Arts and pragmatism:
La Maison Française, New York University,
New York 10003
United States
Sponsor(s):
- Universite Paris 1 Pantheon Sorbonne
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We have noticed it during the two previous
symposia of our program: the pragmatist philosophy
and in particular Dewey defends the idea that
aesthetics must not only be considered as the
search for truths about art and its creations but also
as what concerns the experience of the persons
with an artwork (a sensitive and active experience).
The reception would thus be the dynamic
experience of an incarnated observer, acting,
feeling in his senses and his affects what is the work
and what it makes him feel.
The political stake of the pragmatist aesthetics is
to make sure that the strong aesthetic experiences
remain open and accessible to the largest
public and become even a «matter of ordinary
conversation». It is then a matter of thinking about
shared experience as a transmission of values, an
important phenomenon for the moral, political,
“educational” reflection of adults» (Cavell 1979, 1981,
Shusterman, Laugier 2019, 2023, Gerrits 2020). Thus,
this question of pragmatism addresses societal
issues that concern all audiences, not just from a
broadcast/transmission perspective. By focusing on
experience and agency, this way of approaching
pragmatism involves the cultural audience in a
broad way to the point where it engages mediums
such as television and in general digital cultures.
The concept of Post-Creation, insofar as it plays
a form of exteriority to an original Creation, has
all its place in a world where the strong aesthetic
experiences remain open and accessible to a wider
public. It is a question of placing the creation beyond
what is biased, in the heart of a form of Third State
of the artistic act in charge of a heuristic and critical
potential, towards a form extracted from the zone
of influence of the world of the art as such. The
idea of Post-Creation tends towards the universal
that would be the fact of conceiving the creation
beyond any not institutionalized academism. We
will see how a possible emulation between the
ordinary aesthetic and the shared experience of
the Post-Creation is articulated and played, where
the experience of the creation produces knowledge
and transforms what is out of the specific field
of perception of the art in so many new acting
and reflexive spaces. In that, the influence of the
artistic creation on whole sections of the society,
domains of perception until now inaccessible,
becomes a stake of opening which results from the
transformation of a form of ordinary aesthetics in a
Post-Creation freed from the aesthetic channels of
the contemporary art.
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