The lifeworld is, according to Husserl, the horizon of all our experiences, in the sense that it is the background environment of human being＇s competences, practices, and attitudes. The lifewofld is the intersubject...The lifeworld is, according to Husserl, the horizon of all our experiences, in the sense that it is the background environment of human being＇s competences, practices, and attitudes. The lifewofld is the intersubjective, pre-given in the ontie sense, and immediately perceived world of everyday life. Although Husserl has distinguished the lifeworld from the objective world that natural science describes with mathematical methods, we cannot divide the world on the practical level into the perceived world of ordinary life and the scientific world. The characteristic of human beings is that they live in the environment which they have enormously changed. Modem science has accelerated this tendency： the contemporary world is constructed so deeply scientifically and technologically. Accordingly, as Ulrich Beck pointed out, the risk of the technologically constructed world is often invisible/unperceivable. The disaster at Fukushima nuclear power plants is a terrible testament of this kind of risk. In order for a land to become the lifeworld of meaningful human interactions, the land should be first of all safe and livable for all of us. The risk calculation made by Tokyo Electric Power Company was shown to be sloppy and deceptive. The contemporary techno-science should be democratically governed and watched by all kinds of stakeholders, and never be left it to the specialists of science. For re-establishing the livable and sustainable lifeworld, safety, resilience, and vulnerability should be the fundamental values. And, the autonomy of the local residents, including the most vulnerable people, through the democratization of the techno-science must be the fundamental value to establish and protect such a safe environment.展开更多
Within the field of music education, there is a need of approaching the holistic view of musical experience from different angles. Therefore, the aim of this article is to investigate the phenomenon of multi-dimension...Within the field of music education, there is a need of approaching the holistic view of musical experience from different angles. Therefore, the aim of this article is to investigate the phenomenon of multi-dimensional musical experience from a life-world-phenomenological perspective and indicate its benefits to music education. The analysis is informed by Dufrenne＇s philosophical writings regarding the phenomenology of aesthetic experience and also draws on Merleau-Ponty, Heidegger, interpreted by Benson and Ford, together with Schutz. These philosophers provide tools for understanding musical experience from a bodily, existential, and sociological perspective, and their complementary ideas about being and learning can be applied to musical experience in the first case and secondly its influences for music educational praxis. Firstly, the concept of lived music is defined through a discussion of dimensions of musical experience; the phenomenology of aesthetic experience; the use of several senses; the heard and the hear-able; apperception; and musical dwelling. Then, the sharing of experience in musical dwelling and its relevance to the concept of imagination is highlighted. I will also emphasize the importance of the view of human beings as holistic bodily subjects. Finally, the article includes a discussion regarding the implications of a life-world-phenomenological view of musical experience to music education.展开更多
文摘The lifeworld is, according to Husserl, the horizon of all our experiences, in the sense that it is the background environment of human being＇s competences, practices, and attitudes. The lifewofld is the intersubjective, pre-given in the ontie sense, and immediately perceived world of everyday life. Although Husserl has distinguished the lifeworld from the objective world that natural science describes with mathematical methods, we cannot divide the world on the practical level into the perceived world of ordinary life and the scientific world. The characteristic of human beings is that they live in the environment which they have enormously changed. Modem science has accelerated this tendency： the contemporary world is constructed so deeply scientifically and technologically. Accordingly, as Ulrich Beck pointed out, the risk of the technologically constructed world is often invisible/unperceivable. The disaster at Fukushima nuclear power plants is a terrible testament of this kind of risk. In order for a land to become the lifeworld of meaningful human interactions, the land should be first of all safe and livable for all of us. The risk calculation made by Tokyo Electric Power Company was shown to be sloppy and deceptive. The contemporary techno-science should be democratically governed and watched by all kinds of stakeholders, and never be left it to the specialists of science. For re-establishing the livable and sustainable lifeworld, safety, resilience, and vulnerability should be the fundamental values. And, the autonomy of the local residents, including the most vulnerable people, through the democratization of the techno-science must be the fundamental value to establish and protect such a safe environment.
文摘Within the field of music education, there is a need of approaching the holistic view of musical experience from different angles. Therefore, the aim of this article is to investigate the phenomenon of multi-dimensional musical experience from a life-world-phenomenological perspective and indicate its benefits to music education. The analysis is informed by Dufrenne＇s philosophical writings regarding the phenomenology of aesthetic experience and also draws on Merleau-Ponty, Heidegger, interpreted by Benson and Ford, together with Schutz. These philosophers provide tools for understanding musical experience from a bodily, existential, and sociological perspective, and their complementary ideas about being and learning can be applied to musical experience in the first case and secondly its influences for music educational praxis. Firstly, the concept of lived music is defined through a discussion of dimensions of musical experience; the phenomenology of aesthetic experience; the use of several senses; the heard and the hear-able; apperception; and musical dwelling. Then, the sharing of experience in musical dwelling and its relevance to the concept of imagination is highlighted. I will also emphasize the importance of the view of human beings as holistic bodily subjects. Finally, the article includes a discussion regarding the implications of a life-world-phenomenological view of musical experience to music education.
