Aesthetics and Athletics

IMG_8968I write sometimes about philosophy as a way of life, as an exercise (askēsis) of conversion or transformation. But one could also write a parallel story of art as a way of life, as an aesthetic askēsis likewise oriented around a re-constellation of sensing, feeling, and thinking.

Gabriel Trop writes this way about art as a way of life, and of poetry in particular. Trop’s idea is that art begins as a kind of mimesis, an imitation of the world, but ultimately drives at askēsis, a reconfiguration of the artist and the viewer of the work of art.

The art work is a material presence in the world, an attractor that interacts with and transforms the ordering of perceptual experience—art is a means of transforming the physiognomy of seeing; it is a way of re-patterning habitual modes of experience.

Aesthetic askēsis, the work of making art, is thus different from other modes of askēsis, like the critical self-examinations of philosophy or the practice routines of athletics and physical development, which are aimed at maintenance, improvement, and optimization.

The figure of the athlete shares in common many characteristics with the figure of the artist—they are both engaged in acts of askēsis—but they also exhibit important differences. The athlete has a special relationship to the program—to the set and predictable ordering of a routine, executed again and again with a ritual intensity that favors the mad person capable of unending repetition.

The artist, on the other hand, certainly partakes of the athletic sensibility in their upswing and development—as the artist builds strength in a craft—but the end result and aim is something quite different from that of general athletics.

The athlete operates within the structure of a pre-existing game. The artist creates new ones. Art is in this way a kind of anti-program; it is not a planned routine in the same way that athletic preparation is. Art delivers the unseen or the unforeseeable; it creates novelty.

Aesthetic askēsis aims at states of absorption without purpose, though as with every kind of askēsis, the work of art—both the artwork and the work required to produce it—links exercise and perception. Aesthetic work is an act of transforming perception and being.

These figures, the artist and the athlete, may cohere in the same person. The artist may be an athlete of preparation and the athlete may derive creativity through artistic inspiration—the great ones always do—but they are nevertheless distinct, if mutually enhancing, activities.

The Side View Launch Presentation

As part of The Side View launch last week, I gave a presentation on the philosophical background that informs the overall vision of the site.

At the start of the talk, I also read a short introduction about The Side View’s mission, which you can read here. My notes for the rest of the talk are below.

If you’re interested in participating in The Side View in some way, please be in touch through our contact page here. Continue reading

Metaphysics and Representations: Who or What Is the Self? (Draft 1)

yellowtrace_Andreas-N-Fischer_schwarm_III_blau[Image: Andreas Nicolas Fischer]

In an earlier essay, I gave an overview of Hadot’s claim that ancient philosophy was conceived as a way life, as an existential path characterized by spiritual exercises rather than a set of merely theoretical or academic positions. I noted that for Hadot the concerns of theory and intellectual discourse are integrated within the spiritual exercises of philosophy—in other words, they are necessary but not sufficient conditions for living a philosophical life—and that philosophical practice from Hadot’s perspective must also include the arenas of practice, aesthetics, values, and action. On Hadot’s reading, the philosophical exercises that unite these domains are those of a self developing a relation to itself through contemplation, meditation, and self-examination; by dialectical engagements with one’s self, one’s interlocutors, and one’s mentors; and with a political and social commitment to participating in one’s community or city, as typified by Socrates’s relation to his city, Athens. Continue reading

The Side View Essay Series

TSV Essays 4-1Above you’ll find a list of contributors to our first set of essays for The Side View (see here for more info on the project). A downloadable pdf is available here.

Please feel free to share these links and flyers with your networks.

After the initial launch in September, we’ll be publishing new work on a rolling basis, so if you or someone you know has an idea for an essay, please contact me at adam@thesideview.co and we can discuss the details.

For more updates follow @KnowledgEcology and @TheSideViewCo on Twitter.

 

New Article Out in Explorations in Media Ecology

The March 2018 issue of Explorations in Media Ecology is now available online here. You can view the abstract for my article “Media Ecology and Bios Theoretikos: Philosophy as Extended Cognition” here, but unfortunately the full article is behind a paywall. You can email me at arobbert84@gmail.com if you’re interested in reading the full essay but don’t have access to a university or library computer. The description is below.

In this article, I take a media ecology perspective on philosophy. This approach supports the German philosopher Peter Sloterdijk’s claim that first philosophy is not metaphysics, aesthetics, ethics or epistemology but rather practice (askēsis). Sloterdijk’s practice-centred view of philosophy is shared by Pierre Hadot and Michael McGhee, both of whom give askēsis a central role in philosophy. I draw on the work of these philosophers to show that philosophy is best conceived as an act of extended cognition performed amidst different media ecologies. To make this point, I start not with humans and our practices, but with spiders and theirs. When philosophy is seen as an instance of extended cognition, I argue, one can draw parallels between our practices and those of non-human species, who like us build artefacts to deepen their perception and understanding of their environments. To this end, I explore the settings that enable philosophical training. Philosophy on this view is facilitated by an ecology of affordance spaces – academies, libraries, monasteries and more – whose design helps the philosopher perform certain manoeuvres in thought, manoeuvres that make apparent the conditions required for the Bios Theoretikos (the life of contemplation).