Today, many people have realized that the climate change and biodiversity loss issues lie in how and to what extent humans consume products for their lives in the Anthropocene era. Consumerism has pushed natural resource exploitation to its peak, and the depletion of resources is becoming increasingly prevalent. The beauty and personal care industry has a large market and high profits, especially in the high-income segment. However, this advantage also carries the risk of facing scrutiny, investigations, and criticism (...) from civil society organizations, environmental activists, and consumers. More than anyone else, the industry is vulnerable to the perils of unfavourable societal assessments, particularly the repercussions of consumer-led boycott actions. In this discourse, we suggest that, given the current circumstances, it is imperative for multinational beauty corporations to take a proactive role in allocating resources towards the development of sustainable agriculture practices. This entails not only advocating for the widespread adoption of environmentally conscious production methods but also dedicating efforts towards conducting research and innovation in the area of nature-friendly manufacturing techniques. Doing so will help demonstrate their commitment to the environment and actively provide convincing evidence to consumers of their social responsibility through emission reduction and biodiversity conservation activities. (shrink)

The global impact of COVID-19 has seriously affected health and livelihood in every country or region, especially in terms of physical consumption behaviors. Hairdressing is an essential physical consumption behavior. To prevent infection, the consumption model for using the beauty industry matchmaking platform has been used during the pandemic. This study investigates the changes in the behavior of media app users in the beauty industry in the post-epidemic era of COVID-19. The COM-B model is the basis (...) for a research framework to study the factors that affect changes in behavior in the areas of Capability, Motivation, and Opportunity of the theoretical framework. A new dimension of fashion sense has expanded the application and validation of the COM-B model to determine the causal relationship between the ability to pursue beauty, motivation, fashion sense, and opportunities by using the platform and the dimension of user behavior. The study finds that fashion sense in the BIMP has a positive and significant impact on beauty care ability, self-motivation to pursue beauty and future cooperation opportunities. The ability, motivation and opportunity to act are all positively significant, which is in agreement with the theoretical framework of the COM-B model. There is no mediating effect for motivation between fashion sense and behavior. The results of this study show that increasing the sense of fashion for members using the BIMP will increases active behavior for members using the platform. This study also proposes practical suggestions for the operation of the BIMP based on the results. (shrink)

This article considers the role of beauty in Costa Rican sex work. In the context of sex tourism, beauty operates as affective labour performed by sex workers, labour that is mediated by deeply contradictory understandings of race and nation. Theorising beauty as a form of affective labour means thinking about beauty as value, as something that circulates, can be exchanged and is ultimately relational. While Costa Rica's national mythology has long focused on claims to white origins, (...) sex tourists identify local women's ‘exoticism’ and non-whiteness as particularly appealing. Commercial sex does not simply depend on an imperial male gaze, but rather requires us to consider how particular national mythologies about race are linked to ideals of attractiveness in complex ways. I also explore how women experience and manage their sexual attractiveness to foreign tourists in their daily lives and work. (shrink)

À partir des années 1930, émerge en France une nouvelle forme de presse destinée aux femmes où apparaît la thématique de la beauté. L’idée de beauté, qui était liée principalement au vêtement ou à la nature est redessinée par la ligne éditoriale de ces nouveaux périodiques qui la définissent désormais par les soins du corps. La plus ancienne de ces publications, Votre Beauté, est créée par Eugène Schueller, fondateur de L’Oréal. Cet article porte sur la manière dont est élaborée cette (...) nouvelle définition de la beauté, à la fois dans le contenu éditorial et dans les publicités de ce magazine. (shrink)

COVID-19 began to spread worldwide in early 2020. Various governments have taken measures such as isolation, travel bans, and evacuation, mandating people to wear masks and go out less, in an attempt to prevent the spread of the virus. Governments also restrict human contact service industries, including beauty and hair salons. When the pandemic was very serious, consumers had great doubts about going for hairdressing so the beauty industry was greatly affected. This study designed and developed an (...) app platform that considers the COVID-19 and is used for the psychological role of consumer safety. The methodology of this research is a qualitative study. Based on the Capability, Opportunity, Motivation, Behavior model, and presenting the context of capabilities, opportunities, and motives of the theoretical framework, this study investigates the factors that identify the demand for the development of the platform for the beauty industry app matching mechanism. Four groups of people including consumers, beauty technicians, store managers, and application development engineers all conduct interviews based on their ability, opportunity, and motivation after experiencing the using application of OpenBeautiful. The results found that all groups of people already had the knowledge and ability to avoid infection in a pandemic, so it was possible to establish the need and feasibility of using the app platform. The use of the beauty industry app platform can bring new consumption patterns and career opportunities, and can trigger more business behavior activities. Therefore, this study starts from the COM-B model, and then explores the user needs of the platform according to the COM-B model framework, and proposes the mechanism and platform of app matching. Finally, based on the conclusion of the study, we propose practices and suggestions for the future operation of the app matching platform. (shrink)

In this article I defend an account of beauty labor as a form of resistance that can enable individuals and communities to combat body oppression. Focusing on the “Fuck Flattering!” movement, a social-media-driven movement in which fat people purposefully wear unflattering clothing to resist antifat fashion and oppressive body standards, I first set three criteria necessary for an act of beauty labor to count as one of resistance. I argue that (1) the agent in question must be situated (...) as a less ideal candidate for attributions of beauty, (2) the agent must have some level of knowledge or awareness of the norms (defined in light of dominant groups) and their harms, and (3) that knowledge or awareness of the harms of said norms must inform the agent's act of beauty labor. Based on this account of beauty labor as resistance, I argue that beauty labor can combat larger systems of oppression and incite meaningful change insofar as it enables individuals to claim and reclaim space (both digital and physical) from which fat people have been historically excluded, while affording an opportunity for education and unpacking of oppression and bias, and expanding the fashion industry. (shrink)

Gadamer’s On the Relevance of the Beautiful makes telling reference to musical improvisation and the importance of musical listening in addition to foregrounding the need for justification (here including reference to musicological readings of Plato). Situating this discussion via Goethe and Plato along with Adorno’s late 1950s lectures on Aesthetics together with a discussion of Nietzsche and antiquity, what is at stake is attunement and a tension which invites a discussion of Anne Carson on the lover’s arrest and Heidegger on (...) tarrying. By reviewing Gadamer’s hermeneutic of musical programming and performance, including improvisation and the challenge of new music, Gadamer may be read on music culture in the context of social culture and thus the so-called ‘culture industry,’ together with his reflection not only via Plato and Goethe but also Hölderlin and Rilke on ‘the beautiful.’ At work is a cultural ‘conversation’ including the dynamic of response emergent in the energeia of improvisation for performer and listener. (shrink)

The aim of the article is to examine the representation of ageing in selected issues of the Polish women’s magazine Twój Styl. With reference to Wolf’s concept of the “beauty myth,” the article argues that ageing is presented as a threat to women’s psychological integrity. Although the theme of old age is rarely directly addressed in the magazines, its presence is implied in the advertised anti-age beauty products. Based on semiotic theory and Cognitive Metaphor Theory, the paper demonstrates (...) that the advertising of anti-ageing beauty products serves the function of controlling ageing female bodies, which are positioned outside of the mainstream concept of femininity. (shrink)

Industry 4.0, which is at the core of the Fourth Industrial Revolution, posits the challenge of humanizing it. Drawing upon Catholic Social Teaching (CST), this article offers a set of ethical and spiritual criteria for such humanization. The starting point is a positive attitude of CST toward technology, admiring it not only for its usefulness, but also as an expression of human creativity, ingenuity, and beauty. This entails a transcendent sense leading to praise the Creator. At the same (...) time, CST warns that technology involves the risk of fostering a techno-centered worldview and calls for a humanistic-centered worldview. Other ethical criteria regard conducting technological developments with ethical guidelines, minimizing inside effects of technological implementations, managing technology for the common good, and introducing technology into the production process in respect of human dignity and favoring human flourishing. (shrink)

This paper looks at the themes of nature, humanity, and military and industrial development in the nineteenth century American painter Winslow Homer through the lens of the Hegelian theory of art. Robert Pippin's After the Beautiful has recently put the Hegelian framework to very fruitful use in understanding pictorial modernism. This study of Homer follows a similar approach but argues that Homer's canvases represent a development in the modern spirt which, in many ways, goes beyond the canvases of Manet – (...) a very tight modernist contemporary of Homer's. Homer communicates a presentment of the immense and, in certain profound respects, horrifying power of humanity's growing industrialization. I trace the development of this idea over the course of his career, from this early Civil War canvases to his final seascapes and argue that an understanding of Homer's work is important for understanding the modern spirit of the nineteenth and twentieth centuries. (shrink)

Beauty therapy is part of a vast multi-national, multi-million pound beauty industry. The beauty salon lies at the heart of a complex set of discourses and practices. Research conducted in the salon sheds light upon a number of key sociological debates including; issues of health and well-being; gendered employment practices; the construction and maintenance of gender identity and sexuality; body practices; and leisure activities. In this sense the salon may be used as a microcosm in which (...) to investigate wider sociological concerns. In this paper, I will draw upon the testimonies of beauty salon clients, and beauty therapists. I describe four areas of treatment: pampering; routine grooming; health treatments; and corrective treatments. These areas are investigated in depth and related to different spheres in the woman's life. In particular, I show how the beauty salon is drawn upon in helping to negotiate the balance between these competing arenas. The ambivalences of achieving an ‘appropriate’ appearance in these differing spheres is investigated. Their implication in the self-surveillance of the client is also discussed. (shrink)

An ancient Greek proverb declares: ‘beautiful things are difficult’. One obvious difficulty arises from their almost limitless variety: sights, sounds, people, natural phenomena, man-made objects and abstract ideas may all bebeautiful, but what do these things have in common? It is not just beauty's breadth of application, then, that makes it difficult, but the way in which its meaning varies depending on context. The beauty of a child may mean something quite different from the beauty of an (...) old and wizened face, let alone the beauty of a supermodel. In common parlance,beautifulmay be used as a general term of approbation alongside others likelovelyorfine, while in academic discourse, the wordbeautyhas a life of its own: since the emergence of aesthetics as an independent discipline in the mid eighteenth century, beauty has been constantly theorized and responded to in different ways that have laden the term with its own peculiar historical baggage. And although some of these philosophical reflections on beauty may have trickled into the common cultural consciousness, in general they seem a far cry from beauty's most ubiquitous incarnation in modern Western society, in the cosmetics industry; to put it another way, if you go into a beauty salon in search of a Kantian ideal of disinterested contemplation, I suspect you will be disappointed. (shrink)

What Immanuel Kant considered "a mere appendage to the aesthetic judgment," "far less important and rich in consequences" than the judgment of beauty,1 was in fact to play a crucial role in the formation of ideologies of the twentieth century, as demonstrated by a number of studies revealing the ways in which political regimes generated sublime experiences to exercise mass control.2 Analyses of the aesthetic side of politics invariably point to the fact that the kind of aesthetic experience dominating (...) the sociopolitical discourse indicates the kind of subjectivity required by this discourse for its self-sustenance. In the early years of the People's Republic of China, it was the Soviet sublime with its industrial... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.1 (2001) 155-165 [Access article in PDF] Critical Discussions Big Guys, Babies, and Beauty Nancy Easterlin Art and Intimacy: How the Arts Began, by Ellen Dissanayake; xvii & 265 pp. Seattle: University of Washington Press, 2000, $29.95. The intellectual climate of postmodernism has not been particularly encouraging for the development of an evolutionary theory of the arts. Concentrated in constructionist modes of analysis and interpretation (...) for the past thirty years, the social sciences and humanities have asserted that aesthetic objects and practices are produced and regulated by social and cultural structures, and serve overwhelmingly to reinforce those structures. In its most extreme form, postmodern constructionism claims that all meaning or significance derives from social and cultural factors, and that perceived truth is a matter of agreement or a function of power. If, for instance, we like Edward Weston's photographs and Georgia O'Keefe's paintings because we observe striking similarities between the organic forms represented in them and features of the human form, postmodernism counsels us that our preferences are dictated by social and cultural regulators, such as current discourses about nature and art, and not in any way by predisposed attractions to types of natural objects or to the relationships between them.Certainly, it would be foolhardy to argue that social and cultural context have no influence on either the type of art that is produced or its reception in any given culture, but a thoroughgoing or strong [End Page 155] constructionism is another matter. 1 Strong constructionism cannot explain--or, to be more accurate, refuses to explain--why we have art in the first place. Recent intellectual fashion has dictated, in sum, that the most interesting questions about art, the truly thought-provoking and hard questions, should not be asked. Yet even in an era inimical to the study of complexity, some scholars will continue to grapple with the interesting questions. So it is that within the past twelve years Ellen Dissanayake has published three books that together stand as the major contribution to an evolutionary understanding of the arts.Dissanayake's three books--What Is Art For? (1988); Homo Aestheticus: Where the Arts Come From and Why (1992); and, most recently, Art and Intimacy: How the Arts Began (2000)--build on one another, elaborating a functional account of the genesis and adaptive value of the arts. 2 It is fitting that each volume amplifies Dissanayake's central theory, representing, as it were, a new stage in that theory's evolution, for elaboration is a key concept in Dissanayake's work.First and foremost, Dissanayake establishes the need for a functional account of art in What Is Art For? before developing her central thesis. Pointing out that what we know of pre-industrial cultures is inconsistent with the traditional approach to aesthetics, Dissanayake fruitfully suggests we readjust our intellectual lens. Whereas aestheticians have been preoccupied for centuries with discovering a transcendent essence for art, a functional and evolutionary account reveals the myopia of such an approach. Premodern cultures, because they do not separate life into discrete categories including the real and everyday, the imaginative and aesthetic, and the religious, have no concept of art apart from everyday activities or utilitarian considerations and, therefore, the study of these cultures calls the existence of a transcendent art essence into question. As constructionist colleagues would be happy to point out, the quest for essences does indeed attest to a cultural bias, that particular bias being an overwhelming tendency to conceptualize in rigid dualities within modern western culture; simultaneously, the quest for essences conflicts with an evolutionary understanding of human beings and their practices. In thus preparing the ground for her central argument, Dissanayake recommends persuasively the need for a major shift in focus among aestheticians, who are encouraged to look at how art behaviors work in adaptively significant ways within human social life.In Dissanayake's account, all of those activities, adornments, and the like in pre-industrial culture that we today see as the ancestors of [End Page 156] modern art forms exemplify a predisposition toward elaboration or, in her chosen phrase... (shrink)

Can the prevention of eating disorders be regulated? Can this goal be achieved by means of placing legal restrictions on the modeling industry? These core questions are the basis of our article.EDs constitute one of the foremost contemporary health concerns faced by Western cultures. It is commonly perceived that the modeling industry is a dominant factor causing the alarming increase of EDs by exposing the public to pictures of ultrathin models who present unrealistic body measures. Forming such a (...) distorted beauty ideal is believed to encourage the development of EDs as women desperately attempt to adopt such unattainable looks.Whereas considerable legal consideration of EDs focuses on public issues such as.. (shrink)

_A groundbreaking study of the development of form in eighteenth-century aesthetics_ In this original work, Abigail Zitin proposes a new history of the development of form as a concept in and for aesthetics. Her account substitutes women and artisans for the proverbial man of taste, asserting them as central figures in the rise of aesthetics as a field of philosophical inquiry in eighteenth-century Europe. She shows how the idea of formal abstraction so central to conceptions of beauty in this (...) period emerges from the way practitioners think about craft and skill across the domestic, industrial, and so-called high arts. Zitin elegantly maps the complex connections among aesthetics, form, and formalism, drawing out the understated presence of practice in the writings of major eighteenth-century thinkers including Locke, Addison, Burke, and Kant. This new take on an old story ultimately challenges readers to reconsider form and why it matters. (shrink)

This article illustrates how the circulation of capital and culture in Asia produces divergent embodied gendered ideals of national belonging through the case of Vietnam’s global sex industry. Introducing the concept of competing technologies of embodiment, I show how sex workers’ surgical and cosmetic bodily projects represent different perceptions of an emerging nation’s divergent trajectories in the global economy. In a high-end niche market that caters to local elite Vietnamese businessmen, sex workers project a new pan-Asian modernity highlighting emergent (...) Asian ideals of beauty in a project of progress that signals the rise of Asia. Women who cater to Western men, in contrast, embody Third World dependency, portraying Vietnam as a poverty-stricken country in need of Western charity. By comparing multiple markets, I illustrate how individual agents in the developing world actively reimagine their nation’s place in the global economy through their embodied practices. (shrink)

This paper presents the story of an isiXhosa traditional healer, Nomzi Hlathi, as told to the first author. Nomzi was asked about how she came to be an igqirha and the narrative focuses on those aspects of her life story that she understood as relevant to that developmental process. The material was obtained from a series of semi-structured interviews with Nomzi, with some collateral from her cousin, and synthesised into a chronological narrative presented in Nomzi’s own words. The aim of (...) the study was to examine her account of her unfolding experience within three hermeneutic frames. The first is the isiXhosa traditional account of what it is to become an igqirha, a process initiated by intwaso, an illness understood to be a call from the ancestors, and guided by messages from the ancestors in dreams and other symbolic communications. The second is the perspective of Western Clinical Psychology on the cognitive, emotional and behavioural disturbances that characterise intwaso. The third is the perspective of transpersonal psychology on the nature and development of shamanic healing gifts, as understood from observations of such practices in traditional societies across the world. As the narrative of Nomzi’s story is quite long, this paper presents her narrative as well as the methodology which gave rise to it. The interpretative review of the material from each of the three perspectives is presented in a second paper. (shrink)

In this, the second of two papers, three interpretative investigations are undertaken of Nomzi’s story of her troubled childhood, her dreams of ancestors calling her to become an igqirha, her training by experienced healers, various rituals that were performed at different stages of her life, and her eventual graduation as an igqirha at the age of 61. The narrative cannot be understood apart from the framework of the isiXhosa traditional understanding of intwaso, the initiatory illness, the role of the ancestors, (...) and the manner in which clairvoyant abilities of divination and healing are developed under their guidance. Nomzi’s account, however, reflects a considerable modification of the tradition, several features of which she does not seem to understand herself. From a clinical psychological perspective, Nomzi’s behavioural disturbances in childhood, as well as her lifelong suspiciousness and paranoia, can be understood as a consequence of an unstable childhood in which there was no secure attachment, nor any adult guidance on emotional regulation of the kind needed to form the basis of a stable adult personality. From the perspective of transpersonal psychology, it seems likely that Nomzi was endowed with a degree of natural clairvoyance, but her development as a healer was impaired by displacement of her paranoid ideation into the role of witch-finder, and her chronic social alienation. (shrink)

A passionate celebrator of "sexual difference," Luce Irigaray was never simply after the social equality that her generation so publicly demanded. She was seeking more fundamentally a society that celebrated the differences between the genders and their coming together in a union without hierarchy. As she formulates it in this compellingly readable introduction to her own thought, Irigaray is writing about how "I" and "You" become "We." Exploring along the way women’s experiences of motherhood, abortion, the AIDS crisis and the (...) beauty industry, this book presents one of the most important thinkers of our day in her own words. (shrink)

This study explores how men make sense of their participation in the feminized practice of salon hair care. By placing white, middle-class, heterosexual men at the center of analysis, I investigate the meaning of beauty work for a population that has been overlooked in research on gender and the beauty industry. Specifically, I demonstrate that men embed their purchase of salon hair care in the need to appropriate expectations of white professional-class masculinity. Ultimately, these men reproduce raced (...) and classed gender differences in the hair salon by resisting feminization while at the same time transgressing gender boundaries. (shrink)

This paper will examine the experience of and drive for bodily invisibility in women through the theoretical approaches of phenomenology and social constructionism. An examination of the social disruptions of bodily invisibility and the compulsive avoidance of such instances, particularly with respect to the fastidious maintenance of body comportment and appearance within the narrow parameters afforded by social norms, will lead to an exploration of the conflation of biomedicine with the beauty industry.

We often hear stories of people in terrible and seemingly intractable situations that are preyed upon by individuals offering empty promises of help. Frequently these cases are condemned as "exploiting the hope" of another. These accusations are made in a range of contexts, including human smuggling, the beauty industry, and unproven medical interventions. This concept is meant to do heavy lifting in public discourse, identifying a specific form of unethical conduct. However, it is poorly understood what is intended (...) to be wrong by exploiting hope, the range of activities that can accurately be captured under this concept, and what should be done about it. Thus, it is an ethical concept that is ripe for extended analysis and discussion. (shrink)

A passionate celebrator of "sexual difference," Luce Irigaray was never simply after the social equality that her generation so publicly demanded. She was seeking more fundamentally a society that celebrated the differences between the genders and their coming together in a union without hierarchy. As she formulates it in this compellingly readable introduction to her own thought, Irigaray is writing about how "I" and "You" become "We." Exploring along the way women’s experiences of motherhood, abortion, the AIDS crisis and the (...) beauty industry, this book presents one of the most important thinkers of our day in her own words. (shrink)

ArgumentThis paper brings together the history of risk and the history of DNA repair, a biological phenomenon that emerged as a research field in between molecular biology, genetics, and radiation research in the 1960s. The case of xeroderma pigmentosum (XP), an inherited hypersensitivity to UV light and, hence, a disposition to skin cancer will be the starting point to argue that, in the 1970s and 1980s, DNA repair became entangled in the creation of new models of the human body at (...) risk – what is here conceptually referred to as the vulnerability aspect of body history – and new attempts at cancer prevention and enhancement of the body associated with the new flourishing research areas of antimutagenesis and anticarcinogenesis. The aim will be to demonstrate that DNA repair created special attempts at disease prevention: molecular enhancement, seeking to identify means to increase the self-repair abilities of the body at the molecular level. Prevention in this sense meant enhancing the body's ability to cope with the environmental hazards of an already toxic world. This strategy has recently been adopted by the beauty industry, which introduced DNA care as a new target for skin care research and anti-aging formulas. (shrink)

Focusing on black communities in Africa, in this paper, I attempt an African bioethico-aesthetic deconstruction of the falsehood in colorist definitions of beauty purveyed by the migration of non-surgical cosmetics to Africa. I provide a novel ethical evaluation of the act of skin bleaching using principles of the African ethic of communion. I argue that skin bleaching is morally wrong to the extent that it promotes disharmonious relations and false identity in the beauty industry in Africa. Drawing (...) on scientific studies that link toxic ingredients in many skin-bleaching products to adverse health effects, I discuss the public health impact of bleaching cosmetics and other problems occasioned by their strategic expansion into African markets. I propose that there is an urgent need for a relational ethic of polycentric governance that would harmoniously regulate the production and distribution of cosmetic products across regions in order to avoid the exploitation of consumers in black African societies, while also protecting consumers’ right to make informed choices through education. (shrink)

A passionate celebrator of "sexual difference," Luce Irigaray was never simply after the social equality that her generation so publicly demanded. She was seeking more fundamentally a society that celebrated the differences between the genders and their coming together in a union without hierarchy. As she formulates it in this compellingly readable introduction to her own thought, Irigaray is writing about how "I" and "You" become "We." Exploring along the way women's experiences of motherhood, abortion, the AIDS crisis and the (...) beauty industry, this book presents one of the most important thinkers of our day in her own words."--Jacket. (shrink)

Industrial interventions in the landscape leave their imprint in a permanent way, but there remain options on how to deal with land even at that point in time. In this essay, three alternatives are considered: leaving such sites as they are, restoring them to a condition resembling their original state, or transforming them into artworks. The author focuses in particular on the third option in order to determine to what degree it is possible for artistic reclamation to redeem such blights (...) in the landscape. the work of art is beautiful to the degree that it opposes its own order to that of reality . Herbert Marcuse, 1978, p. 64. (shrink)

Cursory review of the reception of Adorno's unfinished Aesthetic Theory up to the present suggests that an introduction to the book's major concerns, its structure (or lack thereof), and its concepts is missing to this date. Going back to Fredric Jameson's watershed contribution Late Marxism: Adorno, Or, the Persistence of the Dialectic (1990), the article attempts to provide the introduction missing to date. It is organized around key concepts of Adorno's Aesthetic Theory, beginning with the guiding juxtaposition of Kant's formalist (...) aesthetics vs. Hegel's content aesthetics and the various notions of the End of Art, followed by two sections on art and its respective others (from the culture industry and art appreciation to nature and natural beauty), and concluding with the axiom of suffering and its impact on the key notions of semblance, expression, and mimesis. (shrink)

E. V. Il’enkov proceeded from the classical philosophical notion of Beauty considered in organic unity with Truth and Good. Following Marx, he regarded the sense of Beauty, the supreme mental feeling, as a product of history. Il’enkov insisted on the universal character of this feeling, for its basis is an activity of imagination which also lies at the root of any creative work. His criticism of modern art rested on analysis of the process of disintegration of personality, its (...) capabilities within industrial civilisation to break the natural tie between Truth, Good and Beauty. (shrink)

Conocida esta enfermedad por el nombre de tisis, algunos países tenían registros de las muertes producidas por la tuberculosis, aunque después de la revolución industrial del siglo XVIII, se hicieron frecuentes los registros debido a la alta mortalidad. Las causas fueron varias: las malas condiciones de trabajo, las casas insalubres y atestadas de seres humanos, la dieta poco variada, entre otras. Se va a definir la imagen idealizada de la tuberculosis por el estudio de diversos poemas de autores que plasmaron (...) el pensamiento general de esa época, un muestreo de una enfermedad que se sigue manifestando, pero sin el concepto añadido de belleza romántica. (shrink)

These starkly beautiful photographs document the daily life and labor of blue-collar workers in modern America. From a foundry in which the very fires of hell seem to blast to an air-conditioned computer control room in which the workers appear casual and comfortable, David Parker's lens captures what Peter Rachleff calls "a performance, a ritual, an exercise centuries ol""-men and women at work on factory floors. These photographs, taken in twenty plants in all parts of Minnesota, explore the common bonds (...) of industrial labor. Whether it's the Ford plant in St. Paul, the Potlatch paper mill in Cloquet, or the Toro engine manufacturer in Windom, Parker seeks to honor "the collective genius of the American worker." Excerpts from interviews with the workers reveal their opinions on such diverse topics as health care and child care, union activity, immigrant labor, and the effects of globalization. Their words and these photographs document industrial laborers and the factories in which they work, revealing how workers interact with each other and their environment and how the culture of labor is reflected in the jobs women and men do. An appendix provides a history and description of each workplace, detailing the magnitude of production and the constant ingenuity required to manufacture even the most common products. This book is a tribute to the women and men who process the foods we eat, manufacture the cars we drive, and produce the goods that make our lives comfortable. (shrink)

Motivational self-help advice from President Donald Trump, covering everything from leadership and self-confidence to how to succeed in business. President Donald Trump knows about living the good life and achieving success. With his election to the presidency, he added to a life that already includes billions of dollars, worldwide celebrity, and a beautiful family, despite legions of haters. In The Art of the Donald, Daily Caller News Foundation editor-in-chief Christopher Bedford takes you inside the new president's unorthodox mind, unlocking the (...) genius of his approach to everything in life and offering you insight into navigating life the Trump way. Featuring personal campaign-trail anecdotes and lessons from Trump's long career as a businessman and politician, The Art of the Donald offers you life-changing pieces of advice, including Keeping your message simple and delivering it effectively; Using competition to govern yourself and chaos to confuse your opponents; Cutting out the middlemen and getting directly to the deal-makers; Redefining conflicts and transactions on your own terms; Solving problems with ingenuity instead of money; and Believing in yourself, no matter what your opponents try to say. Written in the style of Sun Tzu's The Art of War and The Tao of Warren Buffett, this is a must-read for every Trump fan (and even the haters). (shrink)

This paper identifies the ethical issues involved with women's advertising, and argues that ads can be successful in generating sales without portraying women as things or as mere sex objects, and without perpetuating various weakness stereotypes. A paradigm shift in advertising appears to be at hand. This new model replaces images of women as submissive or constantly in a need of alteration, with a move to reinstate beauty as a natural thing, not an unattainable ideal. This paper also reviews (...) general ethical issues of the advertising industry, including: (1) that advertising equates the pursuit of material gain with human happiness; (2) that advertising pushes its own values, artificial or false as they may be, as to what is "good" for the consumer; (3) that advertising plays on physical appetites and the body; (4) that advertising strives to bypass rational thinking, by desensitizing the viewer and playing on group dynamics. (shrink)

The sixteen essays in Gender Struggles address a wide range of issues in gender struggles, from the more familiar ones that, for the last thirty years, have been the mainstay of feminist scholarship, such as motherhood, beauty, and sexual violence, to new topics inspired by post-industrialization and multiculturalism, such as the welfare state, cyberspace, hate speech, and queer politics, and finally to topics that traditionally have not been seen as appropriate subjects for philosophizing, such as adoption, care work, and (...) the home. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:"'Twas Nature Gnaw'd Them to This Resolution":Byron's Poetry and Mimetic DesireIan Dennis (bio)1. IntroductionWe all know Lord Byron, I presume. Know him as a paradigmatic object of cultural desire, as the quintessentially romantic individualist whose haughtily transgressive rejection of his society turned him into one of its most compelling models and objects, the endlessly provocative rival of a multitude of young men to follow—and they are still following—all to (...) differing degrees blind to or writhing in the anxieties of his influence. I myself belong to that somewhat smaller group that actually reads his poetry.Having passed through the little deification of celebrity, Byron was on something of a downslope of fame, and knew it, before he put the matter past all doubt by dying almost-young for liberty in Greece in 1824. Perhaps not surprisingly, given all this, he developed into something of an expert on desire. Almost alone among the major Romantics, he came to understand this most basic force in human experience not only as mediated and mimetic but as increasingly a function of a new kind of market whose commanding value was apparent autonomy from the market. It is not too hard to see how he figured this out. Those whom Byron defied adored him; those whose petty gratifications he evaded in spectacular suffering emulated him; those to whose desires he declared himself indifferent desired him—as few have ever been desired. For all his very real faults he was an intelligent man and an observant one. He reflected on what had happened to him.2. Reading Byron's Poetry for Nature and DesireIn his earlier poetry the natural scene, at least in Byron's privileged experiences of it, acts as an ally against other people. It is a source of his difference from and thus his indifference to the rest of us—an apparent replacement for, rather than object of, mediated desire. [End Page 115]Almost the first words of the preface to his fame-making Childe Harold's Pilgrimage (1812) tell us that the poem was "written, for the most part, amidst the scenes which it attempts to describe" and a coy disquisition on the identity of the Childe—who is and is not Byron—follows close on the heels of a spate of place-name dropping. They are sexy places, too, hard to get to, exotic, naturally beautiful, and dangerous. Soon the note of human pollution is of course sounded—man "mars" the beauties of Cintra that the hero is experiencing (1980–1993, 1.15)1—reminding us of the prototypical alliance between the alienated Romantic solitary and the unspoiled, or spoiled natural world, alike menaced by sociality, by the Other. This alliance is powerfully reinforced by an identification with the bovine victim of the Cadiz bull-ring, vivid sacrifice at the center of—in the young poet's chilling phrase—"the silent circle's peopled walls" (1.75). Does man scapegoat nature? There could hardly be a handier metaphor. And the Childe makes common cause.Mainly, though, "Dear Nature" is the particular solace of her "never-wean'd" favorite son, the one who never "pollutes her path," he who, as he rather complacently notes, "mark'd her when none other hath" (2.27). Byron does at least make good on such a claim by going to Albania, a wild, inaccessible place which he, with some justification, boasts "all admire, but many dread to view" (2.43). He writes some stirring descriptive poetry, leavened with occasional homilies on the smallness and nastiness of man and the grandeur and beauty of nature, sentiments that would not sound out of character on the lips of young backpacking, development-deploring kindred spirits of a later age. Again, it is to be remembered that the first besmirchment of the natural world to be complained of is not material, but social, in particular by the Romantic rebel's own society—not chemicals and chainsaws but the poisonous presence of overly familiar people and practices. The language of protest remains much the same after the products of industrial economic activity are added to the score, and indeed a good part of... (shrink)

This article shows how eco-theology could and should be indigenised in an African context using the Copperbelt in Zambia as a case study. The ecological crisis worldwide has given rise to the call for everyone to work together to start caring about our natural environment. In theology, the response to this call received the name eco-theology. By means of a literature review, ethnographic information and governmental legislation, the article tries to illustrate how eco-theology could and should be indigenised in an (...) African context using the Copperbelt in Zambia as a case study. This article makes an attempt to contribute to the needed ecological renewal by reinterpreting two traditions that inform thinking on the Copperbelt: Christianity and African traditional religion. The supernatural belief of the Lamba people is no longer embodied in this creation, and it is not too late for the people to form any indigenous environmental protection movement to protect the sacredness of mother Earth from further contamination and exploitation by strengthening, maintaining and respecting the traditional teachings and the cultural laws. Obedience to God’s command to tend creation is a quest for continued creation by humans, so that value is added to what is already in existence. This is embodied making the place we live in more beautiful, appealing and peaceful. Fruitfulness with sustainability becomes core values for interdependence and earth keeping.Contribution: We wish to address the ecological situation of the mining industry in Zambia from a theological perspective by assessing the impact of the copper mining and processing industry on humans, their environment and nature and by showing how the traditions of African traditional religion thought can be transformed into tools to oppose this ecological disaster. (shrink)

Located in Kleinbasel close to the Rhine, the Kaskadenkondensator is a place of mediation and experimental, research-and process-based art production with a focus on performance and performative expression. The gallery, founded in 1994, and located on the third floor of the former Sudhaus Warteck Brewery (hence cascade condenser), seeks to develop interactions between artists, theorists and audiences. Eight, maybe, nine or ten 40 litre bags of potting compost lie strewn about the floor of a high-ceilinged white washed hall. Dumped, split (...) open, the soil mixed with iridescent specks of green, blue and red glitter. On the walls hang large black and white photographic images—negative and positive prints barely clean, hardly sharp, scavenged from the world and presented half processed. On a third wall, hangs a framed golden and charcoal surface. Finally, a huge stain of black dye runs down a wall that descends into a sunken quarter of the Kaskadenkondensator gallery space. The results of a collaboration between Oliver Minder and Walter Derungs reflect on themes addressed in the recent Aesthetics in the 21st Century conference held by the department of English, University of Basel. In particular, the joint show questions how an aesthetic experience may be other than a human-world interaction, hinting at the withdrawal and veiling that objects perform, while demanding that different works engage with each other and play out this game under the non-supervisory eyes of a human audience. Things here are becoming—sometimes it’s a movement towards a more complete ontic whole in a projection of finality, other times it’s a dispersal, an atrophy to rather disarrayed entities. Yet, in the moment and place in which the objects are, we take them as here and now. Let’s get to the material of the stuff that Minder and Derungs have assembled. Oliver Minder employs organic materials—potting earth, cuttlefish ink secretion, rice, and insects; yet his works hardly seem natural in the sense of a harmonic relation between material and the form they are constrained into, the objects they are compelled to occupy. For the substrates on, through, or within which these natural materials are mediated are harshly inorganic substances—Plexiglas, safety glass, acrylic resin, boat varnish, spray paint. Minder, thus, generates a conflict within the materiality of his work between two polar opposites—from the human perspective—in the contiguity of materials engaging with each other in a thrown together formation that nonetheless appears to keep the materials and the objects they make in happy accidental relation to each other. Let me expand a little: on the one hand, the things Minder makes query our belief in substance as belonging in a particular domain, an environment suited to precisely that stuff. We are focused on thinking categorically where things belong, both in terms of natural place and natural relations they might extend to each other. Hence, we are driven to think of environment and order. On the other hand, while extracting things from their conventional place and arranging them within awkward constellations that we as observers feel isn’t quite right, Minder manages to persuade the viewer that the materials are nonetheless “doing alright.” So, simultaneous to our awareness of the appropriateness of the world according to our global notions of accord and uniformity, we are forced to accept the local discrepancies of disassociation, inappropriateness and misplacement. The tension between these two vectors generates a vacillation that intensifies Minder’s work. In the Kaskadenkondensator works, then, it is vital to first consider the material of Minder’s works: potting compost—what is it doing here in the first place?—seems to enjoy being “polluted” by sparkly glitter. Glitter has a long history, used in cosmetics by the Egyptians, and in cave paintings, too, earlier made of beetle shells and mica, nowadays glitter is made of plastic cut to minute sizes down to 50 microns. So what’s the point here? Well shiny bits of dust-like material are actually generated from ultra-thin plastic sheets and are normally cut into shapes that fit contiguously on a two-dimensional surface: squares, triangles, hexagons etc. What then appears to be totally random, chaotic decoration, is actually an array of extremely regular identifiable objects. 1 Of course scale has a role to play here. The minuteness of the dimensions means the regularity is beyond our recognition—all we see are the twinkling surfaces of the multi-coloured grains of plastic. In contrast, potting compost, which appears to be unary in its dull unresponsive lumpen disposition, is in fact an amalgam of a variety of organic and inorganic materials: peat, bark, mushroom compost, and sand and perlite, and should perhaps be more proactively exciting to the viewer because of this complexity. Yes; we can (if we care to) identify different textures, different sizes in the mixture of the medium, but I claim that we tend to treat this organic/inorganic assemblage as just a simple substance. Further and crucially important to our consideration here is that the medium is partially contained, but also partially spilling from the split plastic bags in which it is sold in garden centres. That the compost spills out gives it a movement suggesting life; that the bags are cast here and there in a random fashion by Oliver Minder, lying like discarded carcasses, hacked torsos, dismembered bodies, suggests a horrific murder scene, a Tatort. 2 The glitter flourishes in the medium, lies happy and decorative; that is simply what it does, how it is—always already broken, made-for-scattering, designed to be incomplete; the taken-to-be-natural compost, in contrast, cannot rest content but is forced to speak to us metaphorically in its abject overflowing of violence and rupture. While Oliver Minder’s elements in the installation direct our attention to material, Walter Derungs’ works raise questions around seeing and making in photography. There is a simultaneous flicker between the materials and their use in the production of a sense making representation, on the one hand, and on the other the very notion of what is worthy of picturing, framing, representing on the other. Derungs' images are of non-places. Ranging from archaic decaying monster buildings, buildings that have gone far beyond the ravages of a time that we can safely associate with the genteel preservation of a Bernd and Hill Belcher post-industrial decline, to the background “noise” of an urban world that is falling apart, and to which we most of the time seem to pay little attention, and habitually just pass by. In this respect, their non-ness differs somewhat from the conventional association of the term with Marc Augé 3 , where emphasis is on the specifics (if we do care to examine them for their non-placedness) of the spatial or place containment in which movement between multimodal coordinates occurs in supermodern late capitalist post-urban spaces. In other words, we might be in an Augéian non-place and (not) experience—be impervious to—that environment, or we might in Derungs’ manner look out from such a position at the “scenery” around us. I claim scenery, as this is what Derungs seems to do with his partial photography—construct a very purposefully articulated, symmetric, flat world of image. Mostly depopulated, his images construct a space in which the direction of time is uncertain: are these partial structures falling apart, or perhaps terminated in a never-to-be-completed state, or are they a few steps from final completion? Temporal and spatial dimensions figure large in Derungs’ image-making: his world, and perhaps this is in fact the only way for it to be registered photographically, is already image before it is photographed. A key combination of images in this show is a matrix of six black and white negative prints measuring 300 x 215 cm that form the image of a semi-derelict (or is it yet incomplete) church, and adjacent on a perpendicular wall, a single black and white positive print 150 x 250 cm of two bricked-up windows of a late-Victorian industrial building. What are we led to believe that we see here? In the negative print, the conditions of perception 4 are sufficiently reproduced for us to recognise the structure of the building, to distinguish ground and form, to relate some partial elements of narrative, and to recognize symbols such as the alter cross and figure of Christ, a looming crane, a traffic cone, and banks of tiered seating. We piece the image together both from the individual forms which we recognize despite the tonal reversal, and we piece the six prints together as a whole, the matrix of lines between them emphasizing our purview onto the world. While we recognise the forms at work in the image and might possibly relate the negative reversals to other figurations such as Vera Lutter’s camera obscura exposures, we cannot but avoid seeing the partialness of the image in the sponge marks of the developer that was spread by hand across the prints. 5 Derungs’ thus intervenes with our usual conception of photography as the mimetic realist vehicle sine qua non , by exposing the viewer to tonal reversal and incomplete or over developed areas of the print. We thus confront both the idiom of such image making and its raw (chemical) materiality at once in the simultaneity of the recognition of what the image pictures and the recognition that it is in the act of picturing. The church image, taken from the series “BW Negativs 2011,” thus orients us towards how we see things in the world via photographs. The single image of the bricked-up wall presents us with a completely different visuality that relates to a faciality 6 which we cannot easily escape from. We look, or rather try to look with no success, through the face of the windows, through the classic Albertian screen 7 which has already been given to us in the church matrix beside. Yet although we should be able to make more of these concealed windows because they are a positive print, because they are complete, because they approach us on a more realistic scale, reproduced at life size, we cannot. The objects pictured here withdraw from us; furthermore, they merely mock our blindness at not seeing how we look. Blocked up with quite a hint of paned glass behind, one window is blanked out with a white blind, the other simply blankly dark. The apertures look like eyes with teeth in them, or a Dogon mask, or even Man Ray’s Noire et Blanche (1926) if we want to get really perverse. The height of elegant modernist chauvinist beauty thrown against the vacuity of post-industrial decline. Derungs thus catapults us consciously into a world enfolded with and through images, but in such a way that the images themselves become objects that stand resistant to us, impervious to our gaze, indifferent. We—and indeed they—do not attempt to reach out to a real that is beyond, rather the images play in a world that is just theirs, and we can only enter that world if we too submit to their regime: tonal reversal, segmented, partial, inadequate, still, wrenched out of time. In contemplation, in the flood of the image “falling” off the wall, we too become image-object. Perhaps enough has now been said about the works, yet enough can never really be said, we know the image will always exceed the word—let’s accelerate the critique: Derungs’ work continues in a second space partially partitioned from this first room. Opposing three more “BW Negativs” which figure yet more quotidian aspects of the world is Minder’s gold spray paint and cuttlefish secretion mix: things that just shouldn’t work together do in the dialogue between stuff that Derungs and Minder have constructed. Minder makes things; Derungs makes images; together they make objects which inhabit their own world which we can approach and sensually engage with and come to grips with only on those objects’ own terms. This is best summarised by a final work made by Oliver Minder which on a third wall faces these two semi-partitioned spaces. A deep black stain about 100 X 200 cm with streak marks running down a further 2 metres hovers positioned to observe the whole work, and also to be part of this installation, too. This liminal flat suzerain lies in/out of the whole work. The stain of cuttlefish secretion resonates with Derungs’ sponge strokes on the church image; it mirrors the iris of an all-seeing eye; it combines material in situ with the situation itself. Where Minder’s other works have material and medium or substrate upon which the material is exercised, this single black hole is image which sucks everything up into itself. It draws the viewer, who must otherwise look away attentively at the floor work, and imagine horror, or smile at the ironic play of glitter. Look away at the image constructions that suggest how it is we too look to our world. See the play of thing and image in a third area. Or, finally return to the base of the pyramid that triangulates, to realise the stuff-image that unlocks it all for us. Black on white, organic on inorganic, material to substrate, that which in the falling out of one on the other, in its running down the wall simply gives form to both content and expression in one direction, and content and expression to form in another. NOTES In fact, glitter is used as associative forensic evidence: the 20,000 or so varieties are all uniquely identifiable. Joel Sternfeld, Tatorte: Bilder gegen das Vergessen (München: Schirmer/Mosel, 1996). Marc Augé, Non­places: Introduction to an Anthropology of Supermodernity trans. John Howe (London: Verso, 2006). An echo of the uneven paint strokes of light­sensitive chemicals in the paper preparations made by Henry Talbot some 170 years ago in the first sun drawings that also often pictured architectural forms. It was Talbot’s surprising discovery that where a weaker chemical solution was more thinly spread, greater light sensitivity was actualized, yet this virtual image had then to be chemically developed in a second step. Thus, Derungs unevenly finished spongings suggestively trace back to this originary technology (although his sweeps are the stains of uneven development and not those of the initial preparation of light–sensitive material). Umberto Eco, “Critique of the Image” in “Articulations of Cinematic Code” Cinematics 1, 1970. Gilles Deleuze and Felix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia trans. Brian Massumi (Minneapolis: University of Minnesota Press, 2007). Geoffrey Batchen, Burning With Desire: the Conception of Photography (Cambridge, Mass: MIT Press, 1999). (shrink)

Despite the fact that they are in most respects environmentally benign, electricity-generating wind turbines frequently encounter a great deal of resistance. Much of this resistance is aesthetic in character; wind turbines somehow do not "fit" in the landscape. On one (classical) view, landscapes are beautiful to the extent that they are "scenic," well-balanced compositions. But wind turbines introduce a discordant note, they are out of "scale." On another (ecological) view, landscapes are beautiful if their various elements form a stable and (...) integrated organic whole. But wind turbines are difficult to integrate into the biotic community; at least in certain respects, they are like "weeds." Moreover, there is a reason why the 100-meter, three bladed wind turbines now favored by the industry cannot very well be accommodated to any landscape view. They are, as Albert Borgmann would put it, characteristic of contemporary technology, distanced "devices" for the production of a commodity rather than "things" with which one can engage. It follows that the only way in which the aesthetic resistance to wind turbines can be overcome is to make them more "thing-like." One such "thing-like" turbine is discussed. (shrink)

Despite the fact that they are in most respects environmentally benign, electricity-generating wind turbines frequently encounter a great deal of resistance. Much of this resistance is aesthetic in character; wind turbines somehow do not "fit" in the landscape. On one view, landscapes are beautiful to the extent that they are "scenic," well-balanced compositions. But wind turbines introduce a discordant note, they are out of "scale." On another view, landscapes are beautiful if their various elements form a stable and integrated organic (...) whole. But wind turbines are difficult to integrate into the biotic community; at least in certain respects, they are like "weeds." Moreover, there is a reason why the 100-meter, three bladed wind turbines now favored by the industry cannot very well be accommodated to any landscape view. They are, as Albert Borgmann would put it, characteristic of contemporary technology, distanced "devices" for the production of a commodity rather than "things" with which one can engage. It follows that the only way in which the aesthetic resistance to wind turbines can be overcome is to make them more "thing-like." One such "thing-like" turbine is discussed. (shrink)

There are many moral values that the Arab writers have written about either in prose or poetry. This emphasis on morality in classical Arabic literature has also been the subject of many academic studies. The abundance of the literary material in this field has attracted the attention of researchers. One of these is the emphasis on "naturalness" which we have seen in classical Arabic literature. In the Arab society which social ties are very strong the moral values have been summarized (...) with the concept of al-murūah/chivalry over time. In these sources that is including poems, parables and anecdotes about morality allthings on the moral values are brought together. Hereunder the main thing in the moral maturity is the naturality. Criticism of ostensible behaviors has taken place in an important part of these works. For example, ancient perception of morality is a predestination that comes from creation has found its response in Arabic poetry. Many Arab poets have stated that one's innate character will beat and the reason will be defeated. On the other hand, some poets tried to establish a balance between character and wisdom. Accordingly, it has been stated that people are innately inclined to falses but they also have the potential to restrain their innate evil tendencies with the ability of mind given to them. These poets liked to explain this balance through the simile stating he ambitious horse that wants to run at full speed is restrained with a bit. According to this simile the man is like a person on the back of a raging horse with the evil inclinations cultivated in his nature. The soul he carries wants to take him wherever it wishes. However, he has a mind that is like a bridle in return for the soul inside him. On the other hand, when we look at the encyclopedic sources of Arabic proverbs we see that there are proverbs comparing many moral attributes with animals. In Turkish proverbs, cunning is identified with the fox and industriousness with the ant, and in Arabic proverbs a very rich human character-animal pairings stand out. These proverbs are based on the idea that people's character is the product of nature. Because each animal species has appreciated characteristics and these features occur without learning and education. In addition, the issue of the naturalness of morality was also used for the purpose of praise and satire in the classical Arabic poets. The poet makes his reproach or anger towards someone through his character. When describing his lover he states that the beauties that adorn him come from creation. Therefore, it can be said that the emphasises of character/nature/temperament in the poems in which these and similar emotions are aroused, are the motifs that serve the purpose of the poet. Finally Arab writers have offered many recommendations in literary form on issues such as brotherhood, solidarity and cooperation for the healthy continuity of social relations in the Muslim society, and they have included anecdotes and poems within the framework of the subject. The study is mainly based on the descriptive method, however, the way the authors handled the subject is analysed when it is deemed to be appropriate. Considering that there is no specific study in Turkish and Arabic literature within the framework of the present study, it is aimed to investigate the literary material in the subject in question. (shrink)

Recently, there has been a shift in attitude among some feminists towards the practice of cosmetic surgery away from that of outright rejection. Kathy Davis, for instance, offers a guarded `defence' of the practice as a strategy that enables women to exercise a degree of control over their lives in circumstances where there are very few other opportunities for self-realization. Others, such as Kathryn Morgan, Anne Balsamo and Orlan, though highly critical of the current practice of cosmetic surgery, go even (...) further than Davis in advocating its redeployment as a tool to subvert the dominant patriarchal ideals of feminine beauty. In this article I critically appraise this `rehabilitation' of cosmetic surgery, arguing, in the case of Davis, that she leaves unchallenged the social structures of inequality responsible for women's dissatisfaction with their bodies. The proposal to use cosmetic surgery as a tool of political critique is equally problematic insofar as it shares with the cosmetic industry its instrumentalization of the body as mere matter, which is almost infinitely transformable, and also effaces the economic inequalities within which such body transformations occur. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Cardboard Houses with Wings:The Architecture of Alabama's Rural StudioThorsten Botz-Bornstein (bio)IntroductionThe Rural Studio, which was founded by Samuel Mockbee in 1992 and lead by him until his death in 2001, continues its activities. Its specialty is, now as before, the design of innovative houses for poor people living in Alabama's second-poorest county, Hale County, by relying largely on donated and salvaged materials. The houses are made of car windshields, (...) surplus carpet tiles, baled cardboard, old street signs, license plates, etc. Alexis de Tocqueville has said that democracy lowers the standards of creation,1 and it seems that, for architecture, this has become a sad truth in many cases in industrialized countries. The Rural Studio wants to contradict this tendency by showing that even within the context of civic engagement, elements like style and art are not bound to disappear. "Participatory design" as well as "community design" are common in the United States in the public as well as in the private sector.2 The Rural Studio's aim to offer decent architecture in terms of material quality as well as remain consistent when it comes to aesthetics sticks out of the landscape not only of community design but even the history of modern Western architecture. There is nothing new in reducing rich people's lives to functionalism, but the ambition to enhance poor people's lives through art can still be considered as rather eccentric.Kitsch Culture and Junk CultureNegotiating style when being engaged in compassionate projects is certainly a difficult task. Everybody needs food, clothing, and shelter, but who needs [End Page 16] art? The worst outcome that such negotiations can have is, of course, the victory of social pragmatism over art, simply declaring that "they don't need that." However, this is not the only miscarriage to be expected. Another likely disaster is that the suggested artistic activity will be refused by the clients at the onset. Community design architects confirm that "when it comes to houses people are much more conservative."3 The aesthetic standards of the lower middle class especially are often determined by numerous prejudices about "what a house should look like."The aesthetic standards of the status-seeking middle class, however, are generally more open, as their visions of an ideal house are often determined by a moderately adventurous hedonism striving to conquer new aesthetic models and experiences. The problem is that, sometimes, their projects will run directly into the aesthetic dead end of kitsch, or camp, because their openness is often superficial; instead of being determined by a kind of postmodern self-criticism, it remains rather dependent on thoughtless consumer attitudes. The desire to display and impress at any cost—a strain already put forward by Tocqueville—corrupts the taste of many American middle-class members and makes truly artistic architectural expressions oftentimes impossible. In the worst case, this attitude will be conducive to the desire to "acquire beautiful junk," which is, according to the aesthetician Matei Calinescu, the classical mechanism leading to the creation of kitsch culture.4 The original German definition of "kitsch" is that "which makes use of refuse taken bodily from the rubbish dump."5The architects of the Rural Studio use predominantly junk, which forces us to consider the question: How do they manage to escape the aesthetics of kitsch? From a historical perspective, kitsch culture is the product of the European middle classes (though it has also constantly been imitated by lower-income classes). It becomes clear that the Rural Studio operates on a completely different anthropological ground. The typical clients of the Rural Studio are not integrated in the spectrum of capitalist societies, as their social habitus eludes most attributes of hedonistic consumer society and comes amazingly close to that of traditional, precapitalist societies. The main characteristics of their economies are frugality and thriftiness. This shows that the success of the Rural Studio depends on the particularity of its place: only within the limited social sphere in which they act can an architecture using junk and waste become a distinct style.It is well known that elements of waste, once they are employed in an artistic context... (shrink)