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Extra info for Audience Engagement and the Role of Arts Talk in the Digital Era

Example text

11 Audiences of the past also made themselves as comfortable as if they were in their own homes. 12 Picnic baskets were also common at two distinctly different early nineteenthcentury venues: the working-class theaters on the Boulevard du Temple in Paris, where a meal of garlic sausage was “washed down in the course of an excursion to the nearest wineshop”13 before returning to the theater; and P. T. Barnum’s American Museum in lower Manhattan, where neighborhood families brought not only baskets of food but also babies and pets.

One thing replaces another, but does not absorb it and carry it on. There is experience, but so slack and discursive that it is not an experience. ”6 This is an important distinction, because an “aesthetic” experience implies, for Dewey, that the person undergoing it brings a consciousness toward it and is able to demark it for analysis and understanding. An anesthetic experience, by contrast, lacks the kind of intellectual and emotional engagement necessary to create a sense of satisfaction through interpretive agency.

For Dutton, the urge to experience an arts event is bound up in his belief that a work of art is “another human mind incarnate: not in flesh and blood but in sounds, words, colors . . ”8 This human desire for knowledge, whether of another person or of a set of ideas, is fundamental to the metaphorical concepts that form human cognition and the mind/brain. As linguist George Lakoff and philosopher Mark Johnson famously describe it in Metaphors We Live By, the metaphorical concepts that govern our thoughts “are not just matters of the intellect.

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