Whether it's sleek leather pants, a shiny new Apple computer, or a designer toaster, we make important decisions as consumers every day based on our sensory experience. Sensory appeals are everywhere, and they are intensifying, radically changing how Americans live and work. The twenty-first century has become the age of aesthetics, and whether we realize it or not, this influence has taken over the marketplace, and much more.

In this penetrating, keenly observed book, Virginia Postrel makes the argument that appearance counts, that aesthetic value is real. Drawing from fields as diverse as fashion, real estate, politics, design, and economics, Postrel deftly chronicles our culture's aesthetic imperative and argues persuasively that it is a vital component of a healthy, forward-looking society.

Intelligent, incisive, and thought-provoking, The Substance of Style is a groundbreaking portrait of the democratization of taste and a brilliant examination of the way we live now.

This collection aims to map a diversity of approaches to the artform by creating a 360° view on the circus. Three sections of the book, Aesthetics, Practice, Culture, approach aesthetic developments, issues of artistic practice, and the circus’ role within society. This book consists of a collection of articles from renowned circus researchers, junior researchers, and artists. It also provides the core statements and discussions of the conference UpSideDown—Circus and Space in a graphic recording format. Hence, it allows a clear entry into the field of circus research and emphasizes the diversity of approaches that are well balanced between theoretical and artistic point of views. This book will be of great interest to students and scholars of circus studies, emerging disciples of circus and performance.

Thinking About Stories is a fun and thought-provoking introduction to philosophical questions about narrative fiction in its many forms, from highbrow literature to pulp fiction to the latest shows on Netflix. Written by philosophers Samuel Lebens and Tatjana von Solodkoff, it engages with fundamental questions about fiction, like: What is it? What does it give us? Does a story need a narrator? And why do sad stories make us cry if we know they aren’t real? The format of the book emulates a lively, verbal exchange: each chapter has only one author while the other appears spontaneously in dialogues in the text along the way, raising questions and voicing criticisms, and inviting responses from their co-author. This unique format allows readers to feel like they are a part of the conversation about the philosophical foundations of some of the fictions in their own lives. Key Features Draws on a wide range of types of narrative fiction, from Harry Potter to Breakfast of Champions to Parks and Recreation. Explores how fiction, despite its detachment from truth, is often best able to teach us important things about the world in which we live. Concludes by asking in the final chapter whether we all might be fictions. Includes bibliographies and suggested reading lists in each chapter

This book offers readers a pitch side seat to the ethics of fandom. Its accessible six chapters are aimed both at true sports fans whose conscience may be occasionally piqued by their pastime, and at those who are more certain of the moral hazards involved in following a team or sport. Why It's OK to Be a Sports Fan wrestles with a range of arguments against fandom and counters with its own arguments on why being a fan is very often a good thing. It looks at the ethical issues fans face, from the violent or racist behavior of those in the stands, to players' infamous misdeeds, to owners debasing their own clubs. In response to these moral risks, the book argues that by being critical fans, followers of a team or individual can reap the benefits of fandom while avoiding many of the ethical pitfalls. The authors show the value in deeply loving a team, but also how a condition of this value is recognizing that the love of a fan comes with real limits and responsibilities. Key Features Provides an accessible introduction to a key area of the philosophy of sport Closely looks at some of the salient ethical concerns around sports fandom Proposes that the value of community in partisan fandom should not be underestimated as a key feature of the good life Examines how the same emotions and environments that can lead to violence are identical to those that lead to virtuous loyalty Argues for a fan's responsibility in calling out violence or racist behavior from their fellow fans

Using five case studies of contemporary art, this book uses ideas of systems and dispersion to understand identity and experience in late capitalism. This book considers five artists who exemplify contemporary art practice: Seth Price; Liam Gillick; Martin Creed; Hito Steyerl and Theaster Gates. Given the diversity of materials used in art today, once-traditional artistic mediums and practices have become obsolete in describing what artists do today. Francis Halsall argues that, in the face of this obsolescence, the ideas of system and dispersion become very useful in understanding contemporary art. That is, practitioners now can be seen to be using whatever systems of distribution and display are available to them as their creative mediums. The two central arguments are first that any understanding of what art is will always be underwritten by a related view of what a human being is; and second that these both have a particular character in late capitalism or, as is named here, the Age of Dispersion. The book will be of interest to scholars and students working in art history, contemporary art, studio art, and theories of systems and networks.

This study offers the first comprehensive account of Emerson's philosophy since his philosophical rehabilitation began in the late 1970s. It builds on the historical reconstruction proposed in the author's previous book, Emerson's Metaphysics, and like that study draws on the entire Emerson corpus-the poetry and sermons included. The aim here is expository. The overall though not exclusive emphasis is on identity, as the first term of Emerson's metaphysics of identity and flowing or metamorphosis. This metaphysics, or general conception of the nature of reality, is what grounds his epistemology and ethics, as well as his esthetic, religious, and political thought. Acknowledging its primacy enables a general account like this to avoid the anti-realist overemphasis on epistemology and language that has often characterized rehabilitation readings of his philosophy. After an initial chapter on Emerson's metaphysics, the subsequent chapters devoted to the other branches of his thought also begin with their "necessary foundation" in identity, which is the law of things and the law of mind alike. Perception of identity in metamorphosis is what characterizes the philosopher, the poet, the scientist, the reformer, and the man of faith and virtue. Identity of mind and world is felt in what Emerson calls the moral sentiment. Identity is Emerson's answer to the Sphinx-riddle of life experienced as a puzzling succession of facts and events.

"The Philosophy of Symbolic Forms is a milestone in twentieth century philosophy. Promoting a philosophical vision informed by Kant, it incorporates the philosophical advances achieved in the nineteenth century by German Idealism and Neo-Kantianism, whilst acknowledging the contributions made by his contemporary phenomenologists. It also encompasses empirical and historical research on culture and the most contemporary work on myth, linguistics and psychopathology. As such, it ranks in philosophical importance along with other major works of the twentieth century, such as Edmund Husserl's Logical Investigations, Martin Heidegger's Being and Time, and Ludwig Wittgenstein's Tractatus Logico-Philosophicus. In the first volume, Cassirer explores the symbolic form of language. Already recognized by thinkers in the tradition of German Idealism, such as Wilhelm von Humboldt, language is the primary medium by which we interact with others and form a common world. As Cassirer emphasizes in the famous Davos Debate with Heidegger, 'there is one objective human world, in which a bridge is built from individual to individual. That I find in the primal phenomenon of language.' The famous trias Cassirer discerns in the functioning of language - the functions of expression (Ausdruck), presentation (Darstellung), and signification (Bedeutung) - has become paradigmatic for accounts of language, philosophical, linguistic, and anthropological alike." Sebastian Luft, Professor of Philosophy, Marquette University, USA. This new translation makes Cassirer's seminal work available to a new generation of scholars. Each volume includes a translator's introduction by Steve G. Lofts, a foreword by Peter E. Gordon, a glossary of key terms, and an index.

"The Philosophy of Symbolic Forms is one of the landmarks of twentieth century philosophy. Drawing from the influential work of Wilhelm Dilthey, it transformed neo-Kantianism into a new robust philosophy of culture. The second volume, on Mythical Thinking, analyzes the fundamental layers of perception and expression as well as the articulations with religion and the dialectic with other forms, essentially language and art. The intellectual breadth of the volume is remarkable. It initiated the debate with Martin Heidegger and prompted a long-lasting meditation by Hans Blumenberg. We are only beginning to recognize its importance for our understanding of the power of images in the construction of aesthetics, the self, and the socio-political world. It initiated a discussion within French sociology (Emile Durkheim, Marcel Mauss) that ultimately resurfaced in Pierre Bourdieu, while today it is considered as a resourceful path for cultural and critical theory (Drucilla Cornell and Kenneth M. Panfilio). Finally, this volume also offers solid grounds for a political critique of Nazism - specifically: Alfred Rosenberg's Myth of the 20th Century and Adolf Hitler's Mein Kampf - as well as the new emerging totalitarian ideologies." Fabien Capeilleres, Professor of Philosophy, editor of the French edition of Cassirer's Works. This new translation makes Cassirer's seminal work available to a new generation of scholars. Each volume includes a translator's introduction by Steve G. Lofts, a foreword by Peter E. Gordon, a glossary of key terms, and an index.

This book considers the experience of enchantment in art. Considering the essential characteristics, dynamics and conditions of the experience of enchantment in relation to art, including liminality, it offers studies of different kinds of artistic experience and activity, including painting, music, fiction and poetry, before exploring the possibility of a life oriented to enchantment as the activity of art itself. With attention to the complex relationship between wonder in art and the programmatic disenchantment to which it is often subject, the author draws on the thought of a diverse range of philosophers, sociological theorists and artists, to offer an understanding of art through the idea of enchantment, and enchantment through art. An accessible study, richly illustrated with experience - both that of the author and others - Art and Enchantment will appeal to scholars and students of sociology, anthropology, philosophy, and anyone with interests in the nature of aesthetic experience.

The downsides of monogamy are felt by most people engaged in long-term relationships, including restrictions on self-discovery, limits on friendship, sexual boredom, and a circumscribed understanding of intimacy. Yet, a "happily ever after" monogamy is assumed to be the ideal form of romantic love in many modern societies: a relationship that is morally ideal and will bring the most happiness to its two partners. In Why It's OK to Not Be Monogamous, Justin L. Clardy deeply questions these assumptions. He rejects the claim that non-monogamy among honest, informed and consenting adults is morally impermissible. He shows instead how polyamorous relationships can actually be exemplars of moral virtue. The book discusses how social and political forces sustain and reward monogamous relationships. The book defines non-monogamy as a privative concept; a negation of monogamy. Looking at its prevalence in the United States, the book explains how common criticisms of non-monogamy come up short. Clardy argues, as some researchers have recently shown-monogamy relies on continually demonizing non-monogamy to sustain its moral status. Finally, the book concludes with a focus on equality, asking what justice for polyamorous individuals might look like.

* Interdisciplinary book that weaves together ideas from psychology, philosophy, neuroscience, and dance. * Considers how movement is central to our sense of reality, our sense of self, and our relationships with others and the surrounding world. * Accessibly written book that foregrounds the author's voice and experiences

Politics as Public Art presents a keystone collection that pursues new frameworks for a critical understanding of the relationship between public art and protest movements through the utilization of socially engaged and choreopolitical approaches. This anthology draws from a unique combination of interdisciplinary scholarship and activism where it integrates geographically rich perspectives from political and grassroots community contexts spanning the United States, Europe, Australia, and Southeastern Africa. The volume questions, and reimagines, not only how public art practice can be integral to politics, including forms of surveillance and control of bodily movement. It also probes into how political participation itself can be construed as a form of public artmaking for radical social change and just worlds. This collection advocates for scholar-activist inquiry into how socially engaged public art practices can pave the way for thinking through-and working toward-championing more inclusive futures and, as such, choreographing greater intersectional justice. This book provides a wide appeal to audiences across humanities and social science scholarship, arts practice, and activism seeking conceptual and empirically informed tools for moving from public art and choreopolitical theory into modes of praxis: critical reflection and action.

Ethical musicality addresses the crossroads between music and ethics, combining philosophical knowledge, theoretical reflection, and practical understanding. When tied together, music and ethics link profoundly, offering real-life perspectives that would otherwise be inaccessible to us. The first part elucidates music and ethics through some influential and selected scholars ranging from antiquity via modern philosophy to contemporary voices. In the second part, different roles and arenas are illustrated and explored through various music practices in real-life encounters for the musician, the music educator, the music therapist, the musicologist, the 'lay' musician, and the music researcher. The third part unfolds an ethical musicality focusing on the body, relationship, time, and space. Following these fundamental existentials, ethical musicality expands our lifeworld, including context, involvement, power, responsibility, sustainability, and hope. Such an ethical musicality meets us with a calling to humanity-offering hope of a 'good life'.

The general aim of this volume is to investigate the nature of the relation between pictorial experience and aesthetic appreciation. In particular, it is concerned with the character and intimacy of this relationship: is there a mere causal connection between pictorial experience and aesthetic appreciation, or are the two relata constitutively associated with one another? The essays in the book's first section investigate important conceptual issues related to the pictorial experience of paintings. In Section II, the essays discuss the notion of styles, techniques, agency, and facture, and also take into account the experience of photographic and cinematic pictures. The Pleasure of Pictures goes substantially beyond current debates in the philosophy of depiction to launch a new area of reflection in philosophical aesthetics.

aesthetic objects, performance, art, Aesthetic, theatre, live art, sociology cultural studies and cultural geography.

Wittgenstein's work, early and later, contains the seeds of an original and important rethinking of moral or ethical thought that has, so far, yet to be fully appreciated. The ten essays in this collection, all specially commissioned for this volume, are united in the claim that Wittgenstein's thought has much to contribute to our understanding of this fundamental area of philosophy and of our lives. They take up a variety of different perspectives on this aspect of Wittgenstein's work, and explore the significance of Wittgenstein's moral thought throughout his work, from the Tractatus Logico-Philosophicus, and Wittgenstein's startling claim there that there can be no ethical propositions, to the Philosophical Investigations.

What does 'Art' Mean Now? asks, and answers, fundamental questions about the nature of aesthetic experience and role of the arts in contemporary society. The Modern Age, Romanticism and beyond. viewed art as something transcending and separated from life, and usually something encountered in museums or classrooms. Nowadays, however, art tends to be defined not by a commonly agreed-upon standard of 'quality' or by its forms, such as painting and sculpture, but instead by political and ideological criteria. So how do we connect with the works in museums whose point was precisely they stood apart from such considerations? Can we and should we be educated to "appreciate" art-and what does it do for us anyway? What are we to make of the so-different newer works-installations, performances, excerpts from the world-held to be art that increasingly make it into museums? Adopting a subjectivist approach, this book argues that in the absence of a universal judgement or standard of taste, the experience of art is one of freedom. The arts and literature give us the means to conceptualize our lives, showing us ourselves as we are and as we might wish-or not wish-to be, as well as where we have been and where we are going. It will appeal to scholars of sociology, philosophy, museum studies, and art history, and to anyone interested in, or puzzled by, museums or college courses and their presentation of art today.

Most people are too busy to keep up with all the good movies they'd like to see, so why should anyone spend their precious time watching the bad ones? In Why It's OK to Love Bad Movies, philosopher and cinematic bottom feeder Matthew Strohl enthusiastically defends a fondness for disreputable films. Combining philosophy of art with film criticism, Strohl flips conventional notions of "good" and "bad" on their heads and makes the case that the ultimate value of a work of art lies in what it can add to our lives. By this measure, some of the worst movies ever made are also among the best. Through detailed discussions of films such as Troll 2, The Room, Batman & Robin, Twilight, Ninja III: The Domination, and a significant portion of Nicolas Cage's filmography, Strohl argues that so-called "bad movies" are the ones that break the rules of the art form without the aura of artistic seriousness that surrounds the avant-garde. These movies may not win any awards, but they offer rich opportunities for creative engagement and enable the formation of lively fan communities, and they can be a key ingredient in a fulfilling aesthetic life. Key Features: Written in a humorous, approachable style, appealing to readers with no background in philosophy. Elaborates the rewards of loving bad movies, such as forming unlikely social bonds and developing refinement without narrowness. Discusses a wide range of beloved bad movies, including Plan 9 from Outer Space, The Core, Battlefield Earth, and Freddy Got Fingered. Contains the most extensive discussion of Nicolas Cage ever included in a philosophy book.

This volume advances a comprehensive transdisciplinary approach to the affective lives of institutions - theoretical, conceptual, empirical, and critical. With this approach, the volume foregrounds the role of affect in sustaining as well as transforming institutional arrangements that are deeply problematic. As part of its analysis, this book develops a novel understanding of institutional affect. It explores how institutions produce, frame, and condition affective dynamics and emotional repertoires, in ways that engender conformance or resistance to institutional requirements. This collection of works will be important for scholars and students of interdisciplinary affect and emotion studies from a wide range of disciplines, including social sciences, cultural studies, social and cultural anthropology, organizational and institution studies, media studies, social philosophy, aesthetics, and critical theory.

This book explores environments where art, imagination, and creative practice meet urban spaces at the point where they connect to the digital world. It investigates relationships between urban visualizations, aesthetics, and politics in the context of new technologies, and social and urban challenges toward the Sustainable Development Goals. Responding to questions stemming from critical theory, the book focuses on an interdisciplinary actualization of technological developments and social challenges. It demonstrates how art, architecture, and design can transform culture, society, and nature through artistic and cultural achievements, integration, and new developments. The book begins with the theoretical framework of social aesthetics theories before discussing global contemporary visual culture and technological evolution. Across the 12 chapters, it looks at how architecture and design play significant roles in causing and solving complex environmental transformations in the digital turn. By fostering transdisciplinary encounters between architecture, design, visual arts, and cinematography, this book presents different theoretical approaches to how the arts' interplay with the environment responds to the logic of the constructions of reality. This book will appeal to scholars, researchers, and upper-level students in aesthetics, philosophy, visual cultural studies, communication studies, and media studies with a particular interest in sociopolitical and environmental discussions.

This book connects Schopenhauer's philosophy with transcendental idealism by exploring the distinctly Kantian roots of his pessimism. By clearly discerning four types of coming to knowledge, it demonstrates how Schopenhauer's epistemology can enlighten this connection with other areas of his philosophy. The individual chapters in this book discuss how these knowledge types-immediate or mediate, representational or non-representational-relate to Schopenhauer's metaphysics, ethics and action, philosophy of religion, aesthetics, and asceticism. In each of these areas, a specific sense of pessimism serves to disarm a number of paradoxes and inconsistencies typically associated with Schopenhauer's philosophy. The Kantian Foundation of Schopenhauer's Pessismism shows how Schopenhauer's claim that he is a true successor to Kant can be justified.

Instruments of Embodiment draws on fashion theory and the philosophy of embodiment to investigate costuming in contemporary dance. It weaves together philosophical theory and artistic practice by closely analyzing acclaimed works by contemporary choreographers, considering interviews with costume designers, and engaging in practice-as-research. Topics discussed include the historical evolution of contemporary dance costuming, Merce Cunningham's innovative collaborations with Robert Rauschenberg, and costumes used in Ohad Naharin's Virus (2001) and in a ground-breaking Butoh solo by Tatsumi Hijikata. The relationship between dance costuming and high fashion, wearable computing, and the role costume plays in dance reconstruction are also discussed and, along the way, an anarchist materialism is articulated which takes an egalitarian view of artistic collaboration and holds that experimental costume designs facilitate new forms of embodied experience and ways of seeing the body. This book will be of great interest to students and scholars working in performance philosophy, philosophy of embodiment, dance and performance studies, and fashion theory.

In this book, Christine Tappolet offers readers a thorough, wide-ranging, and highly accessible introduction to the philosophy of emotions. It covers recent interdisciplinary debates on the nature of emotions as well as standard theories of emotions, such as feeling theories, motivational theories, and evaluative theories. The book includes discussions of the alleged irrationality of emotions, and looks into the question of whether emotions could not, in some cases, contribute positively to theoretical and practical rationality. In addition, the role of emotions in the theory of virtues and the theory of values receives a detailed treatment. Finally, the book turns to the question of how we can regulate and even educate our emotions by engaging with music and with narrative art. The overall picture of emotions that emerges is one that does justice to the central role that emotions play in our lives, conceiving of emotions as crucial to our grasp of values. As an opinionated introduction, the book doesn't pretend to be neutral but aims to engage readers in contemporary debates. Each chapter closes with questions for further discussion and suggestions for further reading. Key Features: Written for advanced undergraduates, suitable as the main text in a philosophy of emotion course or as a complement to a set of primary readings Includes useful features for student readers like introductions, study questions, and suggestions for further reading in each chapter Considers whether emotions interfere with our reasoning or whether they can, in some cases, help us to be more rational Argues against basic emotion theory and social constructionism that emotions are both shaped by biological forces and social forces Discusses a variety of subjectivist and objectivist approaches, which share the assumption that emotions and values are closely connected.

Charting the period that extends from the 1860s to the 1940s, this volume offers fresh perspectives on Aestheticism and Modernism. By acknowledging that both movements had a passion for the 'new', it goes beyond the alleged divide between Modernism and its predecessors. Rather than reading the modernist credo, 'Make it New!', as a desire to break away from the past, the authors of this book suggest reading it as a continuation and a reappropriation of the spirit of the 'New' that characterizes Aestheticism. Basing their arguments on recent reassessments of Aestheticism and Modernism and their articulation, contributors take up the challenge of interrogating the connections, continuities, and intersections between the two movements, thus revealing the working processes of cultural and aesthetic change so as to reassess the value of the new for each. Attending to well-known writers such as Waugh, Woolf, Richardson, Eliot, Pound, Ford, Symons, Wilde, and Hopkins, as well as to hitherto neglected figures such as Lucas Malet, L.S. Gibbon, Leonard Woolf, or George Egerton, they revise assumptions about Aestheticism and Modernism and their very definitions. This collection brings together international scholars specializing in Aestheticism or Modernism who push their analyses beyond their strict period of expertise and take both movements into account through exciting approaches that borrow from aesthetics, philosophy, or economics. The volume proposes a corrective to the traditional narratives of the history of Aestheticism and Modernism, revitalizing definitions of these movements and revealing new directions in aestheticist and modernist studies.