New publications - Summer 2019Nieuws 20 augustus 2019
Orpheus Institute Series
Two new publications in the Orpheus Institute Series are now available: Sensorial Aesthetics in Music Practices (edited by Kathleen Coessens) and Futures of the Contemporary (edited by Paulo de Assis and Michael Schwab)
The books are published by Leuven University Press and are available in print and e-book.
Futures of the Contemporary
Contemporaneity, Untimeliness, and Artistic Research
(Paulo de Assis and Michael Schwab, eds.)
Related event: Futures of the Contemporary (Academy, 10-12 May 2017)
Futures of the Contemporary explores different notions and manifestations of “the contemporary” in music, visual arts, art theory, and philosophy. In particular, the authors in this collection of essays scrutinise the role of artistic research in critical and creative expressions of contemporaneity. When distinguished from “the contemporaneous” of a given historical time, “the contemporary” becomes a crucial concept, promoting or excluding objects and practices according to their ability to diagnose previously unnoticed aspects of the present. In this sense, the contemporary gains a critical function, involving particular modes of relating to history and one’s own time.
Written by major experts from fields such as music performance, composition, art theory, visual arts, art history, critical studies, and philosophy, this book offers challenging perspectives on contemporary art practices, the temporality of artistic works and phenomena, and new modes of problematising the production of art and its public apprehension.
Sensorial Aesthetics in Music Practices
(Kathleen Coessens, ed.)
The Western history of aesthetics is characterised by tension between theory and practice. Musicians listen, play, and then listen more profoundly in order to play differently, adapt the body, and sense the environment. They become deeply involved in the sensorial qualities of music practice. Artistic practice refers to the original meaning of aesthetics—the senses. Whereas Baumgarten and Goethe explored the relationship between sensibility and reason, sensation and thinking, later philosophers of aesthetics deemed the sensorial to be confused and unreliable and instead prioritised a cognitive or objective approach.
Written by authors from the fields of philosophy, composition, performance, and artistic practice, Sensorial Aesthetics in Music Practices repositions aesthetics as a domain of the sensible and explores the interaction between artists, life, and environment. Aesthetics becomes a field of sensorial and embodied experience involving temporal and spatial influences, implicit knowledge, and human characteristics.