possibilities have been a theme in this book. It is possible to perceive emotion in the world around us in two different ways. It is possible to experience perceived emotion differently: by feeling what we perceive; by emotionally responding to what we perceive; by comprehending our own feelings. It is also possible to experience art in different ways: disinterestedly, hedonistically, emotionally. That we are able to experience emotion in different ways, and that we are able to perceive different kinds of emotional properties in a work of art, enables us to have plenary experiences of emotion. That the plenary experience is one of a number of possible ways of experiencing art, but a way that makes a special contribution to our flourishing, tells us something about the importance of this possibility for human life and, hence, about the place of art in life as a whole and, ultimately, about how we ought to approach the practice of life." (p. 170)

ET IN ARCADIA EGO

Φωτογραφίες της Μαντίνειας, στην Αρκαδία και κείμενα περί τέχνης - με αφορμή την ουτοπική Αρκαδία

Κείμενο του μεγάλου ιστορικού τέχνης Erwin Panofsky και της συζύγου του Gerda:

http://edoc.hu-berlin.de/kunsttexte/2011-4/panofsky-erwin-3/PDF/panofsky.pdf

Κείμενο για τον πίνακα του Poussin:

http://www.wga.hu/html_m/p/poussin/2a/18arcadi.html

Και ένα βιντεάκι για τον πίνακα του Poussin:

https://www.khanacademy.org/humanities/monarchy-enlightenment/baroque-art1/france/v/poussin-et-in-arcadia

Και το ποίημα με τον ίδιο τίτλο, του W.H. Auden:

http://www.nybooks.com/articles/1965/06/03/et-in-arcadia-ego/

Και, με αφορμή το ντοκιμαντέρ με τον ίδιο τίτλο, του Φίλιππου Κουτσαφτή:

http://www.tovima.gr/culture/article/?aid=746346

           Στην τελευταία φωτογραφία φαίνεται ο χώρος όπου διεξήχθη η Μάχη της Μαντίνειας

"Capsules de temps"

Η ηρεμία των εικόνων από την αρχόντισσα των Κυκλάδων, Σύρο, σε "διάλογο" με τα της υποβρύχιας αρχαιολογίας

"L'archéologie sous-marine est une machine à rêves et nous sommes faschinés par l'étude de ces épaves, de ces "capsules de temps" qui racontent l'histoire d'hommes et de femmes naufragés et témoignent de drames maritimes dont les archéologues sous-marins tentent de retrouver la mémoire."

"La recherche archéologique sous-marine permet de mieux connaître la vie quotidienne des équipages, les relations commerciales entre les différentes mers du globe, les techniques de construction navale qui favorisent les échanges maritimes et les instruments et équipements qui participent de l'art de naviguer."

Από το βιβλίο των:
Michel L'Hour et Elisabeth Veyrat, "Mémoire à la mer: Plongée au coeur de l'archéologie sous-marine"

και ειδικότερα από το:
Préface της Audrey Azoulay, ministre de la Culture et de la Communication

Οικονομικές και Νομικές Παράμετροι του Ελληνικού Τουρισμού

15-17 Σεπτεμβρίου έλαβε χώρα στην Τρίπολη το 4ο πανελλήνιο συνέδριο με θέμα τις οικονομικές και νομικές παραμέτρους του Ελληνικού τουρισμού.

Ο χώρος διεξαγωγής του συνεδρίου ήταν ένα πανέμορφο κτίριο της Τρίπολης: το Μαλλιαροπούλειον Θέατρον.

Ιθύνων νους αυτού του συνεδρίου (όπως και των προηγούμενων 3 συνεδρίων) ήταν ο Καθηγητής της Νομικής Σχολής του ΑΠΘ, Αχιλλέας Κουτσουράδης.

Όλα πήγαν περίφημα! Όλοι, εισηγητές και παρεμβαίνοντες, κατάφεραν να κάνουν το συνέδριο ιδιαιτέρως ενδιαφέρον.

Και μια μαγική εικόνα της πλατείας του Άρεως, με τον αστραφτερό Θεόδωρο Κολοκοτρώνη

Ερμούπολη, Σύρος - 41ο Πανελλήνιο Συνέδριο Ενώσεως Ελλήνων Δικονομολόγων

                                    Οπτικά ίχνη ενός πολύ επιτυχημένου συνεδρίου

Οι εισηγήσεις ήσαν εξαιρετικές, οι παρεμβάσεις πολύ πλούσιες - επίπεδο υψηλότατο, γενικά!


             Η οργάνωση του συνεδρίου και των περιφερειακών εκδηλώσεων, απλώς άψογη!


                                                    Η Σύρος, μια κούκλα αρχόντισσα!

Είχαμε την τύχη να ζήσουμε τις ώρες του συνεδρίου μέσα σε αυτό το αρχιτεκτονικό κόσμημα!

Και δύο μεγάλες Κυρίες της Πολιτικής Δικονομίας:

Η Ομ. Καθηγήτρια της Νομικής Σχολής ΑΠΘ, κα Πελαγία Γέσιου-Φαλτσή

και η Καθηγήτρια της Νομικής Σχολής ΑΠΘ, κα Λήδα Πίψου

                                                      Απολογισμός: θετικότατος!

Jazz and Law - Improvisation

Η σχέση μουσικής και δικαίου είναι από τα πιο αγαπημένα μου θέματα έρευνας και συγγραφής. Όταν ανακαλύπτω σχετικά με αυτήν κείμενα, χαίρομαι πάρα πολύ.

Ένα βιβλίο που μόλις απέκτησα και που φαίνεται ΠΟΛΥ ενδιαφέρον:

Sara Ramshaw, "Justice as Improvisation. The law of the extempore", Routledge, 2013.

Δύο μικρά αποσπάσματα σας παρουσιάζω

"No longer would jazz be offered as a form of popular entertainment; it was now 'a creative expression of unassailable integrity' ..., 'a music to be listened to' ... As DeVeaux ... explains, '[i]n its wake, all of jazz must be properly understood as an autonomous art, governed by its own laws and judgeable only by its own criteria' ... Thus, in the end, the close connection between jazz and improvisation, made all the more compellingly be bebop's focus on the improvised solo, influenced a reciprocal association between improvisation, wildness and inventiveness.

   Emphasizing the inventive potential of the association between bebop, wildness and improvisation were writers and theorists in the 1940s and 1950s, such as the beat poets. Wild, 'mad' or 'ludicrous' associations were seen to be revealed through the unconscious mind and bebop improvisation supposedly involved just a luck of (self-)consciousness ... Kerouac, for example, developed his technique of 'spontaneous writing' ('spontaneous bop prosody') to mirror his interpretation of the bebop performance. For him, it was a revolutionary style of writing and 'the only possible literature of the future' ... (p. 68)

"How, then, might the concept of improvisation apply to precedent-sensitive judicial reasoning? As Derrida ... has noted, it is necessary to improvise. It is also necessary to judge. But, to improvise well, to judge well, that requires a more thorough knowledge of improvisational practices. Studies of improvisatory techniques or strategies take on particular urgency in an era when diverse peoples and communities struggle to have their interests recognized and adjudicated. The issue, though, is not simply one of judging better or making more just decisions (if we knew what such meant) on the spur of the moment. It is about opening up a space for more creative decision-making, in which novelty arrives via a 'particular kind of refashioning of the old' ..." (p. 130)

Juristic romanticism

Ένα πολύ ενδιαφέρον βιβλίο:

Kaius Tuori, "Lawyers and Savages. Ancient History and Legal Realism in the Making of Legal Anthropology", Routledge, 2015

"The idea that law was not only a set of rules but a part of culture was a theory that arose as a reaction to the rationalism of enlightenment thought. It was developed by the founders of the historical school of jurisprudence (Historische Rechtsschule), mainly by its influential theorist Friedrich Carl von Savigny (1779-1861), but also Gustav Hugo and Jacob Grimm. They claimed that the validity and the content of the law were derived from the culture of the people and law was historical in its character. Many of the central concepts of the school such as history, culture, and people were staples of German romanticism ..." (p. 37)

"The application of the civilizing narrative of the Western legal tradition in the colonial world had very concrete implications. In land tenure and communalism, colonial practice combined, with disastrous results, the widely shared conviction that communal ownership preceded private ownership with the observations that many indigenous peoples held land communally or had little understanding of the concept of ownership in general. Communal tenure was generally held to be lower on the scale of civilization than the Western private ownership. During the late 19th and early 20th centuries, humanitarian and less-than-humanitarian programs sought to extend the benefits of private ownership to indingenous peoples, or to protect them from dispossession by taking their land into state ownership, to be held in trust. In both circumstances, the result was often dispossession and the destruction of indigenous subsistence and culture. An extreme incident of this linkage between civilization and ownership were, of course, the instances (most famously in Australia) where settler states declared that there were no owners of the land because the people living there had not (yet) developed that far and the land could be declared terra nullius" (p. 189)

Χρόνια που με "απασχολούν" αυτά τα ζητήματα... Το βιβλίο είναι πολύ πλούσιο σε υλικό, μόνο ψήγματα παρουσίασα, αποσπασματικά κατ'ανάγκη...

Κριτική για το βιβλίο μου "Art Collections..."

Μεγάλη χαρά!

Ψάχνοντας κάτι άλλο, είδα ότι μου έχει κάνει τη μεγάλη τιμή να γράψει βιβλιοκρισία για το βιβλίο μου "Art Collections, Private and Public. A Comparative Legal Study" ο μέγας Eric Jayme, Ομ. Καθηγητής Ιδιωτικού Διεθνούς Δικαίου και Συγκριτικού Δικαίου στο Universität Heidelberg και συλλέκτης και, και, και...

http://www.urheberrecht.org/reviews/pdf/ufita/Inhalt_UFITA_2015_2.pdf

Δεν έχω ιδέα τι γράφει, θετικό ή αρνητικό (πρέπει να βρω το κείμενο...) αλλά και μόνο που δημοσιεύθηκε δική του βιβλιοκρισία για το βιβλίο μου, είμαι πανευτυχής!


                                                                    Ευχαριστώ...