[-empyre-] the extents of learning experiences/practice as a means towards academic self-criticism

Gabriel Menotti gabriel.menotti at gmail.com
Sun Feb 26 19:45:10 EST 2012

> what is needed so that the moment of the performance
> itself can be a learning experience, I think, is openness
> or, what I sometimes like to call, "being in the moment":
> being aware of and in constant reaction to what is
> actually happening then and there, on stage. […]  So what
> I think can first and foremost be  learned in the moment
> of the performance is another way of knowing that breaks
> away from teleology. [IOANA JUCAN]

This is an interesting way of considering knowledge in relation to
different awareness of time/history. But how do they negotiate with
one another?

In other words, is the learning experience of the performance limited
to the (timeless!) stage, or can it survive (does it have any value)
once we are cast in the flow of (secular, teleological) time? How to
translate the awareness of “being in the moment”, or whatever is
learned from it, back to the everyday (or precarious) life?

> And are these products [of artistic research] to be
> discussed under the rubric of aesthetics, still? Is talk
> in terms of aesthetic value relevant as far as they are
> concerned? […] To push this question one step
>further: What is the relation between artistic research
> and the category of aesthetics?  [IJ]

Or, to attempt another reversal of paradigms, is the category of
aesthetics still relevant as a means of assessment? Couldn’t artistic
research move us from the epistemic fascination with the aesthetics of
results/products to a more general attention to the poetics of


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