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1 (Woodall, 2016, p.
94) "Within other cultures, a
differentiation of the five senses as derived from Aristotle, simply does not
exist, or has no meaning."
15 (Simon, 2017)
"We had to make the museum relevant. But how do you do that. We couldn't
just display 'relevance'. By fiat people choose for themselves every day: what
we think is relevant to us and what we think isn't, what we're going to attend
to and what we're going to ignore. How do we make those decisions? Research
shows we ask ourselves two questions to decide if something's relevant: how
much meaning am I going to get out of this experience and how much effort is it
going to take for me to have that experience."
17 (Hooper-Greenhill, 1992, p. 1) “… serve many masters, and must
play many tunes accordingly.”
18 (Obrist, 2011, p. 236) "I do think
museums in their very nature are very utopian enterprises. Since the very
beginning of museums, … they all began with this incredibly idealistic idea of
art for the people and art as a means of educating and widening and deepening
people’s lives as citizens. It’s really amazing. There is also from early on an
aspect of economic impact and commercial results, thinking that museums are
good in every way for the cities they are in. I don’t know—in some ways every
project one does in a museum is a utopian project."
19 (Ogg & Steedman, 2015) "New galleries are still being built, but
generally along the same architectural lines as over the last 200 years. Galleries
may be architecturally daring and exciting on the outside while the conventions
of the white cube is maintained inside. How can gallery architecture respond to
the demands of new art practices while ensuring traditional media can still be
shown? And how far should galleries be dictated to by artistic practice which
may change with technology and fashion?"
20 (Hooper-Greenhill,
Museums and the Shaping of Knowledge, 1992, p. 1) "Today almost anything may turn out to be
a museum, and museums can be found in farms, boats, coal mines… The experience
of going to a museum is often closer to that of going to a theme park or a
funfair”, "it is mistake to assume that there is only one form of reality
for museums, only one fixed mode of operating."
23 (Wright, 2006, p.
119) "The museum has to cater for
increasingly fragmented publics who want to learn, do different things at
different speeds."
25 (Woodall, 2016, p.
64) "In the museum,
‘interpretation’ is a process that is undertaken on behalf of someone else. Museum
staff undertake ‘interpretation’ for museum visitors. In other words,
interpretation is something that is done for you, or to you…"
27 (Xanthoudaki, Maria;
Tickle, Les; Sekules, Veronica, 2003, p. 66) "The role of art museums has become that
of an ingredient of pre-packaged experiences, or at least there has been a fear
of that development. … a worry that standardization and
pseudo-individualization typical of popular media products will enter all
fields of life."
28 (Xanthoudaki,
Maria; Tickle, Les; Sekules, Veronica, 2003, p. 2) "the charismatic ideology of the museum
is entirely self-serving, offering a pretence at democratic access, while all
the time reinforcing notions of cultural exclusiveness."
29 (Xanthoudaki,
Maria; Tickle, Les; Sekules, Veronica, 2003, p. 2) "Important is that the museum perceives
itself as making a difference in society”
30 (Woodall, 2016, p.
13) "Indeed, it could be argued
that museums are suffering from something of an identity crisis", "
Yet for recent museological publications to include titles such as 'Do museums
still need objects?' (Conn 2010) and for current professional articles to
suggest that the priority for museums should be ‘impact’, not collections
(Davies 2012), the very role of the object in a museum finds itself under
scrutiny."
32 (Simon, 2017) "I'm not going to suggest that bringing
in these outsiders was easy. It isn't. I think we sometimes have this fantasy
that the way we're going to invite outsiders into the things we care about is
just by opening our existing doors wider; we'll start with the insiders, we
have the experience we have and we'll just open that door wider and more people
will come in. This doesn't work because outsiders are the ones who are choosing
to pass by those doors you already have."
34 (Obrist, 2011, p. 127) "The curator has to be flexible. Sometimes
he is the servant, sometimes the assistant, sometimes he gives artists ideas of
how to present their work; in group shows he’s the coordinator, in thematic
shows, the inventor. But the most important thing about curating is to do it
with enthusiasm and love—with a little obsessiveness"
35 (Obrist, 2011, p.
294) "if we do our work well, we
disappear behind it.”
36 (Hoffmann, p. 6) "Many critics have pointed out that
curators such as Szeemann, Obrist and others are in fact artists that use the
medium of the exhibition…"
42 (Obrist, 2011, pp.
162-163) "I think our problem in the
area of curatorship was to become aware that this person —in this case me— was
an actor in this process, and that he or she had an effect on what was shown;
and being aware of this was part of looking at art and understanding how art
choices were made."
43 (Obrist, 2011, p.
227) "You can walk around the
corner and have this amazing experience. We shouldn’t forget that in all of
our—you might say arrogance—about making the most beautiful or the most
effective installation, what life depends on is encounters."
40 (Dany, 2015) “Gerardo Mosquera, who co-founded the Havana
Biennal, says … art has become very specialised, and you have to know so many references
to understand it thoroughly"
48 (Xanthoudaki, Maria; Tickle, Les; Sekules, Veronica,
2003, pp. 1-3)
"In the '80s there was an urgency about using educational visits to
increase visitors’ numbers, the following decade saw an increasing interest in
questions of intellectual and physical access. …. began to recognize their
potential as stimuli in the fields of formal and informal education. Now
scarcely any museum, throughout the world, which do not provide educational
programs and 'interactive' resources associated with displays and events as a
regular feature of their work. There is a need and an opportunity to develop a
research culture and to extend methodological expertise among gallery educators
through the informed use of others research and through their own
research-based practice."
53 (Woodall, 2016, p.
67) “Interpretation is understood not as something
entirely didactic, but recognizes that individuals construct their own meanings
according to personal experience.”
54 (Dewey, 2005, p. 204) "… since the
actual work of art is what the product does with and in experience, the result
is not favorable to understanding."
55 (Terry Barrett, 2019) "… approach may
be summed up by words that are central to the title of his book – reflecting,
wondering and responding. He reflects on what he sees literally and
metaphorically. Based on prior experiences and knowledge he constructs an
interpretation and articulates it verbally – this is his response to the
artwork."
56 (Terry Barrett, 2019) "The role of
the emotions in reading the world applies to interpreting works of art: 'reading
our feelings and reading the work are, in general, virtually inseparable
processes'.”
59 (Terry, sd)
"June 2008, Phil Terry…held an experiment. He wanted to know what would
happen if museum and gallery visitors changed the way they looked at art.
Instead of breezing past hundreds of artworks in the standard 8 seconds, he
wondered what would happen if people looked slowly at just a few… It was a
surprisingly powerful experience that Phil thought others should have – that it
would help them learn how to look at and love art (and also get over the
feeling of intimidation that many experience)."
60 (Terry, sd)
"After the third test, Phil launched Slow Art Day with a volunteer team
who in the early years worked hard to establish the event and overcome museum resistance.
…museums around the world coordinating remotely with each other and using
then-new collaboration tools like Google Docs and Sheets. …. One day each year
people all over the world visit local museums and galleries to look at art
slowly. Participants look at five works of art for 10 minutes each and then
meet together over lunch to talk about their experience. That’s it. Simple by
design, the goal is to focus on the art and the art of seeing. In fact, Slow
Art Day works best when people look at the art on their own slowly and then
meet up to discuss the experience (though some hosts decide to do the
discussion right in the gallery)."
70 (Rubinstein, 2019) "Still, even though a lot of art
criticism is being published, it’s rare for any single piece of writing to have
the kind of impact that certain texts did in previous decades … Not only was
each of these statements of position widely read, they also substantially
influenced the subsequent direction of art and its discourse. … Perhaps this is
simply because, for better or worse, critics today don’t wield the kind of
influence and authority that prevailed until the 1990s. It could also be
because the art world is now as fractured and niche-ridden as the rest of the
culture; not everyone reads the same pieces of art criticism, just as not
everyone watches the same TV programs."
71 (Spiegler, 2005) “The role of the critic has been
gradually taken over by the curator, notes Stockholm’s Power Ekroth, who writes
criticism for artforum.com, edits Site magazine, and also curates exhibitions.
The curator builds up a career by becoming the new stronghold for validation of
taste. The curator is also closer to the artist, because where the critic is
trying to be ‘objective’ the curator is clearly subjective.”
72 (Spiegler, 2005) "Professional entanglements run
rife between critics and the galleries whose works they review. Few critics
have staff positions in galleries, but many do short-term business with them,
either for curatorial gigs or while writing catalogue essays."
74 (Schreyach, 2008,
p. 19) “Art criticism aims to understand, to grasp the
meaning of, artworks. The theoretical problem, of which Wollheim was well
aware, is that there are numerous interpretations of “meaning.” Two views
predominate. On the one hand, meaning can be thought of as something adhering
to the work of art, some quality to be discovered by the critic through
discovering the original conditions of its creative manufacture. On the other
hand, meaning is constructed by the critic and subsequently imposed on the work
of art. The difference is between meaning that originates in the creative
process, and that which derives from the critical process. Between these
alternate poles are an indefinite number of critical positions, more or less
representative of one technique or the other. It is not necessary to choose one
over the other, because they are not mutually contradictory.”
75 (Woodall, 2016, p.
76) “… the function of criticism should be to show
how it is what it is, even that it is what it is, rather than to show what it
means.”
78 (Dany, 2015)
“We need clearer interpretation by defining the seven problems of art writing:
excessive information, artspeak, sub-clauses, dumbing down, gaps in information,
nonsense writing and, finally, Dead White Male Syndrome (i.e. boring
information).”
81 (The Spectators' role, sd) "This process
creates a communicative occurrence. In every communicative act, a sender and a
receiver are at stake. The artist is the sender, hence the initiator of this
communicative process. In this case, the artist has an initial priority
position over the spectator. The artist speaks first, he brings his vision out.
The spectator is the addressee of the artwork, he receives the vision of the
artist."
83 (Deimling) "Within the arts, perception is a tool
used to confuse, deconstruct or disturb, in order, to relate differently to
ourselves, the society, and the environment. Artists of all genres are
interested in toying around with the chain of perception."
84 (Obrist, 2011, p.
222) “I am very convinced that the same work of art
can have any number of different appearances. Every pair of eyes that sees it
has a different experience, a different background, a different visual
connection, let alone a different spiritual or mental or emotional connection.
So, there is that. Secondly, you can put the same work of art in rather
different galleries, in different contexts, ….”
86 (Deimling)
"Art is not made to be understood in a logical way, to place it somewhere
in shelves of understanding and verification. If you try to logically
understand my art you will simply destroy it before it can unfold its true
nature. … It is like having the paradox as a constant companion which
guarantees no solution, no result, no answer, no arrival – but an exciting
journey to one’s own visual memory. It is not about what you see. It is about
what you don’t see. To activate this access is my personal and artistic
wish."
87 (Hyde, 2019, p. 17) "Every modern artist who has
chosen to labor with a gift must sooner or later wonder how he or she is to
survive in a society dominated by market exchange."
93 (Whitehead, 2012, p. 14) "… artists have
assumed a certain kind of experience, expectations and openness. Great number
of people who come to museums today have no such accumulated knowledge. And it
is small wonder that they are confused and often hostile when confronted with,
for example, an all-black canvas."
99 (Chowaniec,
2015-16) “I would call art, namely, the
imaginative transformation of lived experience.”
101 (Oakley, 2002, p. 12) "What do I mean
when I say that the MUSEUM space is ritualistic? I mean that it is a highly
constrained activity that can alter or confirm one’s identity and standing in a
culture. Although ritual implies religiosity and sacredness, it need not. In
fact, in most societies, rituals are often quite inconspicuous and informal,
especially unscripted rituals like museum visits. Rituals are simply those
activities and occasions that require lengthy reflection or contemplation. …
The attitude and focus of attention is qualitatively different from everyday
existence.”
102 (Oakley, 2002, p. 7) "The public art museum is a highly
structured space which guides individual patrons in the conceptualizations they
construct about the objects on display. Even though conceptualizations produce
individualistic meanings that change from one visit to another (and even during
the course of the same visit) these meanings are not purely subjective. The
public nature of art museums ensures that conceptualizations converge enough to
make a visit to a museum a kind of experience that is recognizable and replicable
among patrons."
107 (Wright, 2006, p. 126)
"Because works belong to
collection... tend to see all the works as of good quality. "
109 (Oakley, 2002, p. 12) "… we live in a
human world of meanings, that is, in this sense, of objective meanings ascribed
to experienceable phenomena, …"
112 (Terry Barrett, 2019) “In some
conversations and writings about art, it is artists who are interpreted rather
than the artworks that they have made.”
117 (O Connor, 2016)
"Museums have recently started to take a different, much more complex and
diversified audience into account: adults. ... Museums in Europe have
increasingly been under the pressure – by funding bodies and by the public
itself – to show the social value of their work, so that improving access and
widening audiences has become an imperative. They have moved away from being
temples for the conservation and the display of artefacts, to being fora,
centres for the community, responsive to the needs and expectations of their
public."
118 (O Connor, 2016) "It is clear
that the museum is no longer or not only a didactic space, but also a place of
informal, individual learning. …Notion of learning itself has changed, as the
definition of the UK Campaign for Learning suggests, and museums are typically
institutions that can engage people, create experiences and meaningful
interactions … what is still labelled as ‘museum educational activities’, but
should more correctly be named ‘public engagement’."
124 (Wright, 2006)
“The real issue is the
quality of the works of art; people assume that quality is self evident in
museum and assume that the quality of experience is equivalent” (vrij naar).
125 (Woodall, 2016, p. 229) "Since the
objects are unknown, ironically, people are often reticent and fearful, perhaps
preferring to intellectualise. They need someone, a facilitator, to explain
that this fear is not a problem, …"
128 (Woodall, 2016, p.
76) “Interpretation is the revenge of
the intellectual upon art: What is important now is to recover our senses. We
must learn to see more, tohear more, to feel more. Our task is not to find the
maximum amount of content in a work of art, much less to squeeze more content
out of the work than is already there. Our task is to cut back content so that
we can see the thing at all.”
131 (Cahan, Suzan E.; Kocur, Zoya;, 2011, p. 9) "Many teachers
shy away from using contemp art in their teaching because they do not feel
comfortable with their own level of knowledge and are reluctant to introduce
their students to anything they may not have mastered themselves."
140 (Elkins, 1997, p. 33) “First there is the eye, ‘just
looking’, at the objects, just taking some mental notes on their names and
their places; but just beneath the surface there are other forces that can’t
quite be spoken, twisting their way through the viewer’s thoughts”
143 (Reid, 1981, p. 30) “Although one does not address tables
in the I-Thou style, there is something like the I-Thou relationship between
oneself and a work of art. There is a sense in which we do 'address' it and in
which it 'addresses' us. ... The
aesthetic attitude occurs when we look at or more generally apprehend anything,
including of course works of art, that is in itself interesting and stimulating
enough to hold our contemplative attention for its own sake and not, say, for
the sake of any practical advantage or of any addition to our store of factual
knowledge –though it may add to such knowledge incidentally.”
145 (Woodall, 2016, p. 256) "Unknowing an
essential but almost entirely neglected aspect of everyday museum
practice"
154 (Christensen,
2013, p. 3) “Whereas understanding in a verbal
communication has to do with understanding the intention of the speaker, this
is different when “the said” has been written down - or acted out, or sculpted
or painted.”
155 (Woodall, 2016, p. 105)
“Visual experience
cannot always be articulated verbally, and this makes it more difficult to
discuss, to share, to understand. The gut response to colour, the physical
reaction to mass, the engagement with the visual that is both embodied and
cerebral, remains mysterious.”
156 (Woodall, 2016, p. 90)
“Gell argues that
within any social relationship, the ‘other’ whom the relationship is with, does
not have to be a human subject: ‘Social agency can be exercised relative to
‘things’ and social agency can be exercised by ‘things’. … He notes that humans
do have agency, and that this ‘human agency is exercised in the material
world’.”
157 (Woodall, 2016, pp. 91-92)
“… notions of
‘potentiality’ and ‘actuality’: ‘Object potentialities… are only actualised…
when they do indeed bring about an effect of some kind’. … It is in the
engagement between object and subject, in their very confluence… that subjects
and objects come into being at all.”
158 (Weil, 2002, p. 69) "Sheldon Annis concludes that
neither museum nor objects are possessed of intrinsic meanings - they accept
and reflect the meanings that are brought to them"
159 (Woodall, 2016, pp. 173-174) “Louise Ravelli’s
main argument is that objects ‘do not speak for themselves’: … Anyone who
thinks that objects do speak is ‘simply hearing their own pre-existing
frameworks speaking back to them’."
166 (Pelowski, 2017, p. 82) “Systematically
organizing the neural systems that underlie the complex and distributed
functional architecture implied by the diverse behavioral and cognitive impacts
of art is ‘one of the major goals of the field of neuroaesthetics’."
168 (McCracken, 2016)
“The growing field of
neuroaesthetics, which studies the relationship between aesthetic pleasure and
neurological functioning, has discovered the role that mirror neurons play in
art appreciation. ... David Freedberg, an art history professor at Columbia
University, told the Smithsonian.” “What we found is when you look at
art—whether it is a landscape, a still life, an abstract or a portrait—there is
a strong activity in that part of the brain related to pleasure,” Professor
Semir Zeki of University College London told.” “No matter how you cast it,
viewing art is a distinct pleasure. It taps into the very things that make us
human—both intellectually and, as neuroscience proves, on a base biological
level.”
187 (Blakeslee, 2006, p. 3) “Mirror neurons
allow us to grasp the minds of others not through conceptual reasoning but
through direct simulation. By feeling, not by thinking."
188 (Blakeslee, 2006, p. 2) "The discovery
is shaking up numerous scientific disciplines, shifting the understanding of
culture, empathy, philosophy, language, imitation, autism and
psychotherapy."
189 (Blakeslee, 2006, p. 3) "Mirror neurons
provide a powerful biological foundation for the evolution of culture, said
Patricia Greenfield, a psychologist at the U.C.L.A. who studies human
development. Until now, scholars have treated culture as fundamentally separate
from biology, she said. But now we see that mirror neurons absorb culture
directly, with each generation teaching the next by social sharing, imitation
and observation."
190 (Freedberg,
2007, pp. 27, 30)
"For many years little attention was devoted to the notion that felt
corporeal involvement in a painting or with a sculpture, or even in
architecture, enables both physical and emotional empathetic responses. But
recently subject there has been a certain renewal of interest in the subject. …
It has always been regarded as too intuitive, too individual, too
variable."
192 (Freedberg,
2007, pp. 31, 35)
"Researchers such as Peter Lang (one of the pioneers of the study of
emotional reactions to pictures) and Richard Davidson have done an array of
experiments involving eyeblink startle magnitude and corrugator and zygomatic
muscle responses to pictures [eyeblink reflex was measured/ Of all the muscles
in the face, the zygomaticus major is perhaps the most noticeable. Sitting
between the corners of our lips and the upper part of our cheeks, it controls
the way in which we smile]. (Damasio) wanted to show how feelings – the
conscious awareness of emotions – are related to neural mappings of the body
state."
193 (Freedberg, 2007, p.
39)
"But there is also a point, as just noted, at which we seem to stop
ourselves from overt imitative bodily action. From this it ought also to be
possible towards a deeper understanding of the phenomenon of “gating”, whereby
whatever emotional response we might otherwise have had to a picture in a
gallery, say, is instantly superseded by a more detached aesthetic response, a
response normally – and rightly – viewed as entirely cognitive."
197 (Dean, 2008) "We feel
because we care about something, when we have some interest in what happens,
whether it’s to an object, ourselves, or another person. Emotions arise from
these particular goals, motivations or concerns. When we are unconcerned, we
don’t feel anything."
198 (Dean, 2008)
“means that we are
always comparing what is happening to a relatively steady frame of reference
(what we are used to).”
212 (Reid, 1981, pp. 27-30)
"Intuition is second sight or precognition. It is very quick reasoning of
which we may be unaware. There can be no knowledge at all without the presence,
at some stage, of direct intuitive knowing. … The intuition is cognitive,
conative and affective"
213 (Sadler-Smith, 2010, pp. 23, 33-35, 38)
"Intuition is something that happens involuntarily and unexpectedly …. It
can happen within seconds." "The intuitive mind is not magical nor
paranormal; it can be explained scientifically. The intuitive mind speaks in
language of feelings/ is fast and spontaneous/ is holistic/ can offer
hypotheses (not certainties). … Intuition arrives in conscious awareness tagged
with either a positive feeling or a negative feeling. … The fact that
intuitions are charged with feelings but aren't emotionally-charged, a vital
skill is to be able to disentangle intuition's subtle feelings from intense
emotional feelings and the attachment and cravings that strong emotions bring.
Because emotions and feelings are not equivalent: … a feeling is a subjective
mental representation of the physiological changes that come with an
emotion."
217 (Reid, 1981, pp. 28, 33)
"… is a factor in
all knowing whatever. I say 'a factor'. The concept of knowledge is much wider
than that of intuitive knowing. But there can be no knowledge at all without
the presence, at some stage, of direct intuitive knowing. It is very important
to recognize that all intuitions are at least implicitly judgmental. …
Intuitions are clouded by subjective bias or blinded by personal idiosyncrasy.
This is manifestly true of many intuitions of art …. Often happens when we
apprehend some important or perhaps great work of art for the first time,
simply because we have not yet had time to perceive it in its complexity; this
is in fact a quite normal and natural experience … often overlooked where the
visual arts are concerned, particularly when they are displayed in quantity at
exhibitions. We stroll by casually, making quick 'judgments' before taking time
to look. And of course, we may easily be taken in by something with an
immediate appeal that would never stand the test of time."
218 (Sadler-Smith,
2010, p. 31) “intuition is not open to direct
introspection.”
222 (Reid, 1981, pp. 32-33) "Intuition then
–and particularly aesthetic intuition- is cognitive in this complex way. But
the term 'cognition' is much wider in reference then 'knowledge'. Intuition in
itself carries no guarantee of truth or validity."
226 (Halberstadt, Amy G.;
Parker, Alison E.; Castro, Vanessa L.;, 2013, p. 94) "In the
language of nonverbal communication, receiving and decoding are
synonymous"
227 (Woodall,
2016, pp. 184, 187)
"… rather participate within a world in which all our unique and
individual experiences are constantly at play " "also include
‘imaginative things’, by which is meant guessing things, making things up, and
suggesting things which may be based on the object’s perceived physical,
contextual and emotional existence. Emotional things relate to a primal,
immediate, unfettered or instinctual response to something. … Bound up with
memories, with questions of identity, but also with concepts difficult to vocalize…"
228 (Reid, 1981, p. 32) "Language is
inadequate and artificial, because language has to be uttered seriatim and
expressed conjunctively. In actual experiences it all takes place indivisibly,
together."
230 (Reid, 1981, p. 32) "In order to know a work of
art aesthetically, feeling has to be fused into the knowing. Feeling is needed
and essential. Feeling… is undoubtedly subjective and private. But so is
cognizing, looking at from a particularly point of view. Feeling united with
cognition in a holistic mental act of apprehension. They are always present
together, sometimes one stands out or is more noticeable than the other."
232 (Christensen, 2013, p.
4)
"There is not necessarily a ‘message’ that can be translated ‘back’ into
verbality, because the art was possibly never grounded in a verbality at all,
but in feelings, emotions, explorations, investigations, on individual,
collective or cosmic levels. Yet, even if the material may not be based on a
‘form’ referring to a ‘content’, this does not exclude an interpretation and
does not prevent us from having access to get an understanding of the material
and the ‘World’ it points towards."
234 (Christensen, 2013, p. 1) "It is argued that feeling and
non-verbalized emotions lie at the foundation of art."
235 (Halberstadt, Amy G.;
Parker, Alison E.; Castro, Vanessa L.;, 2013, p. 93) “Abilities to
receive and sent both spontaneous and posed nonverbal messages develop
throughout the lifespan, and across multiple channels. ... Receiving and
sending and their developmental processes appear to be related to temperament,
gender, family socialization, and cultural values and norms. … also vary
substantially by context and relationship, and predict a number of important
socio-emotional outcomes.“
237 (Gokcigdem, 2016, pp. 8, 11-12, 16, 23, 25,) “a snapshot of how
empathy is currently being utilized in a variety of museums: as an educational,
storytelling tool… through audience research, experiential learning, exhibition
design, creative community partnerships, educational and public programs, or
through the choice of curatorial voice … platforms for outreach beyond the
walls of the museum … Our approach is rooted in the theory of emotional
intelligence, which defines 4 fundamental emotion skills: accurately
perceiving, emotions in oneself and others, using emotions to facilitate
thinking and problem solving, understanding emotions, and regulating emotions.
… Empathy can most simply be defined as
'the heightened responsiveness to another's emotional experience'. After 5
decades of research psychologists agree that empathy includes both an emotional
and a cognitive component.” “Museums and empathy are a powerful combination
that can provide transformative experiences of dialogue, discovery,
understanding and contemplation to all, regardless of age or background.”
“Empathy is not only how we instinctively connect with others through our
mirror neurons, but also how we make sense of the complex, connected and
interdependent nature of our existence. In its essence, empathy enables us to
understand the perspective of another.”
“Much has been written on empathy in the last few decades, exploring its
multifaceted nature and its implications for personal, societal or economic
development and innovation. Empathy can be many things.”
238 (Campbell, Gary; Smith, Laurajane;, 2017, p. 2) "… takes an
opposing view, arguing against a sentimentalizing of 'empathy' and states that:
'the act of feeling what you think others are feeling –whatever one chooses to
call this- is different from being compassionate, from being kind, and most of
all from being good. "
241 (Woodall, 2016, p. 68)
"Hooper-Greenhill notes that it is through ‘embodied interpretation that
objects become meaningful’ (2000a) … "Objects are interpreted through a
‘reading’ using the gaze which is combined with a broader sensory experience
involving tacit knowledge and embodied responses.”
242 (Woodall, 2016, p. 96) "We experience
our bodies – and the world – through our ‘senses’. And our ‘sensorium’ is a
holistic construct: each sense working with the others."
245 (Gokcigdem, 2016, p. 9) “The cultivation of both empathy
and of the corresponding unifying worldview are not like an on-off switch. It’s
a journey – individually, institutionally and culturally”
252 (Gary Becker’s concept
of human capital, 2017)
“Becker made the assumption that people would be hard-headed in calculating how
much to invest in their own human capital. They would compare expected future
earnings from different career choices and consider the cost of acquiring the
education to pursue these careers, including time spent in the classroom. He
knew that reality was far messier, with decisions plagued by uncertainty and
complicated motivations, but he described his model as an ‘economic way of
looking at life’. … Becker’s original analysis focused on the private benefits
to students, but economists who followed in his footsteps expanded their field
of study to include the broader social gains from having well-educated
populations. … He used his “economic approach” to look at everything from the
motives of criminals and drug addicts to the evolution of family structures and
discrimination against minorities. In 1992 he was awarded the Nobel prize for
extending economic analysis to new spheres of human behaviour.”
260 (Gauntlett, 2008, pp.
104-105) [an account of social life which is appealing
to comfortable, middle-class Western] : "…the characterisations of recent
social life which other theorists have labelled as postmodern –[are] cultural
selfconsciousness, heightened superficiality, consumerism, scepticism towards
theories which aim to explain everything ('metanarratives' such as science,
religion or Marxism) and so on. … In modern societies - by which we mean not
'societies today' but 'societies where modernity is well developed' - self-identity
becomes an inescapable issue. Even those who would say that they have never
given any thought to questions or anxieties about their own identity will
inevitably have been compelled to make significant choices throughout their
lives, from everyday questions about clothing, appearance and leisure to
high-impact decisions about relationships, beliefs and occupations."
262 (Cultural Capital. Pierre Bourdieu, 2016) "… hard to over estimate the
influence Bourdieu has had on social theory. … Like Marx, Bourdieu argued that
capital formed the foundation of social life and dictated one’s position within
the social order. For Bourdieu and Marx both, the more capital one has, the
more powerful a position one occupies in social life. However, Bourdieu
extended Marx’s idea of capital beyond the economic and into the more symbolic
realm of culture…. The collection of symbolic elements such as skills, tastes,
posture, clothing, mannerisms, material belongings, credentials, etc. that one
acquires through being part of a particular social class…. also points out that
cultural capital is a major source of social inequality. Certain forms of
cultural capital are valued over others, and can help or hinder one’s social
mobility just as much as income or wealth. … Habitus is one of Bourdieu’s most
influential yet ambiguous concepts. It refers to the physical embodiment of
cultural capital, to the deeply ingrained habits, skills, and dispositions that
we possess due to our life experiences. Habitus also extends to our ‘taste’ for
cultural objects such as art, food, and clothing…arguing that aesthetic
sensibilities are shaped by the culturally ingrained habitus. …. Bourdieu often
noted, was that it was so ingrained that people often mistook the feel for the
game as natural instead of culturally developed. This often leads to justifying
social inequality, because it is (mistakenly) believed that some people are naturally
disposed to the finer things in life while others are not. Bourdieu understood
the social world as being divided up into a variety of distinct arenas or
‘fields’ of practice like art, education, religion, law, etc., each with their
own unique set of rules, knowledges, and forms of capital. Each field has its
own set of positions and practices, as well as its struggles for position as
people mobilize their capital to stake claims within a particular social
domain. In art, for example, Bourdieu noticed that each generation of artists
sought to overturn the established positions of those who came before them,
only to be critiqued by the next generation of ‘avant-garde’ artists who sought
their own powerful positions within the field. Much like a baseball or football
field, social fields are places where people struggle for position and play to
win."
263 (Sundbo & Flemming, 2013, pp.
4-6, 47) "Pine & Gilmore: saw the
experience economy (new term since 2000) as a new business movement, which
after the agriculture, manufacturing and service economies emerged as an area
with strong possibilities for sales and profit. Peoples' physical, and maybe even
intellectual, needs have been fulfilled and they look for new content in their
lives. Experience can give such content. … Pine & Gilmore: experiences are
memorable events, thus the events or signs that could provoke an experience are
extraordinary. They must be outside daily routine to leave a memory. 4
different types of experiences: escapistic, entraining, educational and
aesthetic. … Experience economy studies is cross-disciplinary. It includes
economic perspectives, business and management approaches, psychological and
even physiological perspectives… sociological and anthropological … People do
not experience in isolation (at least not always). Often, they experience in
interactions with other people, either as part of an audience or because they discuss
the experience with their friends. … Schulze launched the idea of the
experience society. He described the aestheticization of everyday life,
characterized by an increasing importance of the non-material aspects of
products, of human relationships and of human habits. People's lives had turned
into experience projects, and the society into an experience society."
264 (Legenhausen,
2003, pp. 14-15, 18)
"If modernity has fostered an excessive sense of individualization,
cyberculture pushes this beyond anything previously imagined. The web connects
everyone, but with very flimsy threads that are established and broken at will.
Many traditional ideals will not be sustained in such an environment, but if
any has a chance, it is authenticity. … The deviant forms of authenticity push
toward social atomism and to make social relations purely instrumental. This
slide is augmented by the mobility and anonymity of the contemporary
metropolis. Our social relations with companies, merchants, co-workers, etc.,
become more and more impersonal."
267 (Kroll, 2013) "Nothing
determines our present culture so much as does creativity. Nowadays everyone
wants to and should be creative. … Today, accordingly, the aesthetic is no
longer restricted to the area of art. It is everywhere now more and more a
matter of producing sensuous-emotional events for their own sake. And they must
always be something new. The new is determined in an interplay between the
creator and the public. Modern society is above all a public society, whether
in the media, business or art. It is not
about simply manufacturing new technical products, but rather above all
creating a new aesthetic stimulus that generates emotions. Creativity has
become a kind of performance pressure, which always implies a comparison or
competition with others and can cause psychological stress. It’s then about
“self-realisation”, about originality: In the constant search for your own
special self, you want to create yourself anew. This has become a social
expectation. And this imperative applies not only to professional life, but to
the whole person. In this sense the failure of the project of self-realisation
becomes tantamount to the total failure of the whole person.
(…burnout…depression) Above all the aestheticisation of the economy delivers
the motivational 'fuel'."
270 (Kabat-Zinn, 2005, p.
10)
“Mindfulness has to do above all with attention and awareness, which are
universal human qualities. But in our society, we tend to take these capacities
for granted and don’t think to develop them systematically in the service of
self-understanding and wisdom. Meditation is the process by which we go about
deepening our attention and awareness, refining them, and putting them to greater
practical use in our lives
271 (Kabat-Zinn, 2005, p.
14)
“Mindfulness means paying attention in a particular way: on purpose, in the
present moment, and nonjudgmentally. This kind of attention nurtures greater
awareness, clarity, and acceptance of present-moment reality. It wakes us up to
the fact that our lives unfold only in moments. … Mindfulness provides a simple
but powerful route for getting ourselves unstuck, back into touch with our own
wisdom and vitality. It is a way to take charge of the direction and quality of
our own lives, including our relationships within the family, our relationship
to work and to the larger world and planet, and most fundamentally, our
relationship with ourself as a person.”
272 (Tolle, 2008, p. 16) A large scale
opening of spirituality outside of the religious structures is an entirely new
development. … Partly as a result of the spiritual teachings that have arisen
outside the established religions, but also due to an influx of the ancient
Eastern wisdom teachings, a growing number of followers of traditional
religions are able to let go of identification with form, dogma, and rigid
belief systems and discover the original depth that is hidden within their own
spiritual tradition at the same time as they discover the depth within
themselves. They realize that how spiritual you are, has nothing to do with
what you believe but everything to do with your state of consciousness. This,
in turn, determines how you act in the world and interact with others."
277 (Killen, 2009, p. 50)
"A new experience
is more likely to be channeled through a previously activated neural pathway
because the pathway is already there. Furthermore, networks become stronger and
more “automatic,” or in neurobiological terms, more resonant, every time they
are subsequently activated. In this way, early life experience can be
particularly influential in what comes later (Siegel, 1999). … The net result is this: because the
mammalian brain seeks similarities to previous experience in new experience,
our emotional systems can be primed to respond in ways that may not be entirely
appropriate to the new circumstances. This is a point of particular relevance
to a neurobiological perspective on the Enneagram. One of the things we know
about our type is that we tend to see what we are looking for in a given
situation. As a Nine, I see discord and feel agitated in exactly the same
circumstances where others might see clarity or feel energized."
279 (Xanthoudaki, Maria; Tickle, Les;
Sekules, Veronica, 2003, p. 4)
“Crotty: … to recognize
that 'each of us must explore our own experiences, not the experience of
others, for no one can take that step back to the things themselves on our
behalf'.”
____________________________________________
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