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Aesthetic Experience INTRODUCTION BY GERALD SIEGMUND BACKGROUND In dance, aesthetics and aesthetic criticism have been frowned upon for a long time. Dance professionals and scholars alike mistrusted aesthetic positions, sus- pecting that a grid system of canonical forms and movements merely served as a pretext to marvel at the beauty of the dancing bodies without taking into account the critical potential of art in general and dance in particular. For over two dec- ades questions of aesthetics have not played a significant role since many danc

Experiencing Dialogue Behind the Cur tains of Museum Per formance Bruno Brulon Soares, UNIRIO (Federal University of the State of Rio de Janeiro) – Brazil I’m glad you appreciate my work at last, Dorian,’ said the painter, coldly, when he had recovered from his sur- prise. ‘I never thought you would’. ‘Appreciate it? I am in love with it, Basil. It is part of my- self. I feel that.’ ‘Well, as soon as you are dry, you shall be varnished, and framed, and sent home. Then you can do what you like with yourself.1 oPening the curtAins for A refle xive museology

Cultural and Societal Impacts of an American Invention
The Case of the Seismo-Volcanic Crisis of El Hierro, Canary Islands

Digital Experience Design DENNIS KRANNICH, ANJA ZEISIG, KAMILA WAJDA Seit mehr als 30 Jahren beschäftigt sich die Software-Ergonomie mit der Analyse und Gestaltung von Computersystemen. In dieser Zeit haben sich Methoden, Gegenstandsbereich und Instrumente ständig weiter entwickelt. Doch die alleini- ge Berücksichtigung der Gebrauchstauglichkeit (Usability) erzeugt keine attrak- tiven Digitalen Produkte. Wohingegen das Benutzungserlebnis (User Experien- ce) in vielen Bereichen seit Jahren eine entscheidende Rolle spielt – wie zum Beispiel in der

Working on Experience Royston Maldoom in dialogue with Edith Boxberger Edith Boxberger: You prefer working in small groups. But since your work has attracted more attention through the film RHYTHM IS IT! You have cho- reographed a number of large-scale projects. Are you still doing this today and what is the reason behind it? Royston Maldoom: Yes, together with a variety of assistants, I’m mainly involved in extensive projects this year – in Luxemburg, for example, as part of the Cultural Capital Programme, in Saarbrücken, Vienna, New York. The size of the

The Northern Ireland experience Human rights and informants in paramilitary groups Daniel Holder1 No two situations are the same, but my first reflection has to be that a lot of what I have heard and seen today sounds very familiar. The Northern Ireland experience in relation to the manner in which the state has run in- formants within paramilitary organizations is no doubt far from unique. States within Europe are collaborating on security agendas and it is very important that we in civil society across Europe collaborate on what are essentially our human

Expériences d’intégralité interculturelle Mylius, Schubert, Linder et Gelzer dans le Midi de la France (1818-1850) FRANÇOISE KNOPPER Les quatre relations de voyage qui vont être examinées dans le présent article s’inspirent d’une des pistes suivies par Dorothee Röseberg dans le cadre de son vaste plaidoyer en faveur des recherches à mener sur l’interculturalité (cf. Röseberg 2014a). Il s’agit de la grille de lecture qu’elle a suggérée à propos de comptes rendus de séjours d’universitaires à l’étranger, et du constat qu’elle établit, à partir des

Body Shame and Female Experience1 LUNA DOLEZAL Sartre’s existential reflections on the role of emotions can provide some context through which to explore how shame can be constitutive of experience. Sartre re- flects on how emotions are not merely cognitive events, but instead are embo- died experiences which create a context or situation in which meaning, sense and one’s lived experience are shaped. As such, an emotion is an active and embo- died response to a situation and discloses not only the self, but, in addition, the quality of one’s life

2. Experience and the Visual The “Period Eye” – Michael Baxandall’s Painting and Experience1 The notion of the “period eye” was put forward by Michael Baxandall, an approach exemplified by his book Painting and Experience in Fifteenth-Century Italy. A Primer in the Social History of Pictorial Style, which has been through several editions since it first appeared in 1972. Baxandall’s first sentence – “A fifteenth-century painting is the deposit of a social relationship” – reveals his specific approach: for Baxandall, the artwork does not depict such a deposit, it