
Contents
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Introduction: Social Aesthetics for Connective Practice The Resurrection of the World in Us Introduction: Social Aesthetics for Connective Practice The Resurrection of the World in Us
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Connective Distance, Imaginal Thinking, and ‘Instruments of Consciousness’ Connective Distance, Imaginal Thinking, and ‘Instruments of Consciousness’
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The Evolution of Connective Practice and Its Questions The Evolution of Connective Practice and Its Questions
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Aspects of Connective Practice Aspects of Connective Practice
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Making Sense Making Sense
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Different Modes of Thinking and the Imaginal Thinking Process Different Modes of Thinking and the Imaginal Thinking Process
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New Organs of Perception New Organs of Perception
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Guiding Images for the Journey Guiding Images for the Journey
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The ‘Making Social Honey’ Theory of Change and ‘Connective Imagination’ Root Methodology The ‘Making Social Honey’ Theory of Change and ‘Connective Imagination’ Root Methodology
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Instruments of Consciousness Instruments of Consciousness
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Strategies of Engagement in ‘Instruments of Consciousness’ Strategies of Engagement in ‘Instruments of Consciousness’
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‘Instruments of Consciousness’ Are Not Tools ‘Instruments of Consciousness’ Are Not Tools
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FRAMETALKS: For Resurrecting the World in Us FRAMETALKS: For Resurrecting the World in Us
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Commonalities and Differences Commonalities and Differences
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Conclusion: Is It Real Change? Is It Relevant? Is It a Priority? Conclusion: Is It Real Change? Is It Relevant? Is It a Priority?
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Notes Notes
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References References
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34 Social-Aesthetic Strategies for a Change of Heart
Get accessProfessor Emerita Shelley Sacks, Social Sculpture Research Unit, Oxford Brooks University, UK; Interdisciplinary Artist and Author, Social Sculpture Lab, Germany
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Published:23 January 2024
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Abstract
This chapter introduces the Connective Practice Approach a redemptive, social-aesthetic practice that enables a change of heart. This approach is of special relevance to engaging with personal and social dilemmas caused by mutually exclusive and disconnected ways of thinking and living in the world. Central features of this approach and its transformative potential are shared through ‘guiding images’, its ‘making social honey’ theory of change, and a connective imagination, ‘inner atelier’ methodology that is integral to this social honey process. Connective practice examples described as ‘instruments of consciousness’ highlight (i) the necessity of individual insight for enabling collective insight, and (ii) the phenomenological process of bracketing or epoché for clearing the inner space, for ‘seeing what we think’, for making shifts, and for developing new imaginaries. Connecting forms of mindfulness and Joseph Beuys’ ‘social sculpture’ ideas about the ‘invisible materials’ of speech, discussion, and thought, this chapter (a) offers an expanded notion of the aesthetic as all that enlivens, (b) sees responsibility as an ability-to-respond, (c) explores capacities needed for a living future, (d) reveals the sacramental nature of connecting inner and outer work, and (e) of coming to insights individually and together as a process of resurrecting the overlooked, uncared-for, crucified world in us.
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