Images of Living Culture
-
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 Unpublished works of Edgar Morin (2021); (ed.)Pensare la complessità per un umanesimo planetario / Thinking Complexity for Planetary Humanism (2012).
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, 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 Unpublished works of Edgar Morin (2021); (ed.)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).
References
Arthus-Betrand, Y. (2015): Human. A Portrait of Our World. London: Thames & Hudson-UNESCO.Suche in Google Scholar
Bhabha, H. (2004): The Location of Culture. London: Routledge.Suche in Google Scholar
Chavez, C. (2015): Reinventing the Latino Television Viewer. Language, Ideology and Practice. Lanham: Rowman & Littlefield.Suche in Google Scholar
Damasio, A. (2008): Cinéma, esprit et emotion. La perspective du cerveau. In: Trafic 67: 94-101.Suche in Google Scholar
Fanon, F. (2008): Black Skin, White Masks. New York: Grove Press.Suche in Google Scholar
Freedberg, D./Gallese, V. (2007): Empathy, Motion, Emotion in Aesthetic Experience. In: Trends in Cognitive Sciences 11 (5): 197-203.10.1016/j.tics.2007.02.003Suche in Google Scholar PubMed
Gadamer, H.G. (2008): Philosophical Hermeneutics. Los Angeles: University of California Press.10.1525/9780520352315Suche in Google Scholar
Gadamer, H.G. (2013): Truth and Method. London: Bloomsbury.Suche in Google Scholar
Gallese, V./Guerra, M. (2020): The Empathic Screen: Cinema and Neuroscience. New York: Oxford University Press.10.1093/oso/9780198793533.001.0001Suche in Google Scholar
Gebauer, G./Wulf, C. (1996): Mimesis. Culture, Art, Society. Oakland: University of California Press.10.2307/1399889Suche in Google Scholar
Hall, S. (2021): Writings on Media. History of the Present. Durham: Duke University Press.10.1515/9781478022015Suche in Google Scholar
Hall, S. (2024): Selected Writings on Visual Arts and Culture. Detour to the Imaginary (G. Tawadros, ed.). Durham: Duke University Press.10.1353/book.125202Suche in Google Scholar
Hall, S./Evans, J./Nixon, S. (eds.) (2013): Representation. Cultural Representations and Signifying Practices. London: Sage.Suche in Google Scholar
Hooks, B. (2014): Black Looks. Race and Representation. London: Routledge.10.4324/9781315743226Suche in Google Scholar
Jullien, F. (2021): There is no Such Thing as Cultural Identity. Cambridge: Polity.Suche in Google Scholar
Kraus, A./Wulf, C. (2022): The Palgrave Handbook of Embodiment and Learning. London: Palgrave Macmillan.10.1007/978-3-030-93001-1Suche in Google Scholar
Marks, L.U. (2000): The Skin of the Film: Intercultural Cinema Embodiment and the Senses. Durham: Duke University Press.10.1215/9780822381372Suche in Google Scholar
Mauss, M. (2008): Techniques of the Body. London: Routledge.Suche in Google Scholar
Michaels, A./Wulf, C. (2016): Images of the Body in India. South Asian and European Perspectives on Rituals and Performativity. London: Routledge.Suche in Google Scholar
Mirrelees, T. (2013): Global Entertainment Media. New York, London: Routledge.10.4324/9780203122747Suche in Google Scholar
Morin, E. (2005): La Méthode 3. La connaissance de la connaissance. Paris: Seuil.Suche in Google Scholar
Morin, E. (2008a): La Méthode 4. Les idées. Paris: Seuil.Suche in Google Scholar
Morin, E. (2008b): On Complexity. Advances in Systems Theory, Complexity and Human Sciences. New York: Hampton Press.Suche in Google Scholar
Morin, E. (2016): Sur l’esthétique. Paris: Laffont.Suche in Google Scholar
Morin, E./Kern, A.-B. (1999): Homeland Earth. A Manifesto for the New Millenium. New York: Hampton Press.Suche in Google Scholar
MPA (Motion Picture Association) 2021: 2020 THEME Report. Brussels.Suche in Google Scholar
MPA (2022): Comments Regarding Foreign trade Barrier to US Export for 2023 Reporting. Brussels.Suche in Google Scholar
Panikkar, R. (2018): Pluralism and Interculturality (M. Carrara Pavan, ed.). New York: Orbis.Suche in Google Scholar
Pepperell, R./Punt, M. (eds.) (2006): Screen Consciousness. Cinema, Mind and World. Amsterdam, New York: Rodopi.10.1163/9789401203081Suche in Google Scholar
Regnault, F.-L. (1922): L’histoire du cinéma. Son rôle en anthropologie. Bulletins et Mémoires de la Société d’Anthropologie de Paris 3.10.3406/bmsap.1922.8900Suche in Google Scholar
Ricoeur, P. (2007): From Text to Action. Essays in Hermeneutics. Evanston: Northwestern University Press.Suche in Google Scholar
Ricoeur, P. (2016): Hermeneutic and the Human Sciences. Cambridge: Cambridge University Press.Suche in Google Scholar
Rizzolatti, G./Sinigaglia, C. (2008): Mirrors in the Brain. How We Share our Actions and Emotions. Oxford: Oxford University Press.10.1093/oso/9780199217984.001.0001Suche in Google Scholar
Said, E.W. (1978): Orientalism. New York: Pantheon Books.Suche in Google Scholar
Shaviro, S. (2010): Post-Cinematic Affect. Winchester: 0 Books.Suche in Google Scholar
Simonigh, C. (2020): Il sistema audiovisivo. Estetica e complessità. Milano: Meltemi.Suche in Google Scholar
Sloterdijk, P. (2016): Foams Spheres. Volume III: Plural Spherology. Los Angeles: Semiotexte.Suche in Google Scholar
Valdivia, A.N. (2010): Latina/os and the Media. Cambridge: Polity.Suche in Google Scholar
Varela, F.J./Thompson, E./Rosch, E. (1991): The Embodied Mind. Cognitive Science and Human Experience. Cambridge/MA: MIT Press.10.7551/mitpress/6730.001.0001Suche in Google Scholar
Weiwei, A. (2018): Humanity (L. Warsh, ed.). Princeton, Oxford: Princeton University Press.10.2307/j.ctvc77jjgSuche in Google Scholar
Wulf, C. (ed.) (2016): Exploring Alterity in a Globalized World. London: Routledge.10.4324/9781315658469Suche in Google Scholar
Wulf, C. (2022): Human Beings and their Images. Imagination, Mimesis, Performativity. London: Bloomsbury.10.5040/9781350265165Suche in Google Scholar
Youngblood, G. (2020): Expanded Cinema. New York: Fordham University Press.10.1515/9780823287437Suche in Google Scholar
© 2024 Walter de Gruyter GmbH, Berlin/Boston, Germany
Artikel in diesem Heft
- Frontmatter
- Editorial
- Editorial
- Artikel
- Welterbe und Immaterielles Erbe – Was verbindet es und was unterscheidet es?
- Die Umsetzung des UNESCO-Übereinkommens zur Erhaltung des immateriellen Kulturerbes von 2003 in der Bundesrepublik Deutschland
- Probleme und Chancen der Weitergabe traditioneller Kulturformen in den Bewerbungsdossiers auf der bundesdeutschen Liste des Immateriellen Kulturerbes
- Immaterielles Kulturerbe – Beratung als Cultural Brokerage
- Immaterielles Kulturerbe als guter Grund
- Kultur, Tradition und gesellschaftlicher Wandel – Potentiale des UNESCO-Übereinkommens zur Erhaltung des Immateriellen Kulturerbes
- Täler tief, Berge hoch
- Images of Living Culture
- Wie „lebendig“ muss Living Heritage sein?
- Digitale Kultur ist Living Heritage
- Moderner Tanz in Deutschland
- Heiterkeit als immaterielles Kulturerbe
- Trockensteinbau: immaterielle Praktiken und UNESCO Welterbe Kulturlandschaften
- Renewing Museum Meanings and Action with Intangible Cultural Heritage
- Museen und ihre Verantwortung für die Bewahrung des immateriellen Kulturerbes
- Immaterielles Kulturerbe und Museumspraxis: Zum Beispiel Alltagskultur
- Museen, Objekte und Praktiken
- Lasst uns zusammenkommen
- Immaterielles Kulturerbe im Strukturwandel
- Empfehlungen zum künftigen Umgang mit dem Immateriellen Kulturerbe in Deutschland
- Bildung durch immaterielles kulturelles Erbe
- Digital-kulturelle Praktiken als Immaterielles Kulturerbe
- Autorenverzeichnis
- Autorinnen und Autoren
Artikel in diesem Heft
- Frontmatter
- Editorial
- Editorial
- Artikel
- Welterbe und Immaterielles Erbe – Was verbindet es und was unterscheidet es?
- Die Umsetzung des UNESCO-Übereinkommens zur Erhaltung des immateriellen Kulturerbes von 2003 in der Bundesrepublik Deutschland
- Probleme und Chancen der Weitergabe traditioneller Kulturformen in den Bewerbungsdossiers auf der bundesdeutschen Liste des Immateriellen Kulturerbes
- Immaterielles Kulturerbe – Beratung als Cultural Brokerage
- Immaterielles Kulturerbe als guter Grund
- Kultur, Tradition und gesellschaftlicher Wandel – Potentiale des UNESCO-Übereinkommens zur Erhaltung des Immateriellen Kulturerbes
- Täler tief, Berge hoch
- Images of Living Culture
- Wie „lebendig“ muss Living Heritage sein?
- Digitale Kultur ist Living Heritage
- Moderner Tanz in Deutschland
- Heiterkeit als immaterielles Kulturerbe
- Trockensteinbau: immaterielle Praktiken und UNESCO Welterbe Kulturlandschaften
- Renewing Museum Meanings and Action with Intangible Cultural Heritage
- Museen und ihre Verantwortung für die Bewahrung des immateriellen Kulturerbes
- Immaterielles Kulturerbe und Museumspraxis: Zum Beispiel Alltagskultur
- Museen, Objekte und Praktiken
- Lasst uns zusammenkommen
- Immaterielles Kulturerbe im Strukturwandel
- Empfehlungen zum künftigen Umgang mit dem Immateriellen Kulturerbe in Deutschland
- Bildung durch immaterielles kulturelles Erbe
- Digital-kulturelle Praktiken als Immaterielles Kulturerbe
- Autorenverzeichnis
- Autorinnen und Autoren
