Following clues suggested by Merleau-Ponty regarding Kantian intentionality, we lay out a phenomenological reading of Kant wherein aesthetic experience offers a unity of self and community, now and across time. What is new in our understanding is that the unity we articulate is not the abstract logical possibility of the rational idea, the community of ends and individuals as ends in themselves. Highlighting certain elements Kant addresses regarding work, education, and the genius, we will argue that it is not merely the abstract person working toward abstract ends that measures and directs our unity, but rather the concrete work of the concrete individual. It is only with the work of the individual that reason and nature can fulfill their trajectories by finishing. Finishing, as a unity of self and community, is a style that can show itself across a wide range of human comportments. Finishing is at once the concrete fulfillment of the essence and power of humanity, but in the individual and the individual’s work, and so also a soliciting invitation to all individuals, according to their universality, to do the same: become individual. No only does this reading loosen, but not set loose, Kant’s otherwise tight teleological ideology, but it also loosens, but not set loose, the bounds where we might find the concrete universal or exemplary individuation. This phenomenological reading of Kant allows for a more pliable, dynamic, and critical understanding of enlightenment and history than the rational idea alone allowed.

Cette thèse s’inscrit dans le champ d’une réflexion qui se propose de penser la médiation culturelle comme une forme de représentation et d’expression des identités politiques. La thèse étudie plus particulièrement la politique culturelle du Front national entre 1986 et 1998. La première partie étudie, d’une façon générale, la relation indissociable entre culture et politique, en proposant une définition des politiques culturelles et de la médiation culturelle.Une seconde partie présente les caractéristiques de l’identité politique du F.N. : il s’agit d’un discours politique fondé sur l’exclusion de l’autre, sur une forme particulière d’expression de l’identité et, sur des modalités de sublimation des acteurs.La troisième partie porte sur les politiques culturelles mises en œuvre dans les villes de Vitrolles, Marignane, Orange et Toulon, lors de l’exercice effectif du pouvoir entre 1995 et 1998, en analysant les actions les plus caractéristiques de l’identité frontiste : le retrait de subventions municipales, la « censure » exercée au sein des bibliothèques municipales, etc… Ces actions expriment notamment la contestation du pouvoir d’Etat et proposent une approche spécifique de l’identité nationale.La quatrième partie propose une réflexion sur l’idéal politique et sur la place de l’imaginaire dans l’identité politique du F.N. L’idéologie du Front national repose sur un idéal politique fantasmé, dont la ligne directrice est de susciter le rassemblement par une stratégie qui revêt une forme de discours paranoïaque. La cinquième partie est consacrée aux références esthétiques et culturelles du Front National dans le champ de la médiation culturelle (arts plastiques, architecture, spectacle vivant, livre, musique, cinéma et audiovisuel).Les politiques culturelles du Front national expriment, ainsi, des fantasmes de persécution -le complot et la peur- qui s’inscrivent dans une dimension fantasmatique de l’identité politique du Front National. / This thesis joins in the field of a reflection, which suggests thinking of the cultural mediation as a shape of representation and expression of the political identities. The thesis studies more particularly the cultural policy of the National Front between 1986 and 1998 The first part studies, generally speaking the inseparable relation between culture and politics, by proposing a definition of cultural policies and cultural mediation.A second part presents the characteristics of the political identity of the F.N.: it is about a political speech based on the exclusion from the other one, on the particular shape of expression of the identity and, on the modalities of sublimation of the actors.The third part concerns cultural policies implemented in the cities of Vitrolles, Marignane, Orange and Toulon, during the actual exercise of the power between 1995 and 1998, by analyzing the most characteristic actions of the F.N.’ identity : the cancellariat of municipal subsidies, the "censorship" exercised within municipal libraries, etc. …These actions express in particular the contesting of the state power and propose a specific approach of the national identity.The fourth part proposes a reflection on the political ideal and on the place of the imagination in the political identity of the F.N. The ideology of the National Front rests on a fantasized political ideal, the guideline of which is to arouse the gathering by a strategy that dresses a shape of paranoiac speech.The fifth part is dedicated to the aesthetic and cultural references of the National Front in the field of the cultural mediation (plastic arts, architecture, live performance, edition, music, cinema and broadcasting).The cultural policies of the F.N. express, so, fantasies of persecution -the plot and the fear-, which join a fantastical dimension of the political identity of the National Front.

Abstract Not Provided. / Thesis / Master of Arts (MA)

The James A. Garfield National Historic Site in Mentor, Ohio includes numerous structures of mid 19th century Victorian Era architecture. After the grounds became a national landmark in 1945, all new additions conformed to the existing historic style. This Thesis proposes that the existing visitors center be relocated from the carriage house to a new structure on site. This new visitor center is sensitive to the existing however, visually different. This architectural position is contradictory to previous additions in the past 50 years. Therefore, to draw a parallel and in an effort to allude to the past, the contemporary visitor center contains the same philosophical ideals of the Victorian reform Aesthetic Movement. Three of those ideals that are present in the visitor center include horizontality, dynamic space and honesty of structure. For the Aesthetes, horizontality was an influence from Japanese design, while the creation of dynamic space was meant to create an emotional response. Honesty of structure meant that a building should posses a clear and evident expression of its structural system and materials. In other words, using materials for their own sake. Even though over one hundred years have passed since the beginning of the Aesthetic Movement, this thesis is an exploration and continuation of those main ideals into contemporary architecture. / Master of Architecture

Syftet med studie var att undersöka hur kunskap inom spelgrafik kan påverka en spelares “aesthetic experience”. ”Aesthetic experience” är en term som används för att beskriva den tankeprocess en människa genomgår när hen betraktar ett verk. Detta resulterar i en ”aesthetic judgement” och en ”aesthetic emotion”. Enligt den studie Leder m.fl. har gjort kan kunskap inom modern konst resultera i en positiv ”aesthetic emotion” när observatören betraktar modern konst. Studien undersökte om kunskap om spelgrafik kunde ge ett liknande resultat vid betraktandet av en spelmiljö. Till undersökningen skapades en artefakt i form av en 3D. Informanterna fick säga hur de mådde och vad de tyckte om scenen i början och slutet av undersökningen. Resultatet pekar på att informanterna hade en mer positiv ”aesthetic judgement” efter att ha analyserat scenen, medan deras ”aesthetic emotion” sällan ändrades. I ett framtida arbete skulle modellen kunna anpassas ytterligare till spelgrafik.

Published Article / The central theme of this article is to investigate the potential advantages to school management and teacher training in South Africa of an aesthetic approach or arts-based staff development. It is argued that the field of education with its specific body of professional and scientific knowledge seems unable to offer satisfying solutions to pressing problems in post-apartheid South African schools. It is suggested that the arts should be explored for answers and solutions. The opinions and attitudes of school management teams from some of the poorest schools in the Free State Province of South Africa were analysed in order to gauge whether any positive change had occurred in their professional knowledge, confidence and self awareness after the said teams had been exposed to arts-based staff training and learning workshops. The positive change that was detected may be ascribable to the application of an aesthetic approach being followed during in-service workshops. Statistical analysis of the pre- and post-unit responses of 117 attendants of management training workshops indicated that there had indeed been some statistically significant improvements in their professional knowledge, in their confidence as managers and in their perception of themselves as educational artists. Most appear to have been quite prepared to see themselves as educational artists. The positive changes could provide some encouragement and a kind of quantitative basis for the advocates of aesthetic education.

<p>Educators have an importance for the pupil’s progress, where the individual adjustment tutoring is varying. The pupil’s self-confidence is also individual and can be affected by the humans in the society. To find every pupil’s knowledge and enjoy creating and learning is a big part of an educator’s work. A working method that can rise pupils’ self-confidence and give a zestful tutoring is the aesthetician. </p><p> </p><p>The purpose with this study is to look at the educators’ views on the meaning of aesthetic for self-confidence and how they work with aesthetic in their teaching.</p><p> </p><p>I based my study on qualitative interviews to get an enlarge meaning if aesthetics has an influence the pupils’ self-confidence. The results give a picture of how the educators would like to work with aesthetic in their teaching because pupil’s self-confidence is getting stronger. But the aesthetic has a low value, and therefore there is a reduced selection by the aesthetic in school, which will be at the expense of the pupil.</p>

Educators have an importance for the pupil’s progress, where the individual adjustment tutoring is varying. The pupil’s self-confidence is also individual and can be affected by the humans in the society. To find every pupil’s knowledge and enjoy creating and learning is a big part of an educator’s work. A working method that can rise pupils’ self-confidence and give a zestful tutoring is the aesthetician.    The purpose with this study is to look at the educators’ views on the meaning of aesthetic for self-confidence and how they work with aesthetic in their teaching.   I based my study on qualitative interviews to get an enlarge meaning if aesthetics has an influence the pupils’ self-confidence. The results give a picture of how the educators would like to work with aesthetic in their teaching because pupil’s self-confidence is getting stronger. But the aesthetic has a low value, and therefore there is a reduced selection by the aesthetic in school, which will be at the expense of the pupil.

Syftet med detta examensarbete har varit att få en klarare bild över vad begreppet estetiska läroprocesser innebär, varför ett estetiskt arbetssätt kan vara bra för inlärningen, vad som förväntas av mig som lärare och vad lärarens roll är i en undervisning med ett estetetiskt arbetssätt samt hur en undervisning med ett estetiskt förhållningssätt kan se ut. Jag gick in i denna undersökning med ett grundantagande om att ett estetiskt arbetssätt påverkar elevers inlärning på ett positivt sätt. Mitt examensarbete grundar sig på en litteraturundersökning och ett antal intervjuer gjorda med relativt nyexaminerade yrkesverksamma lärare, som alla gått en estetisk inriktning under sin lärarutbildning. Det finns olika sätt att inkludera de estetiska ämnena i undervisningen, ett av dem är att arbeta med tema. Under ett temaarbete skapas många möjligheter för eleverna att använda sig av de estetiska uttryckssätten för att skapa, få syn på och utveckla sin kunskap. Resultatet av min undersökning visar att estetiska läroprocesser och ett estetiskt arbetssätt kan påverka elevers inlärning på ett positivt sätt, under förutsättningarna att läraren har stor kunskap kring de estetiska ämnena och ett estetiskt arbetssätt. Under min litteraturundersökning och under mina intervjuer visar det sig att både de intervjuade lärarna och författarna har liknande åsikter kring och syn på lärarens roll i undervisningen. Något de alla nämnde var vikten av att göra eleverna delaktiga i processen fram till sin kunskap. De intervjuade lärarna har dessutom liknande uppfattning om varför de estetiska ämnena kan påverka elevernas inlärning positivt, men det visar sig att de alla har olika sätt att utföra sin undervisning på. En slutsats som kan dras utifrån materialet är att om eleverna blir känslomässigt berörda av det de lär sig, så blir kunskapen personlig och stannar kvar längre i deras kroppar och hjärnor. Om de också får vara delaktiga i processen fram till kunskapen, får de möjligheten att genom de estetiska ämnena, skapa sitt eget kunnande. / The aim with this essay has been to get a clearer picture over what the term aesthetic learning processes means, why an aesthetic approach can be good for the students learning, what is expected of myself as a teacher and what teacher's role is in an education with an aesthetic approaches and what an education with an aesthetic attitude can look like. I started this survey with the presupposition that an aesthetic approach influences students' learning in a positive way. My essay is based on a literature survey and a number of interviews with relatively new examined professionally active teachers, who all have a teachers education based on aesthetic learning. There are various ways to include the aesthetic subjects in the education; one of them is to work with themes. During these theme works there is many opportunities for the students to use the aesthetic subjects in order to create, gain sights on and develop their knowledge. The result of my survey shows that aesthetic learning processes and an aesthetic approach can influence students' learning in a positive way, under the conditions that the teacher has great knowledge about the aesthetic subjects and an aesthetic approach. During my literature survey and during my interviews, it shows itself that both the interviewed teachers and the authors have similar opinions about and point of views on the teacher's role in that’s kind of education. Something they mentioned was the importance of making the students involved in the process of making their knowledge. The interviewed teachers has similar views on why the aesthetic subjects can influence the students' learning in a positive way, but they all have different ways of executing it into their teaching. A conclusion that can be drawn on the basis of this material is that if the students become emotionally affected off what they are learning, then the knowledge becomes personal and stays longer in their bodies and their brains. If the students also are being involved in the process of getting their knowledge, they are given the possibility that through the aesthetic subjects, create their own know-how.

The purpose of this study is to explore the diverse ways that aesthetic experience is tested by participatory art. The study will show the part played by participatory action in changing the conditions in which aesthetic experience arises. It will be confirmed that when the philosophy of action is taken into account then explanations of participatory art are enhanced. There are many descriptions of aesthetic experience and it is generally assumed to be a cornerstone in explanations of art. In one of the leading accounts aesthetic experience is associated with disinterested perceptions where the individual is free of any practical concern for the object of experience. In recent explanations of contemporary art there is less emphasis on aesthetic experience and there is a tendency to suggest that background knowledge and interpretation are equally as significant as perception in the experience of art. ‘Participatory art’ is a category of art that explicitly demonstrates this state of affairs. In contemporary criticism participatory art is a term used to describe art that favours an audience composed of active contributors rather than detached viewers. These are artworks that encourage moments of engagement by an audience such as the moving of elements in the work or the movement of the participant’s body. It could be said that the observable actions of participants mediate between perception and knowledge in participatory art. Such work opens up a space where assumptions made about the experience of art can be challenged. The present study explores how aesthetic experience is affected by the introduction of human action in participatory art by exploring three exhibitions of participatory art at The Tate Modern, The Barbican and Dundee Contemporary Arts. In this study it is suggested that participation in such artwork may be a consequence of deliberation, spontaneity or may take place within a social group. Therefore the aesthetic experiences and actions that are identified in these artworks are examined from the standpoint of reason, the body and social convention through the respective adoption of analytical, phenomenological and institutional/sociological perspectives.