Researching taste: an interview of Antoine Hennion

Pomiès, Anissa; Hennion, Antoine

doi:10.1080/10253866.2020.1802259

Cited by 35 publications

(5 citation statements)

References 9 publications

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“…Ich verdeutliche in Kapitel 2.2 ebenfalls entsprechend den Begriff der »Erfahrung« im Zuge der engen Konzeptualisierung von Ästhetik als performative Repräsentation intensiver, bewusster Erfahrung (u.a. Hennion 2017;2007a;2007b;Pomiès und Hennion 2021;Gomart und Hennion 1999;Dewey 2005). 10 Den in Teilen spekulativen, kreativen Charakter wissenschaftlicher Praktiken werde ich explizit in der Methodenreflexion und methodologischen Positionierung in Kapitel 3 anhand meiner eigenen wissenschaftlichen Praktik und verschiedenen theoretischen Überlegungen (u.a.…”

Section: Experimentelle Zukunftsszenarienunclassified

“…So wird unter anderem die affizierende und aktivierende Rolle verschiedenster materialer Dinge und unterrepräsentierter experimenteller Settings daraufhin erforscht, welche Konsequenzen sie für ästhetische Wahrnehmungs-, Erfahrungs-und Erkenntnisprozesse nach sich ziehen können, beispielsweise bei kreativen kollektiven Gestaltungsprozessen in der Architektur (Farías 2015;Yaneva 2017;Latour und Yaneva 2008). Andere Arbeiten untersuchen solche Gestaltungsprozesse explizit in Studios oder Workshops etwa von Designer:innen (Michael, Wilkie und Ovalle 2018; Farías und Wilkie 2018) oder im Zusammenhang mit sogenannten »Amateur:innen« und deren prozessual entwickelter Expertise etwa im Kontext von Musik oder Geschmack (Pomiès und Hennion 2021;Hennion 2017;Teil und Hennion 2018;Hennion 2007a;2007b). Auch in diesen genannten Arbeiten wird auf eine gesellschaftliche Tendenz verwiesen, Nicht-Expert:innen und nicht-menschliche Akteur:innen produktiv und experimentell in Verhandlungen von Ästhetik und sozialer Ordnung einzubinden.…”

Section: Pluralisierung Und Modifizierung Politischer Und äSthetischerunclassified

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Inventive/Interventive Demokratie?

Rigamonti

2023

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Section: Experimentelle Zukunftsszenarienunclassified

Section: Pluralisierung Und Modifizierung Politischer Und äSthetischerunclassified

Inventive/Interventive Demokratie?

Rigamonti

2023

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“…Consequently, Hennion's pragmatics rejects a dualism between an external and internal analysis of art, between aesthetics and sociology, and between the object tasted and the people who taste (Hennion, 2007(Hennion, , 2017Pomiès & Hennion, 2021). Taste is not only about liking music; it is also a question of being touched by certain pieces at certain moments with certain people present.…”

Section: Theoretical Frameworkmentioning

confidence: 99%

“…Hennion encourages researchers to spend time where actors of interest gather and participate in activities in which habits, gestures, and dispositions naturally occur, to create meaningful work close to experiences and practices (Hennion, 2003(Hennion, , 2010Pomiès & Hennion, 2021). In this article, I have taken this advice as a point of departure for exploring taste-performances, taste-testings, and taste-negotiations among a group of musical theater students and their voice teacher while working with new vocal repertoire.…”

Section: Theoretical Frameworkmentioning

confidence: 99%

We are also music lovers: Testing vocal tastes in higher musical theater education

Germeten

2022

Research Studies in Music Education

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This article explores taste processes within a group of musical theater students and their voice teacher, the latter also acting as researcher, while working with an aesthetically broad repertoire in a higher education setting in Norway. The study is designed using an action research approach, and the collected data—students’ reflection notes, the researcher’s field notes, and workshop recordings—are analyzed through Antoine Hennion’s theoretical framework of taste as a performance that acts, engages, transforms, and is felt, and which involves skills and sensitizing. In the social sciences, taste is commonly regarded as a matter of cultural consumption. This article argues that tastes are also part of cultural production: musicians, here musical theater performers, are to be seen as music lovers, performing tastes that stabilize or challenge established taste patterns in the form of styles, genres, or traditions. Accounting for situations where tastes are performed, tested, and negotiated, this article argues that tastes have a history but are brought into a negotiating presence, producing implications for the future; in this case, tastes form vocal behaviors and vocal behaviors form tastes. Hence, in musical theater education, taste, taste-making, and taste-testing are part of systematic and formal pedagogics and students’ ongoing vocal training.

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“…This could be what Anissa Pomiès' novella teaches us. The story serves as a mise en abyme of her own research (see Pomiès, 2015;Pomiès & Arsel, 2018;Pomiès & Hennion, 2021). A researcher -a kind of alter ego for the author -sits at the table of a Parisian coffee shop.…”

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confidence: 99%