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Re: [xmca] Abstract to Concrete



Hi Larry,
>
> [LP] Christine, could you elaborate on the contrast between *transitional
> objects* and *formal objects*
>
> Christine, as I read your comment, I was also reflecting on Dewey's theory
> of aesthetic *experience* which is an example of all experience for Dewey.
> The concepts he plays with are *rhythm* and *recurrence*  All activity as
> occurences participates in rythmic sequences of activities. These
> rhtyhm's can be perceived as mechanical with pre set units in relational
> interaction. However aesthetic recurrence is another type of relationship
> in which persons operate within these previous rhythm's repeating as
> recurrences BUT as aesthetic experience the persons *summarize* what has
> previously occured and then through their needs, desires, and motivated
> intents participate in the *developing* rhythm *expanding  of an expanding
> horizon of understanding.
My references will be very particular and probably obscure to the
list: but I don't suppose anybody will be offended by that:  First of
all there seems something particular in British cultural life
influenced by empirical thinkers in philosophy which draws on 'formal
logic' ( Ilyenkov discusses this at painful length - but probably was
up against 'incomprehension'); such that 'rationality' in Alan's
inclusional characterisation attributes this vein to 'dialectics'.

I am looking at this as it is might be very painful in the
institutional contest of recognition . I was looking at past papers
for discussion on xmca yesterday and revisted Basil Bernstein's
'horizontal and vertical discourse', which seems to make this
fundamental slip ( june/july 2005) - my impression, I was looking for
another paper- which I didn't find -discussing alterity by Wertch
around this discussion
http://lchc.ucsd.edu/mca/Mail/xmcamail.2006_08.dir/0038.html
Either  papers would do at the time - serendipity which- my difficulty
arises from the 'othering' in scholarly writing as ( unquestioned that
it is a 'good' thing to master writing in such a form) academic
standard ( and yes especially in British institutions as I'm oriented
here pragmatically). In the past I'm sure we've talked about this and
witnessing, recognition - drawing in 'the face of the other' in
Levinas' work - which figures dialogic expression and relations - and
in written text might be translated or lost -  or  might be shifted to
a formal 'everyman' or to a figure of universal: particular by an
individual writer - or be a shared standard in collaborative writing.
We have also in the past - with Roy Reynolds - off list - discussed
the poetry of  Rainer Maria Rilke, and Goethe - where the orientation
of the untouchable  Muse ( which I find more disturbing than -small r-
 romantic).

In universal particular and individual - a line comes from Tonnies on
gesellschaft gemeinshaft - in  current writing the concept of
'individual (family):particular(institution) and universal practices
illustrate unfolding relations - still through the standard of
distancing of  untouchable other 'the (standard) intelligent reader'
an appeal to no person in particular living embodied co-presence(
though often challenges come pretty close). Distance slips in when
seen in expressions such as  'joining existing institutions' etc In
this discussion of aesthetic we have also talked about 'duende' from
the work of Garcia Lorca - who also contrasts  'angel' as another mode
. Jack Whitehead, on the list sometimes, also.  Duende as passion not
sparked on 'untouchable distance' , arising in flamenco  through
'artist- in -audience' ( but not as a passive reception , an
origination of deepening of feeling from which perfomance springs )- a
moment of duende brings into consciousness ,  from the potentialities
felt expressed experienced and 'theorised' in the perfoming
'conditions' . This isn't necessarily family, and isn't
'institutional' in the senses of  marriage/a movement /or
organisational institution such as the British Law Society.
'Othering' is quite different to that in written perfomance in 'the
english essay form', which relies on separation of audience towards
the muse of the constructed 'intelligent and informed reader'.
 ( And we also discussed plurality of form of living  and mystery of
al -andalus ).
 Christine.
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