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Murasaki Shikibu's The Tale of Genji is variously read as a work of feminist protest, the world's first psychological novel and even as a post-modern masterpiece. Commonly seen as Japan's greatest literary work, its literary, cultural, and historical significance has been thoroughly acknowledged. As a work focused on the complexities of Japanese court life in the Heian period, however, the The Tale of Genji has never before been the subject of philosophical investigation. The essays in this volume address this oversight, arguing that the work contains much that lends itself to philosophical analysis. The authors of this volume demonstrate that The Tale of Genji confronts universal themes such as the nature and exercise of political power, freedom, individual autonomy and agency, renunciation, gender, and self-expression; it raises deep concerns about aesthetics and the role of art, causality, the relation of man to nature, memory, and death itself. Although Murasaki Shikibu may not express these themes in the text as explicitly philosophical problems, the complex psychological tensions she describes and her observations about human conduct reveal an underlying framework of philosophical assumptions about the world of the novel that have implications for how we understand these concerns beyond the world of Genji. Each essay in this collection reveals a part of this framework, situating individual themes within larger philosophical and historical contexts. In doing so, the essays both challenge prevailing views of the novel and each other, offering a range of philosophical interpretations of the text and emphasizing the The Tale of Genji's place as a masterful work of literature with broad philosophical significance.
The book is organized around 4 sections. The first deals with the creativity and its neural basis (responsible editor Emmanuelle Volle). The second section concerns the neurophysiology of aesthetics (responsible editor Zoi Kapoula). It covers a large spectrum of different experimental approaches going from architecture, to process of architectural creation and issues of architectural impact on the gesture of the observer. Neurophysiological aspects such as space navigation, gesture, body posture control are involved in the experiments described as well as questions about terminology and valid methodology. The next chapter contains studies on music, mathematics and brain (responsible editor Moreno Andreatta). The final section deals with evolutionary aesthetics (responsible editor Julien Renoult). Chapter "Composing Music from Neuronal Activity: The Spikiss Project" is available open access under a Creative Commons Attribution-NonCommercial 4.0 International License via link.springer.com.
In this important new book, leading cultural theorist and philosopher Bernard Stiegler re-examines the relationship between politics and art in the contemporary world. Our hyper-industrial epoch represents what Stiegler terms a `katastroph of the sensible'. This katastroph is not an apocalypse or the end of everything, but the denouement of a drama; it is the final act in the process of psychic and collective individuation known as the `West'. Hyper-industrialization has brought about the loss of symbolic participation and the destruction of primordial narcissism, the very condition for individuation. It is in this context that artists have a unique role to play. When not subsumed in the capitalist economy, they are able to resist its synchronizing tendency, offering the possibility of reimagining the contemporary model of aesthetic participation. This highly original work - the second in Stiegler's Symbolic Misery series - will be of particular interest to students in philosophy, media and cultural studies, contemporary art and sociology, and will consolidate Stiegler's reputation as one of the most original cultural theorists of our time.
Musical listening, looking at paintings and literary creation are activities that involve perceptual and cognitive activity and so are of interest to psychologists and other scientists of the mind. What sorts of interest should philosophers of the arts take in scientific approaches to such issues? Opinion currently ranges across a spectrum, with 'take no notice' at one end and 'abandon traditional philosophical methods' at the other. This collection of essays, originating in a Royal Institute of Philosophy conference at the Leeds Art Gallery in 2012, represents many of the most interesting positions along that spectrum. Contributions address issues concerning aesthetic testimony, the processing and appreciation of poetry, the aesthetics of disgust, imagination, genre, evolutionary constraints on art appreciation, creativity, musical cognition and the limitations or productiveness of empirical enquiry for philosophical aesthetics.
This anthology is remarkable not only for the selections themselves, among which the Schelling and the Heidegger essays were translated especially for this volume, but also for the editors' general introduction and the introductory essays for each selection, which make this volume an invaluable aid to the study of the powerful, recurrent ideas concerning art, beauty, critical method, and the nature of representation. Because this collection makes clear the ways in which the philosophy of art relates to and is part of general philosophical positions, it will be an essential sourcebook to students of philosophy, art history, and literary criticism.
This book addresses a perennial challenge for product planners and designers alike: how to objectively specify and quantify the aesthetics of products. It provides automotive product planners with a framework for the grammar of aesthetics and a tool for quantifying the aesthetics of an intended product. Further, it equips styling designers with a tool for connecting engineering and aesthetics. Given the author's extensive experience in motorcycle design, the motorcycle has been chosen as the frame of reference for automobiles. Specifically in the field of automobile design, where engineering and aesthetics go hand in hand, it also becomes important to clearly and objectively define the relationship between engineering design and aesthetics. Accordingly, this book (1) clearly establishes the objective parameters of aesthetics, (2) puts forward a method for quantifying aesthetics, (3) identifies the engineering design parameters affecting aesthetics, and (4) determines the relationship between parameters of aesthetics and engineering design. As such, it offers a useful guide not only for design professionals, but also for students and researchers of design.
Music as an Art begins by examining music through a philosophical lens, engaging in discussions about tonality, music and the moral life, music and cognitive science and German idealism, as well as recalling the author's struggle to encourage his students to distinguish the qualities of good music. Scruton then explains - via erudite chapters on Schubert, Britten, Rameau, opera and film - how we can develop greater judgement in music, recognising both good taste and bad, establishing musical values, as well as musical pleasures. As Scruton argues in this book, in earlier times, our musical culture had secure foundations in the church, the concert hall and the home; in the ceremonies and celebrations of ordinary life, religion and manners. Yet we no longer live in that world. Fewer people now play instruments and music is, for many, a form of largely solitary enjoyment. As he shows in Music as an Art, we live at a critical time for classical music, and this book is an important contribution to the debate, of which we stand in need, concerning the place of music in Western civilization.
In this wide-ranging book, renowned philosopher and cultural theorist Peter Sloterdijk examines art in all its rich and varied forms: from music to architecture, light to movement, and design to typography. Moving between the visible and the invisible, the audible and the inaudible, his analyses span the centuries, from ancient civilizations to contemporary Hollywood. With great verve and insight he considers the key issues that have faced thinkers from Aristotle to Adorno, looking at art in its relation to ethics, epistemology, metaphysics, society, politics, anthropology and the subject. Sloterdijk explores a great variety of topics, including the Greek-Roman invention of postcards, medieval barter with purgatory and relics, the capitalist art market, the black boxes and white cubes of modernism, the rise of world's fairs in the 19th century, the growth of museum and memorial culture, images of the city and the role of creativity. In doing so, Sloterdijk extends his characteristic method of defamiliarisation to transform the way we look at works of art and movements. His bold and original approach leads us away from the well-trodden paths of conventional art history to develop a theory of aesthetics which rejects strict categorisation, emphasising instead the crucial importance of individual subjectivity as a counter to the latent dangers of collective culture. This sustained collection of reflections, at once playful, serious and provocative, goes to the very heart of Sloterdijk's enduring philosophical preoccupation with the aesthetic. It will be essential reading for students and scholars of philosophy and aesthetics and will appeal to anyone interested in culture and the arts more generally.
This unique study opens up a new dimension of Terrence Malick's cinema - its expressions of unseeing and hearing. `Unseeing' is Malick's means of transcending the moment in order to enter the life that unfolds; to treat cinema as a real experience for those who live its reality. In this way, Terrence Malick's Unseeing Cinema moves beyond film theory to advance a work of original philosophy, bringing together two thinkers not normally associated with one another: Gilles Deleuze and Soren Kierkegaard. It investigates how Malick's gatherings of time allow one to explore new philosophical questions about immanence and transcendence, ethics and faith, time and infinity, and the foldings of subjectivity that are central to both philosophers. Beyond cinema, it offers a way to think about our everyday repetitions and recollections and our ephemeral points of connection with those we love.
Ted Cohen was an original and captivating essayist known for his inquisitive intelligence, wit, charm, and a deeply humane feel for life. For Cohen, writing was a way of discovering, and also celebrating, the depth and complexity of things overlooked by most professional philosophers and aestheticians--but not by most people. Whether writing about the rules of baseball, of driving, or of Kant's Third Critique; about Hitchcock, ceramics, or jokes, Cohen proved that if you study the world with a bemused but honest attentiveness, you can find something to philosophize about more or less anywhere. This collection, edited and introduced by philosopher Daniel Herwitz, brings together some of Cohen's best work to capture the unique style that made Cohen one of the most beloved philosophers of his generation. Among the perceptive, engaging, and laugh-out-loud funny reflections on movies, sports, art, language, and life included here are Cohen's classic papers on metaphor and his Pushcart Prize-winning essay on baseball, as well as memoir, fiction, and even poetry. Full of free-spirited inventiveness, these Serious Larks would be equally at home outside Thoreau's cabin on the waters of Walden Pond as they are here, proving that intelligence, sensitivity, and good humor can be found in philosophical writing after all.
Faced with an increasingly media-saturated, globalized culture, art historians have begun to ask themselves challenging and provocative questions about the nature of their discipline. Why did the history of art come into being? Is it now in danger of slipping into obsolescence? And, if so, should we care?
In "Writing Art History," Margaret Iversen and Stephen Melville address these questions by exploring some assumptions at the discipline's foundation. Their project is to excavate the lost continuities between philosophical aesthetics, contemporary theory, and art history through close readings of figures as various as Michael Baxandall, Martin Heidegger, Jacques Lacan, and Alois Riegl. Ultimately, the authors propose that we might reframe the questions concerning art history by asking what kind of writing might help the discipline to better imagine its actual practices--and its potential futures.
Public space is political space. When a work of public art is put up or taken down, it is an inherently political statement, and the work's aesthetics are inextricably entwined with its political valences. Democracy's openness allows public art to explore its values critically and to suggest new ones. However, it also facilitates artworks that can surreptitiously or fortuitously undermine democratic values. Today, as bigotry and authoritarianism are on the rise and democratic movements seek to combat them, as Confederate monuments fall and sculptures celebrating diversity rise, the struggle over the values enshrined in the public arena has taken on a new urgency. In this book, Fred Evans develops philosophical and political criteria for assessing how public art can respond to the fragility of democracy. He calls for considering such artworks as acts of citizenship, pointing to their capacity to resist autocratic tendencies and reveal new dimensions of democratic society. Through close considerations of Chicago's Millennium Park and New York's National September 11 Memorial, Evans shows how a wide range of artworks participate in democratic dialogues. A nuanced consideration of contemporary art, aesthetics, and political theory, this book is a timely and rigorous elucidation of how thoughtful public art can contribute to the flourishing of a democratic way of life.
Providing a gateway to a new history of modern aesthetics, this book challenges conventional views of how art's significance developed in society. The 18th century is often said to have involved a radical transformation in the concept of art: from the understanding that art is tool for some practical purpose, to the modern belief that it holds a distinctive and intrinsic value. By exploring the ground between these notions of art's function, Karl Axelsson reveals how scholars of culture made taste, morals, and a politically stable society an integral part of their claims about the experience of nature and art. Focusing on the writings advanced by two of the most prolific men of letters in the eighteenth century, Joseph Addison (1672-1719) and the third Earl of Shaftesbury (1671-1713) it contests the conviction that modern aesthetic autonomy was a reorientation in criticism and philosophy originally prompted by these two key figures in the history of aesthetics. By re-examining the political relevance of Addison's and Shaftesbury's theories of taste, Axelsson shows that they were, first and foremost, seeking to fortify a natural link between the aesthetic experience and the consolidation of modern political society.
In this classic work of intellectual history, Ernst Cassirer provides both a cogent synthesis and a penetrating analysis of one of history's greatest intellectual epochs: the Enlightenment. Arguing that there was a common foundation beneath the diverse strands of thought of this period, he shows how Enlightenment philosophers drew upon the ideas of the preceding centuries even while radically transforming them to fit the modern world. In Cassirer's view, the Enlightenment liberated philosophy from the realm of pure thought and restored it to its true place as an active and creative force through which knowledge of the world is achieved.
In a new foreword, Peter Gay considers "The Philosophy of the Enlightenment" in the context in which it was written--Germany in 1932, on the precipice of the Nazi seizure of power and one of the greatest assaults on the ideals of the Enlightenment. He also argues that Cassirer's work remains a trenchant defense against enemies of the Enlightenment in the twenty-first century.
The Surviving Image, originally published in French in 2002, is the result of Georges Didi-Huberman's extensive research into the life and work of foundational art historian Aby Warburg. Warburg envisioned an art history that engaged with anthropology, psychoanalysis, and philosophy in order to understand the "life" of images. Drawing on a wide range of Warburg's unpublished letters and diaries, Didi-Huberman demonstrates unequivocally the complexity and importance of Warburg's ideas and the ways in which his legacy was both distorted and diffused as art history became a "humanistic" discipline. The Surviving Image takes Warburg as its main subject but also addresses broader questions regarding art historians' conceptions of time, memory, and symbols and the relationship between art and the rational and irrational forces of the psyche. Faithfully and thoughtfully translated by Harvey Mendelsohn, this first English-language edition of Didi-Huberman's masterful study of Warburg is a stirring and significant treatise on the philosophical nature of art history.
Now, for the first time, a philosopher undertakes a systematic
investigation of the moral and aesthetic issues to which cultural
appropriation gives rise.
This anthology is the first study of the philosophy of narrative in the analytic tradition. * Brings together eleven articles exploring narrative, metaphysics and epistemology, character, and emotion* Examines various narrative art forms, including painting and comics* The first of a new series of books published in association with the Journal of Aesthetics and Art Criticism
A wide-ranging and challenging exploration of design and how it engages with the self The field of design has radically expanded. As a practice, design is no longer limited to the world of material objects but rather extends from carefully crafted individual styles and online identities to the surrounding galaxies of personal devices, new materials, interfaces, networks, systems, infrastructures, data, chemicals, organisms, and genetic codes. Superhumanity seeks to explore and challenge our understanding of "design"by engaging with and departing from the concept of the "self."This volume brings together more than fifty essays by leading scientists, artists, architects, designers, philosophers, historians, archaeologists, and anthropologists, originally disseminated online via e-flux Architecture between September 2016 and February 2017 on the invitation of the Third Istanbul Design Biennial. Probing the idea that we are and always have been continuously reshaped by the artifacts we shape, this book asks: Who designed the lives we live today? What are the forms of life we inhabit, and what new forms are currently being designed? Where are the sites, and what are the techniques, to design others? This vital and far-reaching collection of essays and images seeks to explore and reflect on the ways in which both the concept and practice of design are operative well beyond tangible objects, expanding into the depths of self and forms of life.
This book, a collection of newly commissioned essays by leading environmental philosophers, was originally to be published by Seven Bridges, a small scholarly press started by former editors at Stanford University Press. Seven Bridges is folding due to poor financing, and this book is now available. It is already in pages, with a cover design, and each chapter has been double-blind peer-reviewed and revised. Andrew Light is a professor of applied philosophy at NYU and a possible editor for a series in environmental philosophy.
The aesthetics of everyday life, originally developed by Henri Lefebvre and other modernist theorists, is an extension of traditional aesthetics, usually confined to works of art. It is not limited to the study of humble objects but is rather concerned with all of the undeniably aesthetic experiences that arise when one contemplates objects or performs acts that are outside the traditional realm of aesthetics. It is concerned with the nature of the relationship between subject and object.
One significant aspect of everyday aesthetics is environmental aesthetics, whether constructed, as a building, or manipulated, as a landscape. Others, also discussed in the book, include sport, weather, smell and taste, and food.
Recently, scholars in a variety of disciplines-including philosophy, film and media studies, and literary studies-have become interested in the aesthetics, definition, and ontology of the screenplay. To this end, this volume addresses the fundamental philosophical questions about the nature of the screenplay: What is a screenplay? Is the screenplay art-more specifically, literature? What kind of a thing is a screenplay? Nannicelli argues that the screenplay is a kind of artefact; as such, its boundaries are determined collectively by screenwriters, and its ontological nature is determined collectively by both writers and readers of screenplays. Any plausible philosophical account of the screenplay must be strictly constrained by our collective creative and appreciative practices, and must recognize that those practices indicate that at least some screenplays are artworks.
This anthology fosters an interdisciplinary dialogue between the mathematical and artistic approaches in the field where mathematical and artistic thinking and practice merge. The articles included highlight the most significant current ideas and phenomena, providing a multifaceted and extensive snapshot of the field and indicating how interdisciplinary approaches are applied in the research of various cultural and artistic phenomena. The discussions are related, for example, to the fields of aesthetics, anthropology, art history, art theory, artistic practice, cultural studies, ethno-mathematics, geometry, mathematics, new physics, philosophy, physics, study of visual illusions, and symmetry studies. Further, the book introduces a new concept: the interdisciplinary aesthetics of mathematical art, which the editors use to explain the manifold nature of the aesthetic principles intertwined in these discussions.
In "This Strange Idea of the Beautiful," Francois Jullien explores what it means when we say something is beautiful. Bringing together ideas of beauty from both Eastern and Western philosophy, Jullien challenges the assumptions underlying our commonly agreed upon definition of what is beautiful and offers a new way of beholding art. Jullien argues that the Western concept of beauty was established by Greek philosophy and became consequently embedded within the very structure of European languages. And due to its relationship to language, this concept has determined ways of thinking about beauty that often go unnoticed or unchecked in discussions of Western aesthetics. Moreover, through globalization, Western ideals of beauty have even spread to cultures whose ancient traditions are based upon radically different aesthetic foundations; yet, these cultures have adopted such views without question and without recognizing the cultural assumptions they contain. Looking specifically at how Chinese texts have been translated into Western languages, Jullien reveals how the traditional Chinese refusal to isolate or abstract beauty is obscured in translation in order to make the works more understandable to Western readers. Creating an engaging dialogue between Chinese and Western ideas, Jullien reasseses the essence of beauty.
Special pricing on two-volume set
The first volume of Jean-Francois Lyotard's Miscellaneous d104s on contemporary art and artists, Aesthetics and Theory of Art, contains nine essays on general aesthetics and the theory of art. They are published in the original French along with the translations in English. Most of these texts, preserved in the Lyotard archives of the Bibliotheque Litteraire Jacques Doucet in Paris, are presented here for the first time. They cover the whole period of his production, from 1969 to 1997, and they make the development of his philosophy of art explicit. After the "libidinal" conception of art in his early writings, the "Kantian twist" of around 1980 places his view on art under the aegis of the sublime.
The second volume of Jean-Francois Lyotard's Miscellaneous d104s, Contemporary Artists, gathers thirty-nine essays by Lyotard that deal with twenty-seven influential and innovative contemporary artists: Luciano Berio, Richard Lidner, Rene Guiffrey, Gianfranco Baruchello, Henri Maccheroni, Riwan Tromeur, Albert Ayme, Manuel Casimiro, Ruth Francken, Barnett Newman, Jean-Luc Parant, Francois Lapouge, Sam Francis, Andre Dubreuil, Joseph Kosuth, Sarah Flohr, Lino Centi, Gigliola Fazzini, Bracha Lichtenberger Ettinger, Henri Martin, Michel Bouvet, Corinne Filippi, Stig Brogger, Francois Rouan, Pierre Skira Pastels, and Beatrice Casadesus. Many of these texts were originally published in catalogs; others were published in hard-to-find journals. This volume of Miscellaneous d104s is illustrated with more than sixty images, mainly in color, of works of art discussed by Lyotard in these writings."
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