John Dewey was the foremost philosophical figure and public intellectual in early to mid-twentieth century America. He is still the most academically cited Anglophone philosopher of the past century, and is among the most cited Americans of any century. In this comprehensive volume spanning thirty-five chapters, leading scholars help researchers access particular aspects of Dewey's thought, navigate the enormous and rapidly developing literature, and participate in current scholarship in light of prospects in key topical areas. Beginning with a framing essay by Philip Kitcher calling for a transformation of philosophical research inspired by Dewey, contributors interpret, appraise, and critique Dewey's philosophy under the following headings: Metaphysics; Epistemology, Science, Language, and Mind; Ethics, Law, and the Starting Point; Social and Political Philosophy, Race, and Feminist Philosophy; Philosophy of Education; Aesthetics; Instrumental Logic, Philosophy of Technology, and the Unfinished Project of Modernity; Dewey in Cross-Cultural Dialogue; The American Philosophical Tradition, the Social Sciences, and Religion; and Public Philosophy and Practical Ethics.

USE FIRST TWO PARAGRAPHS ONLY FOR GENERAL CATALOGS... This volume offers a response to three ongoing needs:
* to develop the main composition principles pertinent to the visual commmunication medium of television;
* to establish the field of television aesthetics as an extension of the broader field of visual literacy; and
* to promote television aesthetics to both students and consumers of television.
Based on effective empirical research from three axes -- perception, cognition, and composition -- the aesthetic principles of television images presented are drawn from converging research in academic disciplines such as psychology (perceptual, cognitive, and experimental), neurophysiology, and the fine arts (painting, photography, film, theater, music, and more). Although the aesthetics of the fine arts were traditionally built on contextual theories that relied heavily on subjective evaluation, on critical analyses, and on descriptive research methods, the aesthetics of today's visual communication media consider equally valuable empirical methodologies found in all sciences. Investigations in these different academic disciplines have provided the constructs and strengthened the foundations of the theory of television aesthetics offered in this book.
Special features include:
* a great variety of pictures supporting the topics discussed;
* a thorough, up-to-date, and specifically related bibliography for each of the major parts of the book;
* computer drawings illustrating the concepts examined in the text;
* scientific data -- tables and charts -- documenting the research findings cited;
* simplified explanations of the processes of visual, auditory, and motion perceptions of images, enhanced by specific diagrams;
* detailed analyses of the threefold process of stimulation, perception, and recognition of televised images; and
* workable, easy-to-understand and use rules of picture composition, visual image evaluations, and television program appreciation.

This integrated study of the emerging interdisciplinary field of environmental aesthetics takes the reader through a brief history of both aesthetics and taste, then discusses the psychology of human-environment relations, the influences of literary, artistic and legal activism on city, countryside and wilderness, and concludes with an analysis of the roles of public policy and of planning. Clearly written and illustrated, the book brings together the ideas, method and practices of a range of academic and professional disciplines. The book should be a useful introduction to those interested in how the experience of city (and country) life can and should be improved.

This book explores how speculative thinking is shaping how we relate to our entangled social, mental, and environmental ecologies. It examines how speculative philosophies and concepts are changing geographical research methods and techniques, whilst also developing how speculative thinking transforms the way human, non-human, and more-than-human things are conceptualised in research practices across the social sciences, arts, and humanities. Offering the first dedicated compendium of geographical engagements with speculation and speculative thinking, the chapters in this edited collection advance debates about how affective, imperceptible, and infra-sensible qualities of environments might be written about through alternative registers and ontologies of experience. Organised around the themes of Ethics, Technologies, and Aesthetics, the book will appeal to those engaging with architecture, Black political theory, fiction, cinema, children's geographies, biotechnologies, philosophy, rural studies, arts practice, and nuclear waste studies as speculative research practices appropriate for addressing contemporary ecological problems. Chapters 1, 3 and 4 are available open access under a Creative Commons Attribution 4.0 International License via link.springer.com.

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.

This book presents an experiential, aesthetic-affective approach to the study of institutions. Drawing on institutional sociology, hermeneutics, phenomenology and process philosophy, it conceptualises institutions as collective experiences with their own self-promoting and self-propelling powers. Instead of seeing institutional emergence, change and decline as the result of actors' interests and manipulations, this book re-establishes the importance of factors beyond human design and intervention. Drawing on process theory, it shows how ideas, norms and values can form self-stabilising configurations that affect people without conscious realisation. It complements current thinking about institutions by showing how institutions constitute people long before people constitute them. With the help of authors as diverse as Antonio Damasio, A.N. Whitehead, J.W. von Goethe and Max Weber, Elke Weik crafts a perspective that allows us to understand institutions as aesthetic and affective powers in their own right. This book is for researchers interested in process theory, institutional and organisational studies, hermeneutics, and aesthetics.

Georg Simmel predicted that he would have no followers after his death. However he is now widely recognized as the father of the sociology of Modernity. His ideas on the metropolis, consumer culture, social space and aesthetics are at the crux of contemporary debate in sociology. This collection brings together the essential secondary literature on Simmel. It is selected and edited by David Frisby - a scholar who has perhaps done more than anyone else to rehabilitate Simmel's reputation in the English speaking world. What emerges is the most concise yet comprehensive view of this astonishingly prescient and penetrating sociologist. The volumes will be of interest to graduate students and anyone with a serious interest in Simmel.

This book illuminates the aesthetically underrated meaningfulness of particular elements in works of art and aesthetic experiences generally. Beginning from the idea of "hooks" in popular song, the book identifies experiences of special liveliness that are of enduring interest, supporting contemplation and probing discussion. When hooks are placed in the foreground of aesthetic experience, so is an enthusiastic "grabbing back" by the experiencer who forms a quasi-personal bond with the beloved singular moment and is probably inclined to share this still-evolving realization of value with others. This book presents numerous models of enthusiastic "grabbing back" that are art-critically motivated to explain how hooks achieve their effects and philosophically motivated to discover how hooks and hook appreciation contribute to a more ideally desirable life. Framing hook appreciation with a defensible general model of aesthetic experience, this book gives an unprecedented demonstration of the substantial aesthetic and philosophical interest of hook-centered inquiry.

Marking the 50th anniversary of one among this philosopher’s most distinguished pieces, Blumenberg’s Rhetoric proffers a decidedly diversified interaction with the essai polyvalently entitled ‘Anthropological Approach to the Topicality (or Currency, Relevance, even actualitas) of Rhetoric’ ("Anthropologische Annäherung an die Aktualität der Rhetorik"), first published in 1971. Following Blumenberg’s lead, the contributors consider and tackle their topics rhetorically—treating (inter alia) the variegated discourses of Phenomenology and Truthcraft, of Intellectual History and Anthropology, as well as the interplay of methods, from a plurality of viewpoints. The diachronically extensive, disciplinarily diverse essays of this publication—notably in the current lingua franca—will facilitate, and are to conduce to, further scholarship with respect to Blumenberg and the art of rhetoric. With contributions by Sonja Feger, Simon Godart, Joachim Küpper, DS Mayfield, Heinrich Niehues-Pröbsting, Daniel Rudy Hiller, Katrin Trüstedt, Alexander Waszynski, Friedrich Weber-Steinhaus, Nicola Zambon.

Richard Linklater's celebrated Before trilogy chronicles the love of Jesse (Ethan Hawke) and Celine (Julie Delpy) who first meet up in Before Sunrise, later reconnect in Before Sunset and finally experience a fall-out in Before Midnight. Not only do these films present storylines and dilemmas that invite philosophical discussion, but philosophical discussion itself is at the very heart of the trilogy. This book, containing specially commissioned chapters by a roster of international contributors, explores the many philosophical themes that feature so vividly in the interactions between Celine and Jesse, including: the nature of love, romanticism and marriage the passage and experience of time the meaning of life the art of conversation the narrative self gender death Including an interview with Julie Delpy in which she discusses her involvement in the films and the importance of studying philosophy, Before Sunrise. Before Sunset. Before Midnight: A Philosophical Exploration is essential reading for anyone interested in philosophy, aesthetics, gender studies, and film studies.

Art has always been central to moments of great social change. From the avant-garde to the ages of revolution, the act of rebellious creation has been crucial to bringing people and ideas together. However, in an increasingly fractured world characterised by upheaval and crisis, what role can art play in ushering in transformation? Malcolm Miles offers a guide to contemporary art and activism, setting it firmly within the context of the avant garde and its legacies in the postwar period. He explores the rise of direct action to replace representational politics in organizations like Occupy and Extinction Rebellion, and in the movements to destroy or remove statues of slavers, and finds parallels in anti-institutional art practices. By engaging with the significant theoretical innovations of the last 50 years - modernism, postmodernism and contemporary critical thinking - Miles provides both an overview of political aesthetics and an introduction to how art activism works in its most memorable moments in history. Art Rebellion argues that beauty is radically other to the dominant society; that power relations can be transformed; that protest cultures and contemporary art grow together; and that art has a crucial interruptive role in forming new, more equal and just, realities.

Adorno's aesthetics are one of the most important philosophical analyses of the 20th century, but their development remains unclear. Adorno, Aesthetics, Dissonance is the first book to provide a detailed study of how Adorno's thinking of aesthetics developed and to show the different dimensions that came together to make it uniquely powerful. Principal among these dimensions are his intense interest in music and his historical and materialist approach. In addition, by studying how Adorno's aesthetics arose through interactions with different thinkers, particularly Kracauer, Horkheimer, and Schoenberg, it becomes clear that his thought changes in its relation to dialectics. As a result, Adorno's thinking comes to broaden the understanding of aesthetics to include the sphere of sensuality, and in doing so transforms both aesthetics and dialectics through a notion of dissonance, which in turn has substantial implications for the relation of his thinking to praxis.

Tracing embodied transformation in the context of Gaga, the Israeli dance improvisation practice, this book demystifies what Lina Aschenbrenner coins as "neo-spiritual aesthetics." This book takes the reader on an analytical journey through a Gaga class, outlining the effective aesthetics of Gaga as an example for the broader field of neo-spiritualities. It distinguishes a threefold effect of Gaga practice-from a momentary extraordinary experience, to a lasting therapeutic effect, and finally Gaga's worldview potential. It situates the effect in an assemblage of interrelating aesthetics of environment, movement, and bodies. The book shows why seemingly leisure time activities such as Gaga form fruitful research objects to an academic study of religion and opens up research on neo-spiritual practices. In understanding the sensory effect of practice and its cultural and social implications, the book follows an Aesthetics of Religion approach. It departs from the idea that cognition is embodied and that the body is thus central to understanding cultural and social phenomena. Drawing upon a wide array of data gathered in the context of Gaga at the Suzanne Dellal Center in Tel Aviv, the book weaves together different methods of discourse, ritual, movement, body knowledge, and narrative analysis, while acknowledging insights from neuroscience and cognitive science.

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.

In this book, Shay Welch expands on the contemporary cognitive thinking-in-movement framework, which has its roots in the work of Maxine Sheets-Johnstone but extends and develops within contemporary embodied cognition theory. Welch believes that dance can be used to ask questions, and this book offers a method of how critical inquiry can be embodied. First, she presents the theoretical underpinnings of what this process is and how it can work; second, she introduces the empirical method as a tool that can be used by movers for the purpose of doing embodied inquiry. Exploring the role of embodied cognition and embodied metaphors in mining the body for questions, Welch demonstrates how to utilize movement to explore embodied practices of knowing. She argues that our creative embodied movements facilitate our ability to bodily engage in critical analysis about the world.

This book develops a philosophy of the predominant yet obtrusive aspects of digital culture, arguing that what seems like insignificant distractions of digital technology - such as video games, mindless browsing, cute animal imagery, political memes, and trolling - are actually keyed into fundamental aspects of evolution. These elements are commonly framed as distractions in an economy of attention and this book approaches them with the prospect of understanding their attraction, from the starting point of diversions. Diversions designate not simply shifting states of attention but characterize the direction of any system on a different course, a theoretical perspective which makes it possible to investigate distractions as not only by-products of contemporary media and human attention. The perspective shifts from distractions as the unwanted and inconsequential to considering instead the function of diversions in the process of evolutionary development. Grounded in media theory but drawing from diverse interdisciplinary perspectives in biology, philosophy, and systems theory, this book provocatively theorizes the process of diversions - of the playful, stupid, cute, and funny - as significant for the evolution of a range of organisms.

The post humanist movement which currently traverses various disciplines in the arts and humanities, as well as the role that the thought of Deleuze and Guattari has had in the course of this movement, has given rise to new practices in architecture and urban theory. This interdisciplinary volume brings together architects, urban designers and planners, and asks them to reflect and report on the (built) place and the city to come in the wake of Deleuze and Guattari.

Ernst Cassirer's philosophy of culture has been much discussed in recent years. However, it remains unclear how it evolved from his older theory of knowledge. This study deals with this question on the basis of Cassirer's 'disposition' of a 'philosophy of the symbolic', reconstructed here for the first time. This text shows that the 'symbolic' refers to culture as a whole and to its inherent diversity. Therefore, 'the symbolic' includes the relationship between the general transcendental conditions of culture and its empirical specificities in language and languages, art and the arts, myth and myths, science and disciplines. Cassirer does not comprehend this empirical and specific reality of symbolization depending on pre-existing transcendental conditions. Instead, he proceeds from the empirical diversity of the symbolisations and reflects on their simultaneously general and specific conditions. Thus, Cassirer embarks on a path that he finds paved in Kant's "Critique of Judgement": He consequently defines 'the symbolic' as the horizon for a reflective approach based on empirical findings - and not as the foundation of a systematic derivation of the diversity of culture in the style of the idealistic tradition.

"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.

This work presents a rethinking of critical philosophy through the recovery of a larger sense of aesthetics in Kant. It provides a unitary reading of the "Critique of Judgement". This is situated in relation to Kant's attempt to think ends in general. The question of how to think ends is argued to guide Kant both in his treatment of aesthetics and teleology and to provide the rationale for critique itself.

This new collection of essays re-examines the relationship between the aesthetic and the human in Nineteenth- and Twentieth-century manifestations of art for art's sake. It treats aestheticism as a subject of perennial interest in the field. Employing a unique methodology in approaching the study of aestheticism from a transnational, comparative standpoint - the volume as a whole presents readers with a variety of perspectives on the topic, in a coherent way.This book: includes contributions from a number of up-and-coming young scholars who are getting a good name (eg, Yvonne Ivory); addresses the question: 'does art for art's sake seek to de-humanize or re-humanize art, the artist or the artistic receptor?' and engages with art, literature, philosophy and literary and aesthetic theory.Art for art's sake addresses the relationship between art and life. Although it has long been argued that aestheticism aims to de-humanize art, this volume seeks to consider the counterclaim that such de-humanization can also lead to re-humanization and to a deepened relationship between the aesthetic sphere and the world at large.