Introductory essay / Peter Jones -- The usefulness of the arts and the humanities : the case of Descartes / Gábor Boros -- Roads of remembrance : the treatment of imagination and memory in Gerard's Essay on genius / Zsolt Komáromy -- Diderot's untimeliness / László Kisbali ; transl. Márton Dornbach -- Melody vs. harmony : Rousseau, or, The aesthetics of vowels / Mária Ludassy ; transl. Zsolt Komáromy -- Judgement and taste : from Shakespeare to Shaftesbury / Ferenc (...) Hörcher -- Lord Shaftesbury's "aesthetic freedom" / Endre Szécsényi -- Why one should imitate the Greeks : on Winckelmann / Sándor Radnóti ; transl. Márton Dornbach -- Beauty or beast, or, Monstrous regiments? : Robertson and Burke on women and the public scene / László Kontler -- The concept of nature and the theodicy problem in the Malebranche-Arnauld-Leibniz debate / Dániel Schmal -- Lessing's anti-candide : between reason and revelation / Krisztina Utasi ; transl. Márton Dornbach. (shrink)

Adorno: aesthetic rescue and reparative justice -- Foucault: arts of the self, questions of the common -- A machine of vision: Rancière and the politics of sensibility -- Bringing the threads together: toward an aesthetics of democratic agency.

Evidence affirms that aesthetic engagement patterns our movements, often with us barely aware. This invites an examination of pre-reflective engagement within cities and also aesthetic experience as a form of the pre-reflective. The invitation is amplified because design has political implications. For instance, it can draw people in or exclude them by establishing implicitly recognized public-private boundaries. The Value Sensitive Design school, which holds that artifacts embody ethical and political values, stresses some of this. But while emphasizing that (...) design embodies implicit values, research in this field lacks sustained attention to largely unconscious background biases or values, rooted in cultural attitudes and personal interests, that lead theorists and planners—often too narrowly—to promote design organized around specific values such as defensibility. In examining these points, I draw on J. J. Gibson, a central figure for some writing on aesthetics and cities, and whom pragmatists and phenomenologists in turn influenced. Taking a cue from pragmatists in particular, I argue Gibson’s perceptual theory of affordances entails a theory of values, meaning our perception and therewith movements are inherently value-based. I advocate design that accounts for relatively constantly held values such as safety, while also handling the vast pluralism that exists and not crushing the aesthetic vibrancy of city life. (shrink)

This collection of essays explores the possibilities of studying educational matters with the tools of narrative and literature. Written over the course of the 1980s and 1990s, these essays trace the literary turn in educational research toward forms of literary journalism, critical storytelling, and postmodern narrative. The articles are presented as biographical evidence of the author's ongoing quest for forms of educational research that are well-suited to the enormously complex nature of educational encounters. This collection includes both theoretical dissertations and (...) actual case studies of schools and school people. (shrink)

This book presents one of the first systematic assessments of aesthetic insights into world politics. It examines the nature of aesthetic approaches and outlines how they differ from traditional analysis of politics. The book explores the potential and limits of aesthetics through a series of case studies on language and poetics"--Provided by publisher.

In this book, Jacques Rancière explores how political relations develop fundamentally from sensual experience, as individual feelings become the concern of the whole community. Since politics emerges then from the 'division of the sensual', aesthetic experience becomes a radical means for social and political upheaval.

How aesthetics—understood as a more encompassing framework for human activity—might become the primary discourse for political and social engagement. These essays make the case for a reignited understanding of aesthetics—one that casts aesthetics not as illusory, subjective, or superficial, but as a more encompassing framework for human activity. Such an aesthetics, the contributors suggest, could become the primary discourse for political and social engagement. Departing from the “critical” stance of twentieth-century artists and theorists who (...) embraced a counter-aesthetic framework for political engagement, this book documents how a broader understanding of aesthetics can offer insights into our relationships not only with objects, spaces, environments, and ecologies, but also with each other and the political structures in which we are all enmeshed. The contributors—philosophers, media theorists, artists, curators, writers and architects including such notable figures as Jacques Rancière, Graham Harman, and Elaine Scarry—build a compelling framework for a new aesthetic discourse. The book opens with a conversation in which Rancière tells the volume's editor, Mark Foster Gage, that the aesthetic is “about the experience of a common world.” The essays following discuss such topics as the perception of reality; abstraction in ethics, epistemology, and aesthetics as the “first philosophy”; Afrofuturism; Xenofeminism; philosophical realism; the productive force of alienation; and the unbearable lightness of current creative discourse. Contributors Mark Foster Gage, Jacques Rancière, Elaine Scarry, Graham Harman, Timothy Morton, Ferda Kolatan, Adam Fure, Michael Young, Nettrice R. Gaskins, Roger Rothman, Diann Bauer, Matt Shaw, Albena Yaneva, Brett Mommersteeg, Lydia Kallipoliti, Ariane Lourie Harrison, Rhett Russo, Peggy Deamer, Caroline Picard Matt Shaw, Managing Editor. (shrink)

The Politics of Aesthetics rethinks the relation between art and politics, reclaiming 'aesthetics' from its current narrow confines to reveal its significance ...

This work seeks to highlight that an understanding of aesthetic practices is essential to the analysis of politics and political processes. If today, aesthetics has become a rather overused term, referring to a variety of historical periods and groups, even states of being (love, melancholy...), nonetheless its relevance as a connecting agent between individual, state and society remains strong. Placing it as a central theme for understanding processes of domination, contestation and transversal links highlights the mobilization of spaces, (...) bodies and objects in a struggle for the exercise of power and the challenges to it. It is impossible to study historical shifts or systems of power without examining the mobilisation of aesthetic languages: of splendour and display, austerity, asceticism, minimalism or restraint. In this book the concern is with the dynamics between the custodians of aesthetics and the dissenters, with the moment, and with change over time. This book approaches contemporary politics through the aesthetics of power and its practices: from the more formal and regulated presence of state power in the public space in the form of official buildings, commemorative monuments, to the aestheticisation of sacrifice in politics and judicial spectacles. The studies presented here promise to lead us further to deepening our understanding of the dynamics of political spaces and the politics of the aesthetic in contemporary politics. (shrink)

Peter Viereck and the imaginative conservation of order -- The Nazi revolt against decency -- Arbitrary caprice -- The crux of civilization -- Ahistorical rationality and human nature -- Will and the ethical imperative of inner action -- The moral imagination -- The dream-nexus -- An imaginative conservatism -- The standardless threat to liberty -- The unadjusted incarnation of order.

This book outlines a new conception of political aesthetics based on the notion of order as an aesthetic category pertaining to human perception. Engaging with the thought of a range of figures, including Veblen, Honneth, Foucault, Popper, and MacIntyre, it explores the nature of political aesthetics as an enquiry into the ways in which politics and our perceptions shape one another and our moral choices. Moving beyond the consideration of politics as a matter of perception, the (...) author employs the concept of recognition to shed fresh light on the normative dimensions of politics, before presenting a series of case studies designed to show the utility of this conception of political aesthetics for explaining contemporary urban social phenomena and political conflicts. As such, Politics and Recognition will appeal to sociologists, philosophers, and political social theorists. (shrink)

This book holds classical liberalism responsible for an American concept of beauty that centers upon women, wilderness, and machines. For each of the three beauty components, a cultural entrepreneur supremely sensitive to liberalism’s survival agenda is introduced. P.T. Barnum’s exhibition of Jenny Lind is a masterful combination of female elegance and female potency in the subsistence realm. John Muir’s Yosemite Valley is surely exquisite, but only after a rigorous liberal education prepares for its experience. And Harley Earl’s 1955 Chevrolet Bel (...) Air is a dreamy expressionist sculpture, but with a practical 265 cubic inch V-8 underneath. Not that American beauty has been uniformly pragmatic. The 1950s are reconsidered for having temporarily facilitated a relaxation of the liberal survival priorities, and the creations of painter Jackson Pollock and jazz virtuoso Ornette Coleman are evaluated for their resistance to the pressures of pragmatism. The author concludes with a provocative speculation regarding a future liberal habitat where Emerson’s admonition to attach stars to wagons is rescinded. (shrink)

Leni Riefenstahl meets Charlie Chaplin : aesthetics of the Third Reich -- Artphilosophical themes -- Dead Kennedys and Black Flags : artpolitics of punk -- Prehistory of political aesthetics -- Red, gold, black, and green : black nationalist aesthetics -- Arthistorical themes -- Political power and transcendental geometry : Republican classicism in early America.

This volume brings together essays from distinguished scholars in a variety of disciplines - philosophy, history, literary studies, art history - to explore various ways in which aesthetics, politics and the arts interact with one another. Politics is an elastic concept, covering an oceanic breadth of mechanisms for conducting relations between empowered groups, and these essays offer a range of perspectives, including nations, classes, and gendered subjects, which examine the imbrication of politics with arts. Together they demonstrate the need (...) to counteract the reductionist view of the relationship between politics and the arts which prevails in different ways in both philosophy and critical theory, and suggest that the irreducibility of the aesthetic must prompt us to reconceive the political as it relates to human cultural activity. (shrink)

Translator's introduction -- Preface -- Part I: The aesthetics of politics -- Ten theses on politics -- Does democracy mean something? -- Who is the subject of the rights of man? -- Communism : from actuality to inactuality -- The people or the multitudes -- Bio-politics or politics -- September 11 and afterwards : a rupture in the symbolic order -- Of war as the supreme form of advanced plutocratic consensus -- Part II: The politics of aesthetics -- (...) The aesthetic revolution and its outcomes -- The paradoxes of political art -- The politics of literature -- The monument and its confidences or Deleuze and Art's capacity for resistance -- The ethical turn of aesthetics and politics -- Part III: Response to critics -- The usage of distinctions. (shrink)

The fragility of democracy and the political aesthetics of public art -- Voices and places: the space of public art and Wodiczko's the homeless projection -- Democracy's "empty place": Rawls's political liberalism and Derrida's democracy to come -- Public art's "plain tablet": the political aesthetics of contemporary art -- Democracy and public art: Badiou and Ranciere -- The political aesthetics of Chicago's Millennium Park -- The political aesthetics of New York's National (...) 9/11 Memorial -- Public art as an act of citizenship -- Badiou on "being and the void.". (shrink)

How has political revolution figured into the development of avant-garde cultural production? Is the vanguard an antiquated concept or does its influence still resonate in the 21st century? Focusing closely on the convergence of aesthetics and politics that materialized in the early part of the twentieth century, this study offers a re-interpretation of the historical avant-garde from 1917 to 1962, a turbulent period in intellectual history which marked the apex, crisis, and decline of vanguardist authority. Moving from the (...) impact of the Bolshevik Revolution to the anti-imperialist and decolonizing movements in the Third World, to the emergence of neo-vanguardism in the wake of postmodernity, this study opens the way for understanding the transformation of vanguardist cultural paradigms from a global perspective, the implications of which also reveal its relevance and application to the contemporary period. (shrink)

How can we imagine a future not driven by capitalist assumptions about humans and the wider world? How are a range of contemporary artistic and popular cultural practices already providing pathways to post-capitalist futures? Authors from a variety of disciplines answer these questions through writings on blues and hip hop, virtual reality, post-colonial science fiction, virtual gaming, riot grrrls and punk, raku pottery, post-pornography fanzines, zombie films, and role playing. The essays in Art as Revolt are clustered around themes such (...) as technology and the future, aesthetics and resistance, and ethnographies of the self beyond traditional understandings of identity. Using philosophies of immanence – describing a system that gives rise to itself, independent of outside forces – drawn from a rich and evolving tradition that includes Spinoza, Nietzsche, Deleuze, and Braidotti, the authors and editors provide an engrossing range of analysis and speculation. Together the essays, written by experts in their fields, stage an important collective, transdisciplinary conversation about how best to talk about art and politics today. Sophisticated in its theoretical and philosophical premises, and engaging some of the most pressing questions in cultural studies and artistic practice today, Art as Revolt does not provide comfortable closure. Instead, it is understood by its authors to be a “Dionysian machine,” a generator of open-ended possibility and potential that challenges readers to affirm their own belief in the futures of this world. Contributors include Timothy J. Beck, Mark Bishop, Dave Collins, David Fancy, Veronica Pacini-Ketchabaw, Malisa Kurtz, Nicole Land, Eric Lochhead, Douglas Ord, Joanna Perkins, Peter Rehberg, Chris Richardson, Hans Skott-Myhre, and Kathleen Skott-Myhre. (shrink)

Introduction : our political present -- Possibilities for a political future -- Respecting resistance -- Aesthetic perspectives -- Aesthetic pitfalls -- Political perspectives -- Political pitfalls -- Improvising communities.

Arendt's innovation is to recognize that this countenancing of others is an aesthetic experience that creates the political world.Curtis plumbs the relevance of ...

In his extensive private manuscripts, Jeremy Bentham used same-sex male intimacy as a philosophical test-case for the full political and social enfranchisement of women, colonized and enslaved persons, and sexual nonconformists. Bentham argued that oppression in law, philosophy, religion, and literature were all based on aesthetic hierarchies that refused to acknowledge differences of taste in sensory pleasure, including sexual pleasure. In Uncommon Sense, Carrie Shanafelt reads Bentham's sexual nonconformity papers as an argument for the toleration of aesthetic difference as (...) the foundation for egalitarian liberty. Shanafelt challenges the common image of Bentham as a dehumanizing calculator or an eccentric projector, instead showing Bentham at his most intimate, outraged by injustice and desperate for the end of discriminatory violence. (shrink)

If biotechnology can be used to "upgrade" humans physically and mentally, should it be done? And if so, to what extent? How will biotechnology affect societal cohesion, and can the development be controlled? Or is this a Pandora's box that should remain closed? These are just a few of the many questions that arise as a result of the increasing ability of technology to change biology and, eventually, transform human living conditions. This development has created a new horizon of a (...) posthuman future that will influence contemporary life and politics in a number of ways. The book gathers researchers within the fields of biotechnology, medicine, ethics, politics, and aesthetics. Among the contributors are Francis Fukuyama, Julian Savulescu, Maxwell Mehlman, Lone Frank and Chris Hables Gray. (shrink)

In an era of intensifying globalization and transnational connectivity, the dynamics of cultural production and the very notion of creativity are in transition. Exploring creative practices in various settings, the book does not only call attention to the spread of modernist discourses of creativity, from the colonial era to the current obsession with 'innovation' in neo-liberal capitalist cultural politics, but also to the less visible practices of copying, recycling and reproduction that occur as part and parcel of creative improvization.

Introduction. The article is focused on analyzing the aesthetic aspect of A. Kojève’s philosophy, the ability of his philosophy, from an aesthetic point of view, to clarify a number of key problems of the modern political and cultural environment. The purpose of the study is to determine the epistemological attitude of A. Kojève’s philosophy able to clarify the way in which his philosophy problematizes the current cultural and political reality. Methods. Hermeneutics, comparative analysis and deconstruction are used as (...) research methods. Comparative analysis allows us to demarcate A. Kojève’s own line of reasoning, in the context of aesthetic and epistemological theories, as well as Hegelian themes themselves. Hermeneutics is the central method in the work, since the philosophy of A. Kojeve requires interpretation as an aesthetic theory. Deconstruction, formalized to the status of a method according to P. de Man, allows us to detect inconsistencies, the principle of mutual problematization of Kojeve’s philosophy and the current political and epistemological agenda. Scientific novelty of the research. The standard way of interpreting the work of A. Kojève is to evaluate him as an interpreter of G. Hegel. The author analyzes some meaning of A. Kojève’s philosophy, separate from G. Hegel’s explanation of the text. The novelty lies not only in the fact that A. Kojève’s philosophy is defined as theorizing that goes beyond technical hermeneutics (clear presentation), but also as a specific representation of such theorizing as epistemological aesthetic theory. The latter is a rather rare interpretation of the philosophy of A. Kojeve. This allows us to expand the traditional assumption that post-Hegelian epistemesthetics is the property of an extremely limited number of authors (for example, B. Croce). Moreover, such an interpretation of A. Kojève’s theories is a new element in the emerging trend of considering political issues within the framework of epistemological aesthetics. Results. The specific mode of interpreting G. Hegel, which is carried out by A. Kojève, turns the philosophy of the former into a unique aesthetic project. In this project, the category of aesthetic experience comes to the foreground, indicating the empty, formal nature of any discourse. In this regard, any claim to knowledge of reality, to a correct idea of the subject is replaced by the idea of creating the subject of discourse. Consistent treatment of this idea is symptomatic of the philosophy of A. Kojève. This philosophy is a reflection of those historical changes that gave rise to the culture of “aesthetic rationality”: empty and formal. In A. Kojève’s philosophy, one can see how such a culture of the End of History is, contrary to Hegelian ideas, not the era of the struggle decline, but the era of its strange transformation, a symptom of increasing political violence. Conclusions. A. Kojève’s philosophy is considered not as a utopian political project, but as a problematization of the modern cultural and political sphere. The latter is understood as an indication of the inconsistency of ontological discourses of Truth, the discovery in the very essence of discursive practices of an empty, formal principle, and therefore primarily of interest to aesthetics. The modern era of the End of History and the end of the era of persuasive speech gives an idea of the main political paradox (at least for the philosophy of A. Kojève, and at most for the modern political environment). The era of disappointment in discourse should become an era of refusal to fight for discourses, but it becomes an era of maximizing violence, since it is in a situation of disappointment that discourses can only be supported by force. We move from unconvincing speech to convincing violence, but it is possible to understand the origins and specifics of this transition only by considering A. Kojève’s philosophy in the light of such a discipline as aesthetics. (shrink)

In ‘Listening to Music Together’, Nick Zangwill offers three arguments which aim to establish that listening to music can never be a joint activity. If any of these arguments were sound, then our experiences of music, qua object of aesthetic attention, would be essentially private. In this paper, I argue that Zangwill’s arguments are unsound and I develop an account of shared musical experience that defends three main conclusions. First, joint listening is not merely possible but a common feature of (...) our socially situated experiences of music. Second, when listening with others our experience of the music and our sense of community with our fellow listeners often reciprocally enhance one another. Third, how deeply and intimately we share a musical experience with others depends upon such factors as our respective backgrounds, interests, and levels of expertise. (shrink)

There is a rich history in early critical theory of attempting to harness the power of aesthetic imagination for the purposes of political liberation. But this approach has largely faded to the background of contemporary critical theory, eclipsed lately by attempts to reconstruct and apply norms of rationality to processes of democratic will formation à la Habermas. This paper represents a small attempt to return the aesthetic element to its proper place within critical theory, by investigating the aesthetic (...) class='Hi'>aspects of certain forms of resistance to technological domination, forms of resistance that become “embodied” in technologies themselves. The phenomena of customization and personalization of technologies, although already co-opted in a variety of ways, are examples of such resistance. I begin then, by specifying the conventional method of understanding technological domination: the differentiation thesis. I then show how this understanding of technological development fails to grasp the reality of technologies as they are embodied in social contexts. A more accurate understanding of these contexts demonstrates that aesthetic imagination plays an important role in politicizing technologies, and enrolling these technologies themselves in the project of resisting the general phenomenon of technological domination. This helps us begin to understand what it might mean to translate the insights of early critical theory into a contemporary critical praxis. (shrink)

Under representation -- The aesthetic regime of representation -- The pathological sublime: pleasure and pain in the racial regime -- Race under representation -- Representation's coup -- The aesthetic taboo: aura, magic, and the primitive.

This book’s main claim is that political art should not disregard questions of aesthetic reception and value. It argues that some neglected aspects of traditional aesthetics actually enhance the relationship between art and politics more than contemporary art theorists are keen to admit.

The universe is expanding, the world has gone global, and the US has launched a crusade to export the universal right to democracy to every part of the world. Under the circumstances, it is hardly surprising that the concept of universality is making a remarkable comeback in aesthetic and political theory. The meaning of the world, however, seems more contested than ever. Some denounce it as the ideological guise of particular interests, others as the conceptual equivalent of totalitarianism. But (...) a growing number maintain that universality is an indispensable notion for any genuinely critical aesthetics and politics. Confronting Universalites consists of 12 contributors that examine how contemporary works of art in different media and genres influence, shape, or confront the political realm in both theory and practice by way of the universal. The topics of the essays include depictions of German unification, identity politics of aesthetic taste, contemporary uses of van Gogh, globalized photography, the infamous Danish cartoons, iconic architecture, cinematic representations of migration, the speeches of Nicolas Sarkozy and the interventions of contemporary art in the war in Afghanistan. From various theoretical points of departure, they all demonstrate the importance of the universal in the description of political aesthetic practice in a globalising world. (shrink)

In her book, Vibrant Matter, Jane Bennett thinks through what ontological, political, and ecological questions would look like if humans could admit that matter and nonhuman things are living, creative agents; the contributors to this issue of Evental Aesthetics begin to think through what aesthetic questions would look like.

The special issue’s editors introduce the rationale for the following articles, all of which take up aspects of the relations among the production of artworks, the behavior of audiences, and the state’s interest in assembling, regulating, and transforming what it knows as its people through the responses to art.

In lieu of an abstract, here is a brief excerpt of the content:Appropriate Indecorum Rhetoric and Aesthetics in the Political Theory of Jacques RancièreEthan StonemanJacques Rancière is one of France's leading intellectuals and a recent addition to the who's who of Continental philosophy. Since his time as a student at the Ecole normale supérieure, Rancière has generated a body of work that is at once wide-ranging, interdisciplinary, and consistent. His arguments for a postfoundational and postliberal democratic understanding of (...) politics have influenced, echoed, or demanded critical response from such other Continental luminaries as Slavoj Žižek (1999, 2004) and Alain Badiou (2005). Much of this cachet is no doubt due to Rancière's central thesis regarding the sources, uses, and ends of politics. According to this argument, politics does not derive from putative a priori truths about knowledge, human nature, or social interaction; it is not a function of particular forms of government, and it neither establishes nor ensures socioeconomic order. Rather, for Rancière politics is a dissensual activity consisting solely in the demonstration of equality. But rather than designating something to be attained, preserved, or balanced against competing factors, Rancière's equality names an assumption that political subjects must presuppose on their own account and exhibit through their own actions. Insofar as a given social arrangement is hierarchical, the egalitarian presupposition will be necessarily agonistic and symbolically disruptive of that order. [End Page 129] In a word, Rancière champions a politics from the ground up, one that defends without patronizing the down-and-out, the disenfranchised, the unseen, and the unheard.During the last quarter of the twentieth century, while Rancière was formulating his theory of politics, American rhetoricians began to assert the continued relevance of decorum to the analysis of contemporary social phenomena (see, e.g., Fantham 1984; Leff 1987, 1990; Rosteck and Leff 1990; Hariman 1992, 1995; Smith 1992; Deem 1995). These efforts were concurrent with other attempts to foreground the aesthetic capacity of rhetoric to create, sustain, and transform perception via the symbolic manipulation of appearances (see, e.g., Farrell 1993; Whitson and Poulakos 1993; Vitanza 1997; Greene 1998). It is surprising, however, that these efforts to revitalize decorum and aesthetics have largely fail to reference recent Continental theories of aesthetics, many of which have tacit but unexplored bearing on decorum and rhetoric in general. Equally surprising is the tendency, within rhetorical studies, to discuss aesthetics without so much as broaching the subject of decorum. One exception to this trend is Robert Hariman (1992, 1995), who makes a convincing case for the conceptual intimacy between decorum and aesthetics. The classical theory of decorum, he argues, "blended significant aspects of rhetorical practice, social awareness, and political structure into an aesthetic sensibility that directed the selection of diction appropriate to one's subject or situation" (1992, 152). According to this account, decorum in the classical era engendered an aesthetic orientation toward one's sociopolitical environment and the rhetorical practices therein.I contend that Rancière's political theory makes significant strides toward bridging the gap between decorum, aesthetics, and politics while at the same time focusing attention on the role of equality and the empowering potential of indecorum. Although rhetoricians have tended not to address the inventional possibilities of indecorum per se, there has been a recurring effort among those writing on decorum to explicate the conditions of rhetorical performances of confrontation, nonadjustment, and resistance—performances that would eschew a logic of influence and assent for a tactics of opposition and disturbance. This trend has been accompanied by periodic attempts to account for rhetoric's potential to interrupt dominant modes of discourse and rationality and to identify its countervailing forces and formal constraints (Scott and Smith 1969; Windt 1972; Campbell 1973; Phillips 1996; Doxtader 2000). It is my contention that Rancière's political vocabulary can extend this line of inquiry by [End Page 130] expanding the possibility for indecorum to subvert the symbolic structures of oppression and domination while avoiding the pitfalls of adaptation and co-optation, that is, the reconstitution of decorum via dialectical syntheses of competing codes of conduct. Specifically, rhetoricians may interpret Rancière's political theory as answering Melissa Deem's... (shrink)

This book explores aesthetic forms of the left to negotiate the political frontiers of post-colonial, post-partition South Asia. Spanning India, Sri Lanka, Pakistan and Bangladesh, the contributors study art, film and literature to illuminate interconnections across regions and countries, and discuss the shifting political contours of the region during the latter half of the 20th century. With a clear focus and conceptualization this volume raises two key questions; how left-wing art generated cultural and social formations, and how aesthetic (...) forms held political value across the region. Reframing political aesthetics within a postcolonial and decolonised framework, it traces the trajectories and nuances the left-wing cultural movement took during decolonization, and focuses on connections and continuities across post-1947 India, Pakistan and Bangladesh. Following the evolution of progressive culture in the 1950s and 60s, networks of leftist filmmakers and theatre activists in postcolonial Pakistan, and the changing fate of left cultural politics in Sri Lanka and India during the 1970s, this book looks to reinvigorate the entangled histories of the left cultural movement in post-partition South Asia. (shrink)

Subjunctive Aesthetics argues for the importance of ecocritical approaches within Mexican Studies. This monograph engages with established and up-and-coming Latin American ecocritical scholars who argue that Latin America offers an important corrective to Anglocentric approaches to the Anthropocene by foregrounding colonialism and empire.

Knowledge under cover -- Pedagogies of liberal humanism -- Making sense otherwise -- Mis/taking the universal.

This dissertation defends the place of representation in music. Music’s status as a representational art has been hotly debated since the War of the Romantics, which pitted the Weimar progressives (Liszt, Wagner, &co.) against the Leipzig conservatives (the Schumanns, Brahms, &co.) in an intellectual struggle for what each side took to be the very future of music as an art. I side with the progressives, and argue that music can be and often is a representational medium. Correspondence (or resemblance) theories (...) of representation, such as the one I offer, have been much maligned in philosophy since the 1960s. Most theories assimilate representation under “meaning,” which has usually been thought to belong primarily to language. As a result, representational content has been taken to be purely conventional in the way that sentential meaning is. People want to know what music “means,” and these theories interpret this as “what does it refer to?” or “what propositions does it express?” I argue that propositional communication is only one (small) part of the issue. Once we overcome the bias of conceiving of musical works as essentially linguistic items, speech acts (performed) or sentence tokens (written), we can begin to take music on its own terms to discover how it represents—one way in which it “means.” The first step is to “naturalize” music’s representational content. Influenced by recent discussions in the philosophies of mind and science, I argue in Chapter 1 that composers represent extra-musical objects, events, and states of affairs through their works by exploiting antecedent relations (such as similarities in pitch, timbre, and structure) in order to secure reference to them. In Chapter 2, I survey and respond to the main challenges that those skeptical of music’s representational possibilities would raise against my theory of musical representation. In Chapter 3, I explore a number of ways through which music has been claimed to represent in order to show how my theory accounts for these diverse phenomena better than its conventionalist rivals, both in terms of the metaphysics and the epistemology. Chapter 4 extends this discussion by offering an account of how we perceive, understand, appreciate, and interpret sophisticated musical representations. I conclude by teasing out some of my theory’s implications and suggesting areas for further research. (shrink)

Anyone interested in the philosophy of music, especially popular music, should be familiar with Cristyn Magnus, P.D. Magnus, and Christy Mag Uidhir’s contempora.

Returning to the origins of education, Becoming Pedagogue explores its role in today's society by reuniting philosophy with pedagogy. It investigates the aesthetics, ethics and politics of childhood, education and what a teacher really does, enabling educators to define and perform their profession as per its historical and intellectual roots. Reflecting on the practice, science and knowledge-tradition of pedagogy as well as abstract and formalist discourse at all levels, Olsson's work evokes real and free aspects of educational experiences (...) and events. Through a close reading of French philosopher Henri Bergson's major works, historical and contemporary pedagogical resources as well as the pedagogy developed in the early childhood centres in Reggio Emilia, Italy, it develops a critical-cum-creative methodology that both analyses the present educational situation as well as creates new pedagogical alternatives. Using brand new perspectives as well as practical examples of what teachers do, Becoming Pedagogue will provide students, educators and researchers tools for critiquing simplified ideas of what a teacher is as well as giving them inspiration to experiment with alternative ways of teaching. (shrink)

Only yesterday aesthetics stood accused of concealing cultural games of social distinction. Now it is considered a parasitic discourse from which artistic practices must be freed. But aesthetics is not a discourse. It is an historical regime of the identification of art. This regime is paradoxical, because it founds the autonomy of art only at the price of suppressing the boundaries separating its practices and its objects from those of everyday life and of making free aesthetic play into (...) the promise of a new revolution. Aesthetics is not a politics by accident but in essence. But this politics operates in the unresolved tension between two opposed forms of politics: the first consists in transforming art into forms of collective life, the second in preserving from all forms of militant or commercial compromise the autonomy that makes it a promise of emancipation. This constitutive tension sheds light on the paradoxes and transformations of critical art. It also makes it possible to understand why today's calls to free art from aesthetics are misguided and lead to a smothering of both aesthetics and politics in ethics. (shrink)

Hannah Arendt’s aesthetic approach to politics is regarded as frequently reflecting the anti-political substitution of nonpolitical concerns for political ones characteristic of the German tradition from Schiller to Heidegger and beyond. Arendt’s relationship to this tradition can be understood as squarely calling into question her central claim to have rehabilitated the political. This paper examines the relationship between Arendt’s and Heidegger’s political thought in light of the distinction between an aestheticism and an aesthetic approach. Two issues (...) are at stake: can such a distinction help distance Arendt’s aesthetic approach from those elements we find so troubling in Heidegger’s thinking and his relation to politics? Can this help us to recuperate a certain aspect of German political thought which is reflected in Arendt’s work? (shrink)

FEATURED IN EVENTAL AESTHETICS RETROSPECTIVE 1. LOOKING BACK AT 10 ISSUES OF EVENTAL AESTHETICS. This Collision examines photographs of Santiago Sierra’s “Line” installations, discovering in these works a unique formulation of the tension between the social and formal aspects of contemporary art. Developing the philosophical implications of this formulation, this essay connects divergent trajectories embodied by the work (i.e. trajectories initiated by the material elements of the works, the body and the line) to divergent trajectories in contemporary (...) aesthetic theory (i.e. the trajectory that emphasises the socio-political possibilities of artistic representation versus the trajectory that emphasises a distinction between the formal aspects of art and the political effects of art). Developing the socio-political approach, I draw on recent work by Claire Bishop who, emphasizing the distinction between consensus and antagonism, argues that Sierra’s work enacts a democratic politics more rigorous than that of “relational art.” Developing a specifically aesthetic understanding of Sierra’s installations, I understand the works in relation to the constructivist interrogation of the nature of the line. Drawing in part on the philosophies of Alain Badiou and Jacques Rancière, I suggest that, whereas a social aesthetic tends to limit art to a didactic function, a geometric aesthetic enables a more rigorously materialist experience of the work without reducing the potential political force of the work. (shrink)

This book analyzes recent artistic and activist projects in order to conceptualize the new roles and goals of a critical theory and practice of art and photography. Vered Maimon argues that current artistic and activist practices are no longer concerned with the "politics of representation" and the critique of the spectacle, but with a "politics of rights" and the performative formation of shared yet highly contested public domains. The book thus offers a critical framework in which to rethink the artistic, (...) the activist, and the political under globalization. The primary focus is on the ways contemporary artists and activists examine political citizenship as a paradox where subjects are struggling to acquire rights whose formulation rests on attributes they allegedly don't have; while the universal political validity of these rights presupposes precisely the abstraction of every form of difference, rights for all. The book will be of interest to scholars working in art history, contemporary art, photography theory, visual culture, cultural studies, critical theory, political theory, human rights, and activism. (shrink)

Uncommon Sense reinvigorates Herbert Marcuse and places his aesthetic theory into practice in relation to contemporary antiracist, environmental, and anti-capitalism activism.

The collection comprises contributions from leading artist-theorists in the fields of necropolitics and tactical media, and from increasingly influential scholars of biomediality and urban performativity.

This Collision examines photographs of Santiago Sierra’s “Line” installations, discovering in these works a unique formulation of the tension between the social and formal aspects of contemporary art. Developing the philosophical implications of this formulation, this essay connects divergent trajectories embodied by the work (i.e. trajectories initiated by the material elements of the works, the body and the line) to divergent trajectories in contemporary aesthetic theory (i.e. the trajectory that emphasises the socio-political possibilities of artistic representation versus the (...) trajectory that emphasises a distinction between the formal aspects of art and the political effects of art). Developing the socio-political approach, I draw on recent work by Claire Bishop who, emphasizing the distinction between consensus and antagonism, argues that Sierra’s work enacts a democratic politics more rigorous than that of “relational art.” Developing a specifically aesthetic understanding of Sierra’s installations, I understand the works in relation to the constructivist interrogation of the nature of the line. Drawing in part on the philosophies of Alain Badiou and Jacques Rancière, I suggest that, whereas a social aesthetic tends to limit art to a didactic function, a geometric aesthetic enables a more rigorously materialist experience of the work without reducing the potential political force of the work. (shrink)

This collection categorizes aesthetic avant-garde art as art that seeks to politically transform society and argues that such art is essential for political revolution. It provides seven in-depth analyses of twentieth-century aesthetic avant-garde art movements and examines them in relation to revolutionary politics.

Introduction -- Deleuze and Guattari and political theory -- Dramatization as critical method -- Dramatization : the ontological claims -- Language and the method of dramatization -- Cinema and the method of dramatization -- Events and the method of dramatization -- Conclusion.

This article explores manifestations of class from a combined aesthetical and political point of view, focusing on a selection of Swedish children’s picture books from 2009 to 2018, in which class differences are made prominent. In this sense, they can be regarded as radical. This study examines how political aspects are intertwined with literary, visual, and multimodal means. The main purpose is to examine how the political and aesthetical merge in the manifestations of class. The publishing (...) of radical picture books during the 2000s and 2010s coincided with a rise of norm-criti-cal discourse, including a strong emphasis on diversity rather than on social transformation. The books, I argue, do not depict radical change on a collective level, but uses various aesthetic means in their manifestations of class and inequality. Theoretically, the anal-ysis mainly draws on Pierre Bourdieu’s theory of capital, and Beverley Skeggs’s reasoning on class by adding the con-cept of respectability, as well as picturebook theory, and scholarly writing on radical picturebooks. (shrink)