This chapter contains sections titled: The Cultural State of the Coffeehouse A Personal Encounter A Few Steps Back Aesthetics and Liberalism The Power of the Consumer Three Capitalisms Complex and Lasting Beauty.

This book analyses the use of the crucial concept of 'taste' in the works of five major seventeenth-century French authors, Méré, Saint Evremond, La Rochefoucauld, La Bruyère and Boileau. It combines close readings of important texts with a thoroughgoing political analysis of seventeenth-century French society in terms of class and gender. Dr Moriarty shows that far from being timeless and universal, the term 'taste' is culture-specific, shifting according to the needs of a writer and his social group. The notion of (...) 'taste' not only helped to shape a new dominant culture, but also registered the conflicts within that culture between a view of taste that presupposted the values of 'polite society' as an exclusive (though not necessarily aristocratic) group, and a view that stressed the value of the classical-humanist tradition as a source of standards ratified by a broader public. this study sheds light not only on the central concept, but also on the individual authors discussed and on the norms of French classical literature in general. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Rhetorical Circulation in Late CapitalismNeoliberalism and the Overdetermination of Affective EnergyCatherine ChaputIn the world we have known since the nineteenth century, a series of governmental rationalities overlap, lean on each other, challenge each other, and struggle with each other: art of government according to truth, art of government according to the rationality of the sovereign state, and art of government according to the rationality of economic agents, and more (...) generally, according to the rationality of the governed themselves. And it is all these different arts of government, all these different types of ways of calculating, rationalizing, and regulating the art of government which, overlapping with each other, broadly speaking constitute the object of political debate.Michel Foucault, The Birth of BiopoliticsCritical rhetoricians interested in the power dynamics between rhetoric and capitalism have established for themselves the ambitious task of explaining how multiple, intertwined rationalities govern individual and collective [End Page 1] behavior in relationship to the ever-shifting logics of capitalism. Approaches to this complicated directive frequently envision rhetoric as a mediating force among agentive subjects who act within well-defined political economic landscapes. Wedded to a political-communicative model wherein appropriate rhetorical choices persuade those with authority to distribute disputed political and economic rights, rhetorical theory becomes a sophisticated handbook for discovering topoi and executing decorous statements. This focus, according to Ronald Walter Greene, results in a "permanent anxiety over the meaning and potential of rhetorical agency" that positions rhetoricians as "moral entrepreneurs scolding, correcting, and encouraging the body politic" (2004, 188, 189). Committing themselves to endless debates about correct responses in situated spaces, rhetorical theories that underscore agency lose site of the world in flux and of our participation in that world's unpredictable unfoldings. Alternatively, Greene suggests rethinking rhetorical theory through a materialist-communicative model wherein the immaterial labor of communication produces value. Conceptualizing discursive practices as a form of labor rather than a form of political signification sidesteps anxiety about well-chosen language and emphasizes the life-affirming activity involved in deciphering issues, inventing paths through those issues, and communicating new ideas to others. In short, Greene's materialist model challenges critical rhetoricians to end their perennial search for a discursive key to the storehouse of political economic goods (a practice propelled by liberal democratic hopes) so that they can begin to invent analyses and modes of production better suited to the contours of contemporary neoliberalism.Unlike liberalism's clearly assigned spaces for public life and private life or work time and leisure time, neoliberal spaces bear few obvious markers. The neoliberal landscape consists of blurred boundaries that fold into one another: information flows almost instantaneously, commodities and people transgress national boundaries, time accelerates, space collapses, and distinctions between such classic demarcations as agent and subject or politics and economics erode. Facilitated by dramatic changes in our sociopolitical boundaries, economic neoliberalism, what James Arnt Aune calls "economic correctness" (2001), reigns throughout vast uneven terrains opened up from the imploded borders of our liberal world. While economics does indeed rule the neoliberal landscape, it does not do so according to uncompromising rationalism. Political and cultural practices flowing into the previously segregated spaces of economics enable market rule through logics that operate entirely outside the rational-irrational divide. Economic neoliberalism moves from situation to situation, disregarding spatial boundaries between the political, economic, [End Page 2] and cultural realms as well as their attendant modes of persuasion, wearing away at the rhetorical linkages between appropriate discursive choices and agentive power.Regardless of the particularities of neoliberalism's spaces, structures, and governing practices, many rhetoricians continue to mediate among different worldviews based on outmoded liberal gauges. Some rhetorical theorists, for instance, maintain that the problematics of neoliberalism result from an imbalance between reason and passion. Even though the most ardent supporters of neoliberal practices hold firmly to a belief in its scientific rationality, rhetorical theorists often argue that passion overpowers reason in neoliberal discourse. The rhetorical form that sustains this disequilibrium is, according to Bradford Vivian, neoliberal epideictic. Based on an impassioned identification, epideictic texts "unite an otherwise fractured citizenry in a dynamic affective experience" (Vivian 2006, 15). Epideictic rhetoric functions didactically to unite the public... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Rhetorical Circulation in Late CapitalismNeoliberalism and the Overdetermination of Affective EnergyCatherine ChaputIn the world we have known since the nineteenth century, a series of governmental rationalities overlap, lean on each other, challenge each other, and struggle with each other: art of government according to truth, art of government according to the rationality of the sovereign state, and art of government according to the rationality of economic agents, and more (...) generally, according to the rationality of the governed themselves. And it is all these different arts of government, all these different types of ways of calculating, rationalizing, and regulating the art of government which, overlapping with each other, broadly speaking constitute the object of political debate.Michel Foucault, The Birth of BiopoliticsCritical rhetoricians interested in the power dynamics between rhetoric and capitalism have established for themselves the ambitious task of explaining how multiple, intertwined rationalities govern individual and collective [End Page 1] behavior in relationship to the ever-shifting logics of capitalism. Approaches to this complicated directive frequently envision rhetoric as a mediating force among agentive subjects who act within well-defined political economic landscapes. Wedded to a political-communicative model wherein appropriate rhetorical choices persuade those with authority to distribute disputed political and economic rights, rhetorical theory becomes a sophisticated handbook for discovering topoi and executing decorous statements. This focus, according to Ronald Walter Greene, results in a "permanent anxiety over the meaning and potential of rhetorical agency" that positions rhetoricians as "moral entrepreneurs scolding, correcting, and encouraging the body politic" (2004, 188, 189). Committing themselves to endless debates about correct responses in situated spaces, rhetorical theories that underscore agency lose site of the world in flux and of our participation in that world's unpredictable unfoldings. Alternatively, Greene suggests rethinking rhetorical theory through a materialist-communicative model wherein the immaterial labor of communication produces value. Conceptualizing discursive practices as a form of labor rather than a form of political signification sidesteps anxiety about well-chosen language and emphasizes the life-affirming activity involved in deciphering issues, inventing paths through those issues, and communicating new ideas to others. In short, Greene's materialist model challenges critical rhetoricians to end their perennial search for a discursive key to the storehouse of political economic goods (a practice propelled by liberal democratic hopes) so that they can begin to invent analyses and modes of production better suited to the contours of contemporary neoliberalism.Unlike liberalism's clearly assigned spaces for public life and private life or work time and leisure time, neoliberal spaces bear few obvious markers. The neoliberal landscape consists of blurred boundaries that fold into one another: information flows almost instantaneously, commodities and people transgress national boundaries, time accelerates, space collapses, and distinctions between such classic demarcations as agent and subject or politics and economics erode. Facilitated by dramatic changes in our sociopolitical boundaries, economic neoliberalism, what James Arnt Aune calls "economic correctness" (2001), reigns throughout vast uneven terrains opened up from the imploded borders of our liberal world. While economics does indeed rule the neoliberal landscape, it does not do so according to uncompromising rationalism. Political and cultural practices flowing into the previously segregated spaces of economics enable market rule through logics that operate entirely outside the rational-irrational divide. Economic neoliberalism moves from situation to situation, disregarding spatial boundaries between the political, economic, [End Page 2] and cultural realms as well as their attendant modes of persuasion, wearing away at the rhetorical linkages between appropriate discursive choices and agentive power.Regardless of the particularities of neoliberalism's spaces, structures, and governing practices, many rhetoricians continue to mediate among different worldviews based on outmoded liberal gauges. Some rhetorical theorists, for instance, maintain that the problematics of neoliberalism result from an imbalance between reason and passion. Even though the most ardent supporters of neoliberal practices hold firmly to a belief in its scientific rationality, rhetorical theorists often argue that passion overpowers reason in neoliberal discourse. The rhetorical form that sustains this disequilibrium is, according to Bradford Vivian, neoliberal epideictic. Based on an impassioned identification, epideictic texts "unite an otherwise fractured citizenry in a dynamic affective experience" (Vivian 2006, 15). Epideictic rhetoric functions didactically to unite the public... (shrink)

We all have different “tastes” for different tastes: some of us have a sweet tooth, while others prefer more subtle flavors; some crave spicy foods, while others cannot stand them. As Bourdieu and others have pointed out, these varying judgments seem to be more than mere preferences; often they reflect (and partially constitute) differences of class and culture. But I want to suggest that we’ve possibly overlooked another important source of these divergent gastronomic evaluations, other than hierarchy and caste: mere (...) interpersonal variability with respect to brute gustatory sensations. After all, we all know about “supertasters and cilantro-haters”; how likely is it, though, that the interpersonal heterogeneity of gustatory sensation is limited to this one dimension? In this paper, I make the case that we should take this possibility more seriously, and offer some thoughts on how we might start getting a better handle on the nature and scope of interpersonal gustatory variability—including by suggesting some diagnostics that can help us get at (what I call) some of the “non-flavor dimensions” of our gustatory experience. I conclude by developing some implications for the prospects of an “alimentary aesthetics”: namely, that—should our gustatory experiences turn out to be quite heterogeneous—then they do not seem well-suited to serve as the basic ingredients of bona fide aesthetic judgment about food and drink. (shrink)

This handsomely produced volume contains 22 contributions from international scholars, which were originally presented at the 2000 Conference of the International Society for Phenomenology, Fine Arts, & Aesthetics. The papers center around the theme of gardens and include a wide range of topics of interest to phenomenologists but also, perhaps, to gardeners with a philosophical bent. A sampling of topics: Leonardo's Annunciation Hortus Conclusus and its reflexive intent; hatha yoga--a phenomenological experience of nature; the Chinese attempt to miniaturize the world (...) in gardens; conflating and compressing time in commodified space and architecture; constructing the deconstructive landscape (the ruin aesthetic); and a phenomenological-anthropological aproach to Zen gardens. The volume is lightly indexed by name (mostly philosophers). Annotation (c)2003 Book News, Inc., Portland, OR (booknews.com). (shrink)

Each of the five volumes in the Stone Art Theory Institutes series—and the seminars on which they are based—brings together a range of scholars who are not always directly familiar with one another’s work. The outcome of each of these convergences is an extensive and “unpredictable conversation” on knotty and provocative issues about art. This fourth volume in the series, _Beyond the Aesthetic and the Anti-Aesthetic_, focuses on questions revolving around the concepts of the aesthetic, the anti-aesthetic, (...) and the political. The book is about the fact that now, almost thirty years after Hal Foster defined the anti-aesthetic, there is still no viable alternative to the dichotomy between aesthetics and anti- or non-aesthetic art. The impasse is made more difficult by the proliferation of identity politics, and it is made less negotiable by the hegemony of anti-aesthetics in academic discourse on art. The central question of this book is whether artists and academicians are free of this choice in practice, in pedagogy, and in theory. The contributors are Stéphanie Benzaquen, J. M. Bern­stein, Karen Busk-Jepsen, Luis Camnitzer, Diarmuid Costello, Joana Cunha Leal, Angela Dimitrakaki, Alexander Dumbadze, T. Brandon Evans, Geng Youzhuang, Boris Groys, Beáta Hock, Gordon Hughes, Michael Kelly, Grant Kester, Meredith Kooi, Cary Levine, Sunil Manghani, William Mazzarella, Justin McKeown, Andrew McNamara, Eve Meltzer, Nadja Millner-Larsen, Maria Filomena Molder, Carrie Noland, Gary Peters, Aaron Richmond, Lauren Ross, Toni Ross, Eva Schürmann, Gregory Sholette, Noah Simblist, Jon Simons, Robert Storr, Martin Sundberg, Timotheus Vermeulen, and Rebecca Zorach. (shrink)

Neoliberalism is an approach to social policy, now globally influential, that applies market approaches to all aspects of social life, including education. Charter schools, privately operated but publicly funded, are its most prominent manifestation in the U.S. The neoliberal principles of competition, consumerism, and choice cannot serve as foundations of a sound and equitable public education system. Neoliberalism embraces socio-economic inequality overall and in doing so constricts any justice mission its adherents espouse in virtue of serving a (...) relatively disadvantaged student population, as charter schools often (by no means always) do. It constricts educational justice by (1) embracing a “human capital” approach as the primary good of education, (2) creating educational inequality through (unofficially) selecting a relatively advantaged segment of the disadvantaged demographic it serves, (3) denying the effect of poverty on educational performance, and (4) devaluing its students’ familial ethnic cultures. (shrink)

Arthur Danto’s Transfiguration of the Commonplace is a new theory of art, seeking to catch the flavour and essence of its contemporary phenomenology. It is obliged, however, to pit itself in toto against aesthetic philosophy, leaning on the derivatives from deuteropraxis and institutional definition while committing itself to a concept of arthood extracted from exoteric ideas, which are held to comprise the artworks’ individuation and identity. This paper examines the principal notions in support of his contentions and contrasts them (...) to the chief principles of aesthetic philosophy. In this juxtaposition, it transpires that conviction eludes Danto, as his suppression of aesthetic criteria yields unsuspected aporias from a disconjugate amalgam of inherence, ontology, epistemology and concept integration. Thus the leap from “mere real things” to the plateau of arthood is never accomplished, as it falters at the step where a perceiving subject has a stake in, and the power of authorisation, of this co... (shrink)

ABSTRACT This article argues that the aesthetic practices of black women stand-ups in South Africa take up the concrete ways black people all over the world use performances, within theatrical or everyday practices, to create, shape, and transform their worlds. Reading stand-up as a genre of diaspora culture meant to contend with issues of antiblack racism, economic and social marginalization, and the legacy of colonialism, this article examines the ways humor and comedy manifest transnational intimacies and affinities via the (...) circulation of black women's comic culture. Black women's stand-up comedy enables us to orient our understanding of the inextricable link between aesthetic choices and diaspora as the locus of the production of blackness, and as a particular sensibility rooted in the struggle against colonialism, antiblack racism, and the struggle for human rights and recognition. (shrink)

This article critically examines the competitive, adversarial nature of the Western neoliberal style of democracy. Specifically, this article focuses on Amartya Sen’s notion of a “universal democracy” as a means of addressing socio-economic inequalities through Sen’s capability approach. Sen’s capability theory has become an acclaimed and widely used theory to evaluate and understand development and inequalities. However, we employ a distinctive critique by engaging Amartya Sen through Herbert Marcuse’s analysis of one dimensionality and the adversarial nature of Western democracy. We (...) further highlight how contemporary neoliberal society employ a particular, adversarial form of public participation. Through this, we underline the various neoliberal problemata, such as Western idealism, political passivity, and a “flattening of choice,” within contemporary democracies and locate how their competitive, winner-take-all nature has become essential to contemporary, Western democratic models. Consequently, we argue that democracy, as a functional concept and form of public engagement, should be fundamentally re-examined in order to address inequalities. (shrink)

"These sixteen essays by Arnold Isenberg "bring wide-ranging connoiseurship, intricate analysis, and epigrammatic literacy to bear on a number of glib and fuzzy oppositions between form and content, description and interpretation, perception and meaning, technique and substance, and belief and expression, articulating provocative strategies for illuminating the canon of the arts and the organ of criticism.... Any thoughtful lover of the arts could read this book with profit and inspiration."—_Choice_.

Is aesthetics a product of evolution? Are human aesthetic behaviors in fact evolutionary adaptations? The creation of artistic objects and experiences is an important aesthetic behavior. But so is the perception of aesthetic phenomena qua aesthetic. The question of evolutionary aesthetics is whether humans have evolved the capacity not only to make beautiful things but also to appreciate the aesthetic qualities in things. Are our near-universal love of music and cute baby animals essential to our (...) species’ evolutionary development, which took place over thousands of years? In other words, do aesthetic practice and appreciation help people to survive or reproduce? Do aesthetic behaviors help to propel natural selection? If so, what does that tell us about ourselves as human beings? What does it tell us about art, our other aesthetic practices, and aesthetic experience? (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Philip Alperson, “Robust Praxialism and the Anti-aesthetic Turn”Thomas A. RegelskiDue to space limitations, only a few points of Philip Alperson’s paper can be briefly addressed.1Concerning praxialism, Alperson confirms that regarding “music as a species of art” leaves out much of what music has to offer. He acknowledges that “music is produced and enjoyed in a wide range of contexts and circumstances in which music can be (...) understood as having many different kinds of functions” and that it “comprises a network of multiple overlapping and at times even conflicting sub-practices” worthy of preservation and transmission via education. Yet these diverse but central praxial functions have been ignored, even denigrated, by traditional aesthetics and music education philosophy predicated on aesthetics.In contrast, Alperson notes that praxial philosophy argues inductively from the empirical evidence of music’s many functional values. Thus, he argues, philosophical inquiry should start with the ample evidence of music’s praxial diversity instead of “attempting a totalizing account of the philosophy of music education based on some essentialized notion of music.” [End Page 196]Yet his “robust praxialism” is predicated on an essentialized notion: that music’s praxial appeal depends on its aesthetic essence. Despite frequent aesthetic qualifiers, he altogether fails to distinguish aesthetic experiences ontologically from prosaic experiences, aesthetic properties epistemologically from non-aesthetic properties, or aesthetic values from musical values or praxial benefits.2 Instead, he equivocates that “there are many ways to construe the idea of aesthetic experience and aesthetic qualities.”3Then he claims that, lacking aesthetic essentialism, the praxialism of David Elliott, Wayne Bowman, and Thomas Regelski fails to robustly account for why people are drawn to music.4 He ignores Elliott’s account of music’s capacity for eliciting affective experience and “flow”5 and fails to engage Bowman’s arguments against the philosophical imprecision of aesthetic theorizing. Against these straw-man tactics, I will briefly summarize why praxialism does without aesthetics.“Aesthetics” has traditionally been used to refer to (conflicting) theories of a transcendental, other-worldly ontology experienced contemplatively, via a disinterested aesthetic attitude, practiced competently by ideally informed listeners, in special moments of leisure. Praxialism eschews such metaphysical speculations and stresses music’s down-to-earth values, appeal, and pragmatic benefits. Thus, a more robust rationale and pragmatic basis for music education results that is intelligible to music teachers, students, and society.For praxial theory, meaning, value, and appreciation are seen in use. Following Wittgenstein, “we don’t start from certain words”—that is, from aesthetic terms— “but from certain occasions or activities”—respectively, from particular musical practices. “Appreciation” is thus shown empirically by people’s musical choices.6Secondly, praxialism dispenses with aesthetics because, as Alperson admits, the many terms, concepts, and speculative aporia7 upon which conventional aesthetics depends are irreparably contested.8 Aestheticians agree on just about nothing!9 In fact, Alperson himself critiques the leading schools of aesthetics. However, analytic philosophers increasingly have noted the problems of aesthetics; 10 have criticized aesthetics for lacking philosophical substance and rigor;11 and one concludes that, “viewed as a univocal concept, aesthetic experience seems too confused to be redeemed as useful”12 and thus deserves critique.13Concerning the relevance of aesthetics, Christopher Small writes of a history of musical aesthetics:14[I]t bore very little relation to anything I recognized in my own musical experience, as listener, or as performer, or as composer.... I just could not make myself believe that so universal, and so concrete a human practice as music should need such complicated and abstract explanations.15 [End Page 197]Philosopher Michael Proudfoot agrees thatsuch an inadequacy to our experience of art has been evident, a result, I believe, partly of aestheticians’ preoccupation with what it is to treat something ‘aesthetically’, and partly from a concentration on works of art in isolation from the circumstances in which they are actually created or appreciated.16Alperson does acknowledge music’s praxial circumstances, but argues that “it is possible to save the idea of aesthetic experience and the attitude appropriate to its contemplation by widening the range of what might be thought to be a candidate for appreciation... (shrink)

Literature finds the best expression when literary aesthetics and philosophy run side by side. The former offers the external charm, while the latter inculcates the more profound implication with the aim of providing it with a superior stature and permanence. Jayadeva’s Gitagovindam, being a colossal work in the field of Vaishnava literature, does contain the brilliant juxtaposition of both. This article attempts to show how Jayadeva’s Gitagovindam, a colossal work in the field of Vaishnava literature, does contain the brilliant juxtaposition (...) of both. On the one hand, like a typical lyrical poem, its melodic nature does have a soothing effect and on the other, the use of philosophy instils in it a greater depth and seriousness to uplift itself as a book of devotion and religious inspiration. Moreover, the importance of this Holy Scripture lies in the fact that it not only played a significant role in paving the way to form a new sect in the Vaishnava religion, known as ‘Gaudiya Vaishnavism’, but also showed the later Vaishnava lyricists the art of portraying in words the amorous love of Lord Krishna and Radha with compassion and tears. (shrink)

Indigenous language bilingual schooling, introduced in Australia's Northern Territory (NT) in 1973, was a reality for over twenty-five schools at the program's height. Today, the language-of-instruction in these same settings is English only, with only 7 state schools operating bilingual programs. Overt Government hostility began with an attempt to defund Indigenous bilingual education in 1998-99. This paper argues that the discursive techniques used to justify these cuts were crucial to developing key themes in ‘mainstreaming discourses’ in Indigenous politics, which has (...) rehabilitated assimilationist thinking in a neoliberal context through the 2000s and since. Using a discourse-historical method, this paper elucidates how mainstreaming discourses were constructed against bilingual education in the 1998–99 debate, and how they emphasized English-only education geared towards neoliberal assimilation for remote Indigenous communities. Indigenous bilingual education was conceived as part of ‘failed’ self-determination in remote Australia. This paper enhances understanding of the patterns and themes of mainstreaming discourses by tracing their genealogical development in this debate. (shrink)

This article examines Sally Wainwright's Happy Valley (BBC1, 2014–2016) in the context of recent feminist attempts to theorise the idea of a maternal subject. Happy Valley, a police series set in an economically disadvantaged community in West Yorkshire, has been seen as expanding the genre of British social realism, in its focus on strong Northern women, by giving it ‘a female voice’ (Gorton, 2016: 73). I argue that its challenge is more substantial. Both the tradition of British social realism on (...) which the series draws, and the neoliberal narratives of the family which formed the discursive context of its production, I argue, are founded on a social imaginary in which the mother is seen as responsible for the production of the selves of others, but cannot herself be a subject. The series itself, however, places at its centre an active, articulate, mobile and angry maternal subject. In so doing, it radically contests both a tradition of British social realism rooted in male nostalgia and more recent neoliberal narratives of maternal guilt and lifestyle choice. It does this through a more fundamental contestation: of the wider cultural narratives about selfhood and the maternal that underpin both. Its reflective maternal subject, whose narrative journey involves acceptance of an irrecoverable loss, anger and guilt as a crucial aspect of subjectivity, and who embodies an ethics of relationality, is a figure impossible in conventional accounts of subject and nation. She can be understood, however, in terms of recent feminist theories of the maternal. (shrink)

This essay challenges some of the recent scholarship which claims that Michel Foucault was more sympathetic to neoliberalism than is typically acknowledged. Accordingly, it considers the possible motivations for Foucault’s 1978-1979 lecture course, The Birth of Biopolitics; the relationship between liberalism and the various forms of power identified by Foucault; and, finally, claims that Foucault’s account of the ‘care of the self’ was itself informed by the neoliberal theory of human capital. It finds that Foucault regarded neoliberalism as (...) coercive social arrangement on par with the other forms of power/knowledge targeted by his work. And it concludes with some reflections on how Foucault’s account of the ‘aesthetics of existence’ might facilitate resistance to neoliberalism. (shrink)

As philosophers we look-through a phenomenon and we see as it appears. The philosopher feels the sensation of dissatisfaction and lives in revolt against an instinctive dissatisfaction with the language. We see as the words are played, because they are source of confusion. He searches the liberating word, which liberates us from dissatisfaction or mental cramps: it subverts an idea, renews a thought, creates new knowledge and opens to the difference. The choice of words, based on the listening to (...) the words, is an aesthetic analyse, in the sense that it is a pursuit of pleasure and an avoidance of pain. (shrink)

A hijacking is a violent takeover, a misappropriation of something for a purpose other than its intended one, by parties other than those for whom the thing was meant. This issue explores the aesthetic practices and consequences of unauthorized repurposing.

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.

A collection of essays introducing and assessing the work of political theorist Wendy Brown. Includes an original essay by Brown and a reply to her critics.

Cosmopolitanism seeks a political ethics of world togetherness and a political aesthetics that can contribute to this task critically and imaginatively. Regarding political ethics, I explore the world as a “cosmopolitan mind” composed of “dialogic voices” and threatened by neoliberalism, neofascism, and other nihilistic “oracles.” I also construct a criterion for determining which public artworks (1) resist oracles and (2) help us imagine a “cosmopolitan democracy” and its political ethics. The latter includes the concordance of three ethico-political virtues—solidarity, heterogeneity, (...) and fecundity (creating new voices through the interplay among other voices)—and must appeal to different peoples worldwide. I also examine how this political ethics and aesthetics can be applied to nonhuman life and non-sentient formations in a non-anthropocentric manner; indeed, how the cosmos in its entirety and plurality can also be thought of as voices and participants in the cosmopolitan mind and its artistic expression. Moreover, I contend that my ontology of dialogic voices and proposed public art criterion, like the cosmopolitan mind itself, are “events” or “becomings.” This means that there can never be an articulation of the ontology that is final nor a public art criterion that could curtail the imaginative reach of art. (shrink)

The first IVF baby was born in the 1970s. Less than 20 years later, we had cloning and GM food, and information and communication technologies had transformed everyday life. In 2000, the human genome was sequenced. More recently, there has been much discussion of the economic and social benefits of nanotechnology, and synthetic biology has also been generating controversy. This important volume is a timely contribution to increasing calls for regulation - or better regulation - of these and other new (...) technologies. Drawing on an international team of legal scholars, it reviews and develops the role of human rights in the regulation of new technologies. Three controversies at the intersection between human rights and new technology are given particular attention. First, how the expansive application of human rights could contribute to the creation of a brave new world of choice, where human dignity is fundamentally compromised; second, how new technologies, and our regulatory responses to them, could be a threat to human rights; and, third, how human rights could be used to create better regulation of these technologies. (shrink)

Competency has become a key concept in education in general over the last four decades. This article examines the development of the competency‐based movement with a particular focus on the significance it has had for nursing education. Our hypothesis is that the competency movement can only adequately be understood if it is analyzed in relation to the broad societal transformation of the last decades—often summarized under the catchword neoliberalism—and with it the emergence of managerial models for Human Resource Management (...) (HRM) for the reorganization of social services. Classical professions, which were characterized under welfarism by an esoteric knowledge based on ethical norms, have now become marketable commodities that can be evaluated in the same way as other commodities. We want to underline that while this development is still under way, it is the concept of competency that was the decisive political instrument enabling this profound change. With the widespread implementation of competency‐based education that now governs nursing knowledge, the development of a critical, oppositional perspective becomes more challenging, if not entirely impossible. We will be focusing primarily on nursing education in Canada, although we maintain that it has relevance for nursing internationally. (shrink)

Our discussion of the commentaries begins, at the evolutionary level, with issues raised by our account of the evolution of morality in terms of partner-choice mutualism. We then turn to the cognitive level and the characterization and workings of fairness. In a final section, we discuss the degree to which our fairness-based approach to morality extends to norms that are commonly considered moral even though they are distinct from fairness.

"Go and design a perfect car," "Go and arrange a perfect vacation." These are instructions no one can possibly fulfill. For cars and vacations, like other goods in general, are inherently complex and multidesideratal, since it is a key fact of axiology that every evaluation-admitting object combines a plurality of evaluative features and every good a plurality of desiderata. And this circumstance makes perfection unattainable. For it lies in the nature of things that desirable features are in general competitively interactive. (...) A conflict or competition among desiderata is an unavoidable fact of life. They cannot all be enhanced at once since more of the one can only be realized at the expense of less of the other. Take a car—an automobile. Here the relevant parameters of merit clearly include such factors as speed, reliability, repair infrequency, safety, operating economy, aesthetic appearance, road handling ability. But in actual practice such features are interrelated. It is unavoidable that some will trade off against others. And it would be ridiculous to have a supersafe car with a maximum speed of two miles per hour or to have a car that is very inexpensive to operate but spends most of its time in a repair shop. And similarly throughout the range of the desirable we encounter inherent conflicts among the relevant desiderata. There is no avoiding the fact that we cannot concurrently maximize all of the parameters of merit of any object of desire. (shrink)

"Go and design a perfect car," "Go and arrange a perfect vacation." These are instructions no one can possibly fulfill. For cars and vacations, like other goods in general, are inherently complex and multidesideratal, since it is a key fact of axiology that every evaluation-admitting object combines a plurality of evaluative features and every good a plurality of desiderata. And this circumstance makes perfection unattainable. For it lies in the nature of things that desirable features are in general competitively interactive. (...) A conflict or competition among desiderata is an unavoidable fact of life. They cannot all be enhanced at once since more of the one can only be realized at the expense of less of the other. Take a car—an automobile. Here the relevant parameters of merit clearly include such factors as speed, reliability, repair infrequency, safety, operating economy, aesthetic appearance, road handling ability. But in actual practice such features are interrelated. It is unavoidable that some will trade off against others. And it would be ridiculous to have a supersafe car with a maximum speed of two miles per hour or to have a car that is very inexpensive to operate but spends most of its time in a repair shop. And similarly throughout the range of the desirable we encounter inherent conflicts among the relevant desiderata. There is no avoiding the fact that we cannot concurrently maximize all of the parameters of merit of any object of desire. (shrink)

At the heart of recent feminist theorizing about art is the claim that various forms of representation--painting, photography, film--assume a "male gaze." The notion of the gaze has both a literal and a figurative component. Narrowly construed, it refers to actual looking. Broadly, or more metaphorically, it refers to a way of thinking about, and acting in, the world. . . . In examining this key feminist notion more carefully, I shall make clear the intrinsic interest of this approach to (...) aesthetics and suggest why its concerns merit serious consideration. To this end, I investigate how gendered vision work in one specific representational practice: film. Film is a natural choice for such a study because it is a medium so fundamentally built around the activity of looking. It is also, not surprisingly, the medium where the male gaze has been most extensively discussed. The relationship of gender and cinematic vision is extremely complicated. A complete analysis of this topic would require several hundred pages. In what follows, I focus on two key claims: that in cinema the gaze is male, and that the cinematic text is a male text. I make clear how these claims should be understood and situate them philosophically. In confining myself to the core claims of this debate, I shall of necessity leave aside many important, but internal, issues in film theory. (shrink)

Is the sense of smell a source of aesthetic perception? Traditional philosophical aesthetics has centered on vision and audition but eliminated smell for its subjective and inherently affective character. This article dismantles the myth that olfaction is an unsophisticated sense. It makes a case for olfactory aesthetics by integrating recent insights in neuroscience with traditional expertise about flavor and fragrance assessment in perfumery and wine tasting. My analysis concerns the importance of observational refinement in aesthetic experience. I (...) argue that the active engagement with stimulus features in perceptual processing shapes the phenomenological content, so much so that the perceptual structure of trained smelling varies significantly from naive smelling. In a second step, I interpret the processes that determine such perceptual refinement in the context of neural decision-making processes, and I end with a positive outlook on how research in neuroscience can be used to benefit philosophical aesthetics. (shrink)

Paradoxically, the rise of neoliberal economic thinking and its rejection of concepts of both state intervention in the economy and the pursuit of purposes bybusiness that are not directly related to profit maximization, has been accompanied by intensified social criticism of business and concerns about sustainability. The article explores the implications of these paradoxes and relates them to active consumerism and to the issue of market externalities.

In the sociology of science and sociology of scientific knowledge, the decline of functionalism during the 1970s opened the field to a wide range of theoretical possibilities. However, a Marxist-influenced alternative to functionalism, interests analysis, quickly disappeared, and feminist-multicultural frameworks failed to achieved a dominant position in the field. Instead, functionalism was replaced by a variety of agency-based frameworks that focused on constructive or performative processes. The shift in the sociology of science from Mertonian functionalism to the poststrong program, agency-based (...) sociology of scientific knowledge has parallels with the broader shift in political ideologies from social liberalism to neoliberalism. The argument is made in a way that is cognizant of the criticisms raised against interests analysis and avoids the ?short circuit? of class imputation. Instead, the approach defends the potential for a more integrated approach to the structure-agency-meaning triangle in STS via the use of field sociology. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Bioshock and the Art of RaptureGrant TavinorI am Andrew Ryan, and I am here to ask you a question. Is a man not entitled to the sweat of his brow? "No!" says the man in Washington, "It belongs to the poor." "No!" says the man in the Vatican, "It belongs to God." "No!" says the man in Moscow, "It belongs to everyone." I rejected these answers; instead, I chose (...) something different. I chose the impossible. I chose Rapture! A city where the artist would not fear the censor; where the scientist would not be bound by petty morality; where the great would not be constrained by the small! And with the sweat of your brow, Rapture can become your city as well.Andrew Ryan, opening BioshockIBioshock is the Masterpiece of recent gaming. Genre-wise the game is a first person-shooter survival-horror game—already a complicated mix of gaming forms—and Bioshock is excellent in these gaming terms: playing the game is a consistently engaging, challenging, and tense experience. The narrative of the game, set in Rapture, a dystopian city beneath the sea, fits perfectly with this interactive gaming form. The premise of Bioshock is a parody of Ayn Rand's objectivist novel Atlas Shrugged. Led by the magnate Andrew Ryan, the industrialists, artists, and scientists have retreated from the world and built Rapture through sheer force of will. But when the player enters the city at the beginning of the game, it is evident that nature is pushing back, and that the sea is slowly but surely retaking Rapture, while its citizens have become corrupted by the arts and sciences the city was built upon: as genetically manipulated "splicers" they now creep through Rapture's darkened halls bemoaning their lost humanity. Andrew Ryan "chose the impossible," [End Page 91] and inevitably his hubris is being repaid by the recalcitrance of human nature and the impermanence of human achievement. Much of the immense fun of Bioshock derives from the irony of an objectivist utopia running amok.The immediate visual impact of Bioshock, depending on its employment of cutting-edge high definition 3D computer graphics, is striking. The aesthetic qualities of the water, in particular, have drawn wide praise. The world of Rapture is also presented through an engaging and excellent style. To depict this decaying world, Bioshock draws on the architectural motifs and cultural themes of 1930s and 1940s America. Portrayals of decaying art deco facades, faded Hollywood socialites, and echoes of Hearst, Hughes, and Citizen Kane, are combined with period music and philosophical and literary references to produce a coherent artistic statement.Two features of Bioshock bear out its unique artfulness as a game. First is the role in the game-world of the Little Sisters: cute little girls that pose a game obstacle with which the player must decide how to deal. In Bioshock, the task of harvesting the game-world resources needed to survive is given a moral dimension in that the resources can be extracted only from the Little Sisters by killing them, and so a key part of the gameplay rests on an emotionally provocative moral choice. The second artful aspect of the game that warrants special attention is a narrative twist partway through the game where it becomes evident that player's principle sympathetic source of information in the game-world is a dissemblance. Bioshock has an interactive twist on an untrustworthy narrator, which clouds and complicates the decisions the player has made in Rapture. Rather than an actor, the player-character is a pawn in someone else's game. At the forefront of both of these aspects of Bioshock are considerations of freewill and morality.To really appreciate the art of Bioshock we need to understand its nature as a game, and moreover, to treat the gaming nature seriously and with sympathy. Bioshock is a videogame, and it is also clearly art; but it is not as if the game is art despite its being a videogame and that the art is a mere gloss or veneer. Rather, Bioshock's nature as a game allows it to be art of a distinctive kind. Treating videogames as a kind... (shrink)

This paper describes neoliberalism and summarizes new works on democracy in Continental philosophy. Unlike laissez-faire or liberal economic theory—a “leave us alone” strategy in which the state does not interfere with private enterprise—neoliberal governments use the resources of the state to assist the market directly and employ the market to direct or oversee the resources of the state. Alongside neoliberal government, and in its wake, is a society in which the guiding axioms for each human being are self-entrepreneurship and (...) competition. Over the last decade, however, a new body of philosophical work has been dissociating democracy from neoliberal government, critiquing a failed system of political representation, and considering to what extent democracy must take place beyond or outside of the current state. Of equal concern to these philosophers is how to take flight from a way of life that is characterized by self-entrepreneurship and competition. For some, the start of a political future beyond neoliberalism hinges upon a recent distinction between constituent and destituent forms of power. Whereas constituent power attempts to reform one’s government through demonstrations in public space, destituent power abandons the project of reforming one’s government momentarily or even completely in order to experience another form of life entirely. (shrink)

If maximizing utility leads to the greatest happiness of the greatest number of people, as utilitarianism has always proposed, then why is it that as many of us currently maximize our utility--by working endlessly, undertaking further education and training, relentlessly marketing and selling ourselves--we are met with the steady worsening of collective social and economic conditions? In Futilitarianism, social and political theorist Neil Vallelly eloquently tells the story of how neoliberalism transformed the relationship between utility maximisation and the common (...) good. Drawing on a vast array of contemporary examples, from self-help literature and marketing jargon to political speeches and governmental responses to the COVID-19 pandemic, Vallelly coins several terms--including "the futilitarian condition," "homo futilitus," and "semio-futility"--to demonstrate that in the neoliberal decades, the practice of utility maximisation traps us in useless and repetitive behaviors that foreclose the possibility of collective happiness. This urgent and provocative book chimes with the mood of the time by at once mapping the historical relationship between utilitarianism and capitalism, developing an original framework for understanding neoliberalism, and recounting the lived experience of uselessness in the early twenty-first century. At a time of epoch-defining disasters, from climate emergencies to deadly pandemics, countering the futility of neoliberal existence is essential to building an egalitarian, sustainable, and hopeful future" -- Publisher description. (shrink)

Although climate change has become the dominant concern of the twenty-first century, global powers refuse to implement the changes necessary to reverse these trends. Instead, they have neoliberalized nature and climate change politics and discourse, and there are indications of a more virulent strain of capital accumulation on the horizon. Adrian Parr calls attention to the problematic socioeconomic conditions of neoliberal capitalism underpinning the world's environmental challenges, and she argues that, until we grasp the implications of neoliberalism's interference in (...) climate change talks and policy, humanity is on track to an irreversible crisis. Parr not only exposes the global failure to produce equitable political options for environmental regulation, but she also breaks down the dominant political paradigms hindering the discovery of viable alternatives. She highlights the neoliberalization of nature in the development of green technologies, land use, dietary habits, reproductive practices, consumption patterns, design strategies, and media. She dismisses the notion that the free market can solve debilitating environmental degradation and climate change as nothing more than a political ghost emptied of its collective aspirations. Decrying what she perceives as a failure of the human imagination and an impoverishment of political institutions, Parr ruminates on the nature of change and existence in the absence of a future. The sustainability movement, she contends, must engage more aggressively with the logic and cultural manifestations of consumer economics to take hold of a more transformative politics. If the economically powerful continue to monopolize the meaning of environmental change, she warns, new and more promising collective solutions will fail to take root. (shrink)