Contemporary culture increasingly suffers from problems of attention, over-stimulation, and stress, and a variety of personal and social discontents generated by deceptive body images. This book argues that improved body consciousness can relieve these problems and enhance one's knowledge, performance, and pleasure. The body is our basic medium of perception and action, but focused attention to its feelings and movements has long been criticised as a damaging distraction that also ethically corrupts through self-absorption. In Body Consciousness, Richard Shusterman refutes such (...) charges by engaging the most influential twentieth-century somatic philosophers and incorporating insights from both Western and Asian disciplines of body-mind awareness. Rather than rehashing intractable ontological debates on the mind-body relation, Shusterman reorients study of this crucial nexus towards a more fruitful, pragmatic direction that reinforces important but neglected connections between philosophy of mind, ethics, politics, and the pervasive aesthetic dimensions of everyday life. (shrink)

Thinking through the body: educating for the humanities -- The body as background -- Self-knowledge and its discontents: from Socrates to somaesthetics -- Muscle memory and the somaesthetic pathologies of everyday life -- Somaesthetics in the philosophy classroom: a practical approach -- Somaesthetics and the limits of aesthetics -- Somaesthetics and Burke's sublime -- Pragmatism and cultural politics: from textualism to somaesthetics -- Body consciousness and performance -- Somaesthetics and architecture: a critical option -- Photography as performative process -- Asian (...) ars erotica and the question of sexual aesthetics -- Philosophy as awakened life : everyday aesthetics of embodiment in American transcendentalism and Japanese Zen practice -- Somatic style. (shrink)

This much acclaimed book has emerged as neo-pragmatism's most significant contribution to contemporary aesthetics.

The term ars erotica refers to the styles and techniques of lovemaking with the honorific title of art. But in what sense are these practices artistic and how do they contribute to the aesthetics and ethics of self-cultivation in the art of living? In this book, Richard Shusterman offers a critical, comparative analysis of the erotic theories proposed by the most influential premodern cultural traditions that shaped our contemporary world. Beginning with ancient Greece, whose god of desiring love gave eroticism (...) its name, Shusterman examines the Judaeo-Christian biblical tradition and the classical erotic theories of Chinese, Indian, Islamic, and Japanese cultures, before concluding with medieval and Renaissance Europe. His exploration of their errors and insights shows how we could improve the quality of life and love today. By using the engine of eros to cultivate qualities of sensitivity, grace, skill, and self-mastery, we can reimagine a richer, more positive vision of sex education. (shrink)

Pragmatism is experiencing a powerful revival. But the new pragmatism has not yet expressed itself in a new aesthetic, and not since Dewey's Art as Experience has there been a comprehensive pragmatist treatment of this field. Shusterman's bold and lively book fills the gap by proposing a pragmatist aesthetics for our current postmodern condition. Pragmatist Aesthetics treats the traditionally central topics of aesthetics: the definition of art, aesthetic experience and value, form and unity, interpretation, and the cognitive and moral worth (...) of art. But it also directs philosophical aesthetics towards a much wider and more socially pertinent agenda by considering such contemporary issues as the institutionalization and cultural oppression of art, the aesthetic legitimacy of popular culture, and the ethical art of living beauty through the stylization of conduct and the aesthetic construction of the self. Gracefully but vigorously argued, Pragmatist Aesthetics is an important book which breaks new ground and liberates new areas and directions for philosophical inquiry. Its wide-ranging breadth and accessible style will appeal to all readers with an interest in contemporary philosophy, aesthetics and cultural studies. (shrink)

Current philosophies of art remain sadly dominated by visions of its end and lamentations of decline. Defining the very notions of art and the aesthetic as special products of Western modernity, they suggest that postmodern challenges to traditional high culture pose a devastating danger to Art's future. Richard Shusterman's new book cuts through the seductive confusions of these views by tracing the earthy roots of aesthetic experience and showing how the recent flourishing of aesthetic forms outside modernity's sacralized realm of (...) fine art evince the persistent presence of an artistic impulse far deeper and more durable than the modernist moment. Performing Live defends the abiding power of aesthetic experience by exploring its diverse roles, methods, and meanings, especially in fields marginal to traditional aesthetics but now most vibrantly alive in today's culture and new media. Ranging from rap, techno, and country music to cinema, cyberspace and urban design, Shusterman develops his radical theory of "somaesthetics," charting the complex network of bodily arts so prominent in contemporary life and self-styling. By blending concrete aesthetic analysis with insightful social critique, Shusterman, a well-known pragmatist philosopher, provides a rich menu and critical guide for today's pursuit of the art of living. (shrink)

This much acclaimed book has emerged as neo-pragmatism's most significant contribution to contemporary aesthetics. By articulating a deeply embodied notion of aesthetic experience and the art of living, and by providing a compellingly rigorous defense of popular art—crowned by a pioneer study of hip hop—Richard Shusterman reorients aesthetics towards a fresher, more relevant, and socially progressive agenda. The second edition contains an introduction where Shusterman responds to his critics, and it concludes with an added chapter that formulates his novel notion (...) of somaesthetics. (shrink)

Applying contemporary pragmatism to the crucial question of how philosophy can help us live better, Shusterman develops his distinctive aesthetic model of philosophical living that includes politics, somatics, and ethnicity, while critically engaging the rival views of Dewey, Wittgenstein, and Foucault, as well as Rorty, Putnam, Goodman, Habermas, and Cavell.

Applying contemporary pragmatism to the crucial question of how philosophy can help us live better, Shusterman develops his distinctive aesthetic model of philosophical living that includes politics, somatics, and ethnicity, while critically engaging the rival views of Dewey, Wittgenstein, and Foucault, as well as Rorty, Putnam, Goodman, Habermas, and Cavell.

The end of aesthetic experience -- Don't believe the hype -- The fine art of rap -- Affect and authenticity in country musicals -- The urban aesthetics of absence : pragmatist reflections in Berlin -- Beneath interpretation -- Somaesthetics and the body/media issue -- The somatic turn : care of the body in contemporary culture -- Multiculturalism and the art of living -- Genius and the paradox of self-styling.

Rather than denoting a natural kind independent of changing human interests and cultural discourse, aesthetic value, as I understand it, is a vague, ambiguous.

If aesthetics is both surface and depth, impassioned immediacy yet also critical distance of judgment, how can this doubleness be held together in one ...

Richard Shusterman; Aesthetic Experience: From Analysis to Eros, The Journal of Aesthetics and Art Criticism, Volume 64, Issue 2, 18 April 2005, Pages 217–229.

This Critical Reader provides a new perspective on the work of France's foremost social theorist Pierre Bourdieu, by examining its philosophical import and promoting a fruitful dialogue between Bourdieu and philosophers in the English-speaking world. The contributors include leading philosophers who critically assess Bourdieu's philosophical theories and their significance from diverse philosophical perspectives to reveal which dimensions of his thought are the most useful for philosophy today. These discussions also raise important questions about the current institutional limits of philosophy and (...) how those limits may be overcome through a more robust alliance with the social sciences and the practical social world. The contributions cover Bourdieu's use of central figures in the Anglo-American philosophical tradition; his relationship to analytical philosophy and pragmatism through his concept of habitus; his position in twentieth-century continental philosophy; the political dimension of his work; the function and limits of his notion of "the field"; and the relation of his explanatory models to new directions in the philosophy of science. The book also discusses some of his most recent writing not yet translated into English, and it concludes with a chapter by Bourdieu in which he analyses the diverse structural problems and the transformations involved in importing intellectual ideas from one national field to another. The volume also offers a specially prepared comprehensive bibliography of Bourdieu's publications in French and English from 1958 to 1998. (shrink)

In the current academic climate, teaching is often seen as secondary to research. Teaching Philosophy seeks to bring teaching philosophy higher on the academic agenda.An international team of contributors, all of whom share the view that philosophy is a subject that can transform students, offers practical guidance and advice for teachers of philosophy. The book suggests ways in which the teaching of philosophy at undergraduate level might be facilitated. Some of the essays place the emphasis on individual self discovery, others (...) focus on the wider political context, many offer practical ideas for enhancing the teaching of philosophy through exercises that engage students in often unconventional ways. The integration of students' views on teaching provides a necessary reminder that teaching is not a one-way process, but a project that will ultimately succeed through cooperation and a shared sense of achievement amongst participants. (shrink)

This paper originated as the keynote address at the conference “Aesthetics Today” organized by the Finnish Society of Aesthetics to mark its 40th anniversary and was delivered at the University of Helsinki on March 1, 2012. Written for that particular occasion the sense of an oral presentation has been maintained. Shusterman’s point of departure is the thesis that contemporary aesthetics can be characterized by a number of leading themes that mark a return to older aesthetic perspectives, after these perspectives have (...) been neglected in modern philosophical discussions. The paper briefly outlines and explores three of these themes whose increasing importance in current aesthetics can appeal to historical antecedents, namely: a focus on perception, the expansion of the aesthetic field beyond the philosophy of fine art, and the close connection of the aesthetic and the practical. After that, Shusterman formulates a fourth theme in aesthetics today which incorporates the first three and whose value for contemporary aesthetics he seeks to highlight, namely: the somatic, as exemplified by somaesthetics. (shrink)

Burke is an important exception to Nietzsche's claim that philosophical aesthetics ignores physiology and the role of practical interest. Grounded on the powerful interest of survival, Burke's theory of the sublime also offers a physiological explanation of our feelings of sublimity that explicitly defines certain conditions of our nerves as the ‘efficient cause’ of such feelings. While his general account of sublimity is widely appreciated, its somatic dimension has been dismissed as hopelessly misguided. In examining Burke's views in relation to (...) contemporary somaesthetics, cognitive psychology, and physiology, this paper shows that though Burke's somatic arguments can be criticized as overly simplistic and mechanistic, his recognition of the crucial bodily dimensions of aesthetic experience should be taken more seriously. In refining Burke's insight that bodily factors can help explain our aesthetic reactions, somaesthetics further urges that improved somatic understanding and performance can provide valuable means for enhancing our aesthetic response. (shrink)

Richard Shusterman; Aesthetic Experience: From Analysis to Eros, The Journal of Aesthetics and Art Criticism, Volume 64, Issue 2, 18 April 2005, Pages 217–229.

In the ancient legend of Cupid and Psyche, Venus was jealous of Psyche’s beauty and plotted to punish her by binding her through love to a hideous creature that would appear once Cupid scratched Psyche with his arrow of desire while she slept, so that she would fall in love with the next thing she saw upon awakening. But when Cupid saw her beauty, he was so overwhelmed that he accidentally wounded himself with his own arrow and thus fell deeply (...) in love with her. The tale then describes how Venus unsuccessfully tried to keep Cupid and Psyche apart, which makes a nice allegory for the difficulty of separating the soul from desire. Though this mission may seem as undesirable as it is unlikely to achieve, we should .. (shrink)

Thirteen original essays explore the qualities and challenges of urban life from a variety of disciplinary perspectives that illustrate the aesthetic, cultural, and political roles of bodies in the city streets.

Among the many features that made Michel Foucault a remarkable philosopher was a doubly bold initiative: to renew the ancient idea of philosophy as a special way of life, and to insist on its distinctly somatic and aesthetic expression. This paper examines Foucault as an exemplary but problematic pioneer in a field I call somaesthetics, a discipline that puts the body’s experience and artful refashioning back into the heart of philosophy as an art of living. A long dominant Platonist tradition, (...) intensified by recent centuries of Cartesianism and idealism, has blinded us to a crucial fact that was evident to much ancient and non-Western thought: since we live, think, and act through our bodies, their study, care, and improvement should be at the core of philosophy, especially when philosophy is conceived as a special way of life, a critical, disciplined care of the self. (shrink)

This paper explains the discipline of somaesthetics, which emerges from pragmatism's concern with enhancing embodied experience and reconstructing the aesthetic in ways that make it more central to key philosophical concerns of knowledge, ethics, and politics. I then examine Beauvoir's complex treatment of the body in The Second Sex, assessing both her arguments that could support the pragmatic approach of somaesthetics but also those that challenge its bodily focus as a danger for feminism.

Kohelet, that ancient postmodern who already remarked that all is vanity and there is nothing new under the sun, also insisted that there is a time for everything: a time to be born and a time to die, a time to break down and a time to build up, a time to embrace and a time to refrain from embracing. There is no mention of a time for interpretation, but surely there is one; and just as surely that time is (...) now. Our age is even more hermeneutic than it is postmodern, and the only meaningful question to be raised at this stage is whether there is ever a time when we refrain from interpreting. To answer affirmatively by citing dreamless sleep is to dodge the real issue, which is whether we can ever refrain from interpreting without thereby refraining from intelligent activity altogether. There is a host of holist hermeneuts who answer this firmly in the negative, maintaining that simply to perceive, read, understand or behave intelligently at all is already, and must always be, to interpret. They hold that whenever we experience anything with meaning, such meaningful experience always must be a case and product of interpretation. (shrink)

Underlying the stubborn hierarchical dichotomy between high and popular art, there is a far more basic contrast at work—art versus entertainment. Yet the complex network of language games deploying these concepts reveals that entertainment is not simply contrasted to art but often identified with art as an allied or subsuming category. The arts are themselves sometimes described as forms of entertainment. Because the concept of entertainment is deeply and complexly related to the concept of art, and because it is also (...) broader and older than the concept of popular art, its analysis can be instructive not only for the question of popular art but for aesthetics as a whole. This paper, which is guided by pragmatist insights, provides a genealogical analysis of the concept of entertainment and its relation to aesthetics that offers some lessons for contemporary art and theory. In providing an aesthetic defence of entertainment's multiples values, the paper re-examines two concepts—pleasure and functionality for life—that have been used to condemn entertainment for triviality and narrowness but that are central to its value and to the value of art. (shrink)