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Images of Living Culture

The Audiovisual as a Medium for Intercultural Understanding

  • Chiara Simonigh, Full Professor of Media and Visual Culture Studies at the University of Turin, where she coordinates the Global Media Aesthetics Studies international research group. She introduced and elaborated complex aesthetics for the study of the audiovisual medium, combining anthropological and ecological aesthetics. Among her works are: Il Sistema audiovisivo. Estetica e complessità/ The Audiovisual System. Aesthetics and Complexity (2020); with M. Peyrière (ed.), Edgar Morin, Le cinéma, un art de la complexité. Articles et inédits 1952-1962 / The Cinema. An Art of Complexity. Unpublished works of Edgar Morin (2021); (ed.) Pensare la complessità per un umanesimo planetario / Thinking Complexity for Planetary Humanism (2012).
Published/Copyright: December 23, 2024
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Paragrana
From the journal Paragrana Volume 33 Issue 2

Abstract

The search for a possible unity in cultural multiplicity, or in other words, for an anthropologically sharable meaning, can arise from pluralistic dialogue in the aesthetic sphere that involves sensible knowledge or understanding. Since the audiovisual puts concrete acts and specific gestures into an aesthetic form, it offers the possibility of an empirical exchange with otherness, mobilising the sensorium in the perception and understanding of our diversity and at the same time our similarity to the other. In the audiovisual, observing the practices of the intangible cultural heritage of others can potentially raise awareness of, interest in, and give value to that which is not identical, contributing to the development of a pluralist paradigm of thought, open to diversity. Audiovisual works that artistically represent cultural heritage practices related to manual agricultural labour can amplify our understanding of the other, even of those marginalised by globalization.

About the author

Chiara Simonigh

Chiara Simonigh, Full Professor of Media and Visual Culture Studies at the University of Turin, where she coordinates the Global Media Aesthetics Studies international research group. She introduced and elaborated complex aesthetics for the study of the audiovisual medium, combining anthropological and ecological aesthetics. Among her works are: Il Sistema audiovisivo. Estetica e complessità/ The Audiovisual System. Aesthetics and Complexity (2020); with M. Peyrière (ed.), Edgar Morin, Le cinéma, un art de la complexité. Articles et inédits 1952-1962 / The Cinema. An Art of Complexity. Unpublished works of Edgar Morin (2021); (ed.) Pensare la complessità per un umanesimo planetario / Thinking Complexity for Planetary Humanism (2012).

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Published Online: 2024-12-23
Published in Print: 2025-01-29

© 2024 Walter de Gruyter GmbH, Berlin/Boston, Germany

Articles in the same Issue

  1. Frontmatter
  2. Editorial
  3. Editorial
  4. Artikel
  5. Welterbe und Immaterielles Erbe – Was verbindet es und was unterscheidet es?
  6. Die Umsetzung des UNESCO-Übereinkommens zur Erhaltung des immateriellen Kulturerbes von 2003 in der Bundesrepublik Deutschland
  7. Probleme und Chancen der Weitergabe traditioneller Kulturformen in den Bewerbungsdossiers auf der bundesdeutschen Liste des Immateriellen Kulturerbes
  8. Immaterielles Kulturerbe – Beratung als Cultural Brokerage
  9. Immaterielles Kulturerbe als guter Grund
  10. Kultur, Tradition und gesellschaftlicher Wandel – Potentiale des UNESCO-Übereinkommens zur Erhaltung des Immateriellen Kulturerbes
  11. Täler tief, Berge hoch
  12. Images of Living Culture
  13. Wie „lebendig“ muss Living Heritage sein?
  14. Digitale Kultur ist Living Heritage
  15. Moderner Tanz in Deutschland
  16. Heiterkeit als immaterielles Kulturerbe
  17. Trockensteinbau: immaterielle Praktiken und UNESCO Welterbe Kulturlandschaften
  18. Renewing Museum Meanings and Action with Intangible Cultural Heritage
  19. Museen und ihre Verantwortung für die Bewahrung des immateriellen Kulturerbes
  20. Immaterielles Kulturerbe und Museumspraxis: Zum Beispiel Alltagskultur
  21. Museen, Objekte und Praktiken
  22. Lasst uns zusammenkommen
  23. Immaterielles Kulturerbe im Strukturwandel
  24. Empfehlungen zum künftigen Umgang mit dem Immateriellen Kulturerbe in Deutschland
  25. Bildung durch immaterielles kulturelles Erbe
  26. Digital-kulturelle Praktiken als Immaterielles Kulturerbe
  27. Autorenverzeichnis
  28. Autorinnen und Autoren
https://doi.org/10.1515/para-2024-0029

Articles in the same Issue

  1. Frontmatter
  2. Editorial
  3. Editorial
  4. Artikel
  5. Welterbe und Immaterielles Erbe – Was verbindet es und was unterscheidet es?
  6. Die Umsetzung des UNESCO-Übereinkommens zur Erhaltung des immateriellen Kulturerbes von 2003 in der Bundesrepublik Deutschland
  7. Probleme und Chancen der Weitergabe traditioneller Kulturformen in den Bewerbungsdossiers auf der bundesdeutschen Liste des Immateriellen Kulturerbes
  8. Immaterielles Kulturerbe – Beratung als Cultural Brokerage
  9. Immaterielles Kulturerbe als guter Grund
  10. Kultur, Tradition und gesellschaftlicher Wandel – Potentiale des UNESCO-Übereinkommens zur Erhaltung des Immateriellen Kulturerbes
  11. Täler tief, Berge hoch
  12. Images of Living Culture
  13. Wie „lebendig“ muss Living Heritage sein?
  14. Digitale Kultur ist Living Heritage
  15. Moderner Tanz in Deutschland
  16. Heiterkeit als immaterielles Kulturerbe
  17. Trockensteinbau: immaterielle Praktiken und UNESCO Welterbe Kulturlandschaften
  18. Renewing Museum Meanings and Action with Intangible Cultural Heritage
  19. Museen und ihre Verantwortung für die Bewahrung des immateriellen Kulturerbes
  20. Immaterielles Kulturerbe und Museumspraxis: Zum Beispiel Alltagskultur
  21. Museen, Objekte und Praktiken
  22. Lasst uns zusammenkommen
  23. Immaterielles Kulturerbe im Strukturwandel
  24. Empfehlungen zum künftigen Umgang mit dem Immateriellen Kulturerbe in Deutschland
  25. Bildung durch immaterielles kulturelles Erbe
  26. Digital-kulturelle Praktiken als Immaterielles Kulturerbe
  27. Autorenverzeichnis
  28. Autorinnen und Autoren
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