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Robert Eaglestone

Gadamer . . . Truth here is seen in terms of the capacity of forms of articulation to ‘disclose’ the world.5 For Bernstein, too, ‘art and aesthetics . . . appear as somehow more truthful than empirical truth . . . more rational than methodological reason, more just than liberal justice . . . more valuable than principled morality or utility’.6 This is not to argue that art, and the world disclosed in art, are simply ‘more true’ than truth as correspondence, that ‘art and aesthetics are true while truth-only cognition, say in its realisation in the natural sciences, is

in The new aestheticism
Catherine Laws

its deepest sense,27 demanding acknowledgement as an intentional object of perception. Similarly, in Beckett’s early positing of Beethoven’s ruptured music as a possible model for his own work, but equally in his increasingly musical, fragmented language that apparently keeps the underlying silence at bay, silence is composed in, defined still in terms of the cessation of sound, objectified for cognition, and evoked only by the act of listening for it. In these manifestations, as Sontag says, ‘“Silence” never ceases to imply its opposite and to depend on its

in Beckett and nothing
Open Access (free)
Theatre and the politics of engagement
Author: Simon Parry

This book is about science in theatre and performance. It explores how theatre and performance engage with emerging scientific themes from artificial intelligence to genetics and climate change. The book covers a wide range of performance forms from the spectacle of the Paralympics Opening Ceremony to Broadway musicals, from experimental contemporary performance and opera to educational theatre, Somali poetic drama and grime videos. It features work by pioneering companies including Gob Squad, Headlong Theatre and Theatre of Debate as well as offering fresh analysis of global blockbusters such as Wicked and Urinetown. The book offers detailed description and analysis of theatre and performance practices as well as broader commentary on the politics of theatre as public engagement with science. It documents important examples of collaborative practice with extended discussion of the Theatre of Debate process developed by Y Touring theatre company, exploration of bilingual theatre-making in East London and an account of how grime MCs and dermatologists ended up making a film together in Birmingham. The interdisciplinary approach draws on contemporary research in theatre and performance studies in combination with key ideas from science studies. It shows how theatre can offer important perspectives on what the philosopher of science Isabelle Stengers has called ‘cosmopolitics’. The book argues that theatre can flatten knowledge hierarchies and hold together different ways of knowing.

Open Access (free)
Simon Smith, Jackie Watson and Amy Kenny

frameworks used to comprehend sensory experience. Dugan also asserts the significance of each individual’s unique embodiment of sensory experience, arguing that ‘individual bodies sense specific phenomena’ divergently. In order to study the senses in context, then, we must also interrogate the ‘shifting interface between individual cognition and shared material environments’, remaining cautious about flattening individual sensory encounters into undifferentiated models of collective experience.7 In the same article, Dugan locates a separate, salient concern for sensory

in The senses in early modern England, 1558–1660
Mark Robson

utopian invention, carries with it (like all utopias) the negative recognition that the world of the senses from which it is freeing itself is imperfect, or fallen. Such a recognition would certainly accord with Sidney’s Protestantism. But from the perspective of our discussion, this movement beyond history may be read as an attempt to offer a truly historical cognition of the world. In this allusion to a truth beyond a mimetic relation to the world, Sidney is also able to combat charges that poets are liars. Sidney argues that ‘though he [the poet] recount things not

in The new aestheticism
Open Access (free)
An introduction
John J. Joughin and Simon Malpas

possibility of its having a transformative potential. As Bernstein argues: if art is alienated from truth and goodness by being isolated into a separate sphere, then that entails that ‘truth’ and ‘goodness’ are alienated, separated from themselves. Aesthetic alienation, then, betokens truth’s and reason’s internal diremption and deformation. . . . Art’s exclusion from first-order cognition and moral judgement is, then, a condition of its ability to register (in a speaking silence) a second-order truth about first-order truth.35 Inadmissible to forms of criticism generated

in The new aestheticism
Open Access (free)
Old things with new things to say
James Paz

to ‘know’ them? Might we develop a more nuanced understanding of scientia  –​one that would help us to grasp pre-​Enlightenment modes of cognition? Such research would not only be concerned with understanding the past; it also connects with important twenty-​first-​century concerns about how we, as humans, use and abuse the nonhuman world in our pursuit of knowledge and technological advancement.6 Nonhuman things embroiled in ongoing processes of creation or alteration, things that may be fragile or broken, accidental or malfunctioning things, things with a life

in Nonhuman voices in Anglo-Saxon literature and material culture
Beckett and the matter of language
Laura Salisbury

for a connection. For the synaptic chasm is a very particular kind of nothing that can be placed within a set of historical intellectual conditions in which language, cognition, and the subjectivities they subtend, are reconfigured as products of fundamentally material processes taking place in the nervous system. Returned to such a context, it is perhaps no surprise that Beckett’s obsession with naggingly and sometimes abjectly fecund material voids, should undertake complex transactions with the work of signification seen to emerge from the interior of the cranium

in Beckett and nothing
Gary Banham

at the time Kant wrote the first critique and Kant uses it in this work to discuss an ‘immediate’ relationship between cognition and an object as opposed to a mediated relationship between the two, as is provided by concepts and judgements. The reason why Kant here is not just presenting an account of sensibility per se is his transcendental purpose. As Kant puts it: Since that within which the sensations can alone be ordered and placed in a certain form cannot itself be in turn sensation, the matter of all appearance is only given to us a posteriori, but its form

in The new aestheticism
Thomas Docherty

simply, education: the forming and informing of a self in the spirit of growth, development, and imagining the possibility that the world and its objects might be otherwise than they are. Another word for this, of course, is metaphor; but metaphor as a practice of thought, or, in the words of Ricoeur, as a process of ‘cognition, imagination, and feeling’31: in my own terms, a thinking that is always hospitable to otherness, and is thus ‘companionable’. A useful way of characterising the play at issue here is to see it as dance. Valéry, in particular, made great play

in The new aestheticism