Pol Capdevila - Sensorium, Technology and Aesthetic Experience
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Transcript of Pol Capdevila - Sensorium, Technology and Aesthetic Experience
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Sensorium and Aesthetic Experience Human Self-Reflection in
Technological Art
Pol Capdevila Castells
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Modern Sensorium and Technology (Jones’s Essay “The Mediated Sensorium”)
Historical Development:
- wider and more specialised knowledge of each sense;
- a subsequently technological improvement,
- which makes possible a segmentation and intensification of the senses (glasses, Hi-Fi, accustical isolation, prothesis, computers)
- colonisation and control of the body functions
- today’s comfortable self-access and control of these functions
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Recent History of our Sensorium
• Denigration process of the sense of smell
• Growth, segmentation and purification of hearing
• visi-textuality as model for ocular-centrism
• segmentation, hierarchysation and instrumentalisation
of senses in the production of subjects
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Jones’ Theory Virtues and Vices
Virtues
1. Narrow approach in the relation between current social order and human understanding
(genetic methodology)
2. More plausible than its orthodox Marxist-Darwinist version
3. Useful instrument to describe the mutual influences
between art and society
Vices
• epistemological problem (not-recognised prejudices)
• Forgetting phenomena• Generalising Greenberg’s
reception of Mid-Century art.• lacks a concrete conception
of the role of the aesthetic experience
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Conditions for a Theory of the Experience of Art
(compatible with Jones poststructuralist approach)
• Emotional and bodily elements.
• Justify the artistic formal means as an important factor in the artistic
effect
• Justify the intersubjective self-reflection of the experience of art
(this gives an implicit conception of the world, the subject etc.)
• Aesthetic Autonomy
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Figure 1: J. Cardiff & G. B. Miller, “Opera for a small room”, 2005, MACBA, 2007
© Photo: Lisbeth Salas
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Figure 1: J. Cardiff & G. B. Miller, “Opera for a small room”, 2005, MACBA, 2007
© Photo: Lisbeth Salas
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Figure 3: J. Cardiff & G. B. Miller, “The Killing Machine”, 2007. MACBA, 2007
© Photo: Seber Ugarte
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Figure 3:
J. Cardiff & G. B. Miller,
“The Killing Machine”, 2007. MACBA, 2007
© Photo: Seber Ugarte