An-aesthetic: Performed philosophies of sensation, confusion, and intoxication
In Michel Serres’ The Five Senses: A Philosophy of Mingled Bodies, he establishes an opposition between two mouths: the anaesthetising, speaking mouth of discourse and analysis and the aesthetic, tasting mouth of sensation. This article uses Serres’ model of the two mouths to think about the perform...
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| Format: | Article |
| Language: | English |
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Performance Philosophy
2020-02-01
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| Series: | Performance Philosophy |
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| Online Access: | https://www.performancephilosophy.org/journal/article/view/282 |
| _version_ | 1818380103318503424 |
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| author | Paul Geary |
| author_facet | Paul Geary |
| author_sort | Paul Geary |
| collection | DOAJ |
| description | In Michel Serres’ The Five Senses: A Philosophy of Mingled Bodies, he establishes an opposition between two mouths: the anaesthetising, speaking mouth of discourse and analysis and the aesthetic, tasting mouth of sensation. This article uses Serres’ model of the two mouths to think about the performance of knowledge and philosophy in a sensory performance event and the potential of intoxication to unveil or reveal through a process of ‘making strange’. The article begins with an outline and reading of Serres, considering his writing on the two mouths and their indicative models of knowledge, before moving to think about philosophies of confluence or confusion; the pouring or flowing together of different forms of knowing. This is coupled with outlining two modes of intoxication (losing oneself into the status quo and a process of estrangement) to think about the politics of aesthetic sensory experience in the age of commodification of live(d) experience. The second half of the article turns to a dining-performance event by Kaye Winwood entitled After Dark (2016). The event is used as a basis for more personal reflections, considering the ways intoxication makes strange and enters into performance as a revelatory experience. The article proposes a number of interconnected arguments: that sensory experience and embodiment offer a mode of knowledge; that intoxication as ‘making strange’ has potential as a philosophical gesture; and that in that estrangement, there is potential to resist the coopting of live(d) or sensory experience in an economy of commodification. |
| first_indexed | 2024-12-14T02:13:21Z |
| format | Article |
| id | doaj.art-43c7e6e9e7f6420cb14bdad76b7bfb17 |
| institution | Directory Open Access Journal |
| issn | 2057-7176 |
| language | English |
| last_indexed | 2024-12-14T02:13:21Z |
| publishDate | 2020-02-01 |
| publisher | Performance Philosophy |
| record_format | Article |
| series | Performance Philosophy |
| spelling | doaj.art-43c7e6e9e7f6420cb14bdad76b7bfb172022-12-21T23:20:43ZengPerformance PhilosophyPerformance Philosophy2057-71762020-02-015229330210.21476/PP.2020.52282168An-aesthetic: Performed philosophies of sensation, confusion, and intoxicationPaul Geary0University of East AngliaIn Michel Serres’ The Five Senses: A Philosophy of Mingled Bodies, he establishes an opposition between two mouths: the anaesthetising, speaking mouth of discourse and analysis and the aesthetic, tasting mouth of sensation. This article uses Serres’ model of the two mouths to think about the performance of knowledge and philosophy in a sensory performance event and the potential of intoxication to unveil or reveal through a process of ‘making strange’. The article begins with an outline and reading of Serres, considering his writing on the two mouths and their indicative models of knowledge, before moving to think about philosophies of confluence or confusion; the pouring or flowing together of different forms of knowing. This is coupled with outlining two modes of intoxication (losing oneself into the status quo and a process of estrangement) to think about the politics of aesthetic sensory experience in the age of commodification of live(d) experience. The second half of the article turns to a dining-performance event by Kaye Winwood entitled After Dark (2016). The event is used as a basis for more personal reflections, considering the ways intoxication makes strange and enters into performance as a revelatory experience. The article proposes a number of interconnected arguments: that sensory experience and embodiment offer a mode of knowledge; that intoxication as ‘making strange’ has potential as a philosophical gesture; and that in that estrangement, there is potential to resist the coopting of live(d) or sensory experience in an economy of commodification.https://www.performancephilosophy.org/journal/article/view/282michel serresaesthesiaanaesthesiasensesexperiencefood |
| spellingShingle | Paul Geary An-aesthetic: Performed philosophies of sensation, confusion, and intoxication Performance Philosophy michel serres aesthesia anaesthesia senses experience food |
| title | An-aesthetic: Performed philosophies of sensation, confusion, and intoxication |
| title_full | An-aesthetic: Performed philosophies of sensation, confusion, and intoxication |
| title_fullStr | An-aesthetic: Performed philosophies of sensation, confusion, and intoxication |
| title_full_unstemmed | An-aesthetic: Performed philosophies of sensation, confusion, and intoxication |
| title_short | An-aesthetic: Performed philosophies of sensation, confusion, and intoxication |
| title_sort | an aesthetic performed philosophies of sensation confusion and intoxication |
| topic | michel serres aesthesia anaesthesia senses experience food |
| url | https://www.performancephilosophy.org/journal/article/view/282 |
| work_keys_str_mv | AT paulgeary anaestheticperformedphilosophiesofsensationconfusionandintoxication |