Paul Gordon proposes a new theory of art as synaesthetic and applies this idea to various media, including works--such as movies, illustrated books, and song lyrics--that explicitly cross over into media involving the different senses. The idea of art as synaesthetic is not, however, limited to those "cross-over" works, because even an individual poem or novel or painting calls upon different senses in creating its syn-aesthetic "meaning." Although previous studies have often devolved into those who see an obvious connection between art and synaesthesia and those who adamantly reject such a notion, Synaesthetics furthers our understanding of synaesthesia as an important, if not essential, component of artistic expression.

The first edition of Stephen Mulhall's acclaimed On Film was a study of the four Alien films, and made the highly original and controversial argument that films themselves can philosophise. In its second edition, On Film increased its breadth and vision considerably to encompass films such as the Mission: Impossible series and Steven Spielberg's Minority Report. In this significantly expanded third edition Stephen Mulhall adds new chapters on the Jason Bourne films, the fourth Mission: Impossible movie, JJ Abrams' Star Trek and Star Trek: Into Darkness, and Ridley Scott's Prometheus (in which he returns to the Alien universe he created). In so doing, Mulhall reappraises in fascinating ways the central issues taken up in earlier editions of On Film: the genres of science fiction and thriller, the impact of digital as opposed to photographic modes of technology on the nature of cinema as a medium (and its relation to television), and the fate of sequeldom in mainstream contemporary cinema (with its emphasis on remakes, reboots and multi-media superhero franchises). On Film, third edition is essential reading for anyone interested in philosophy, film theory and cultural studies, and in the way philosophy can enrich our understanding of cinema.

Nietzsche is one of the most important modern philosophers and his writings on the nature of art are amongst the most influential of the nineteenth and twentieth centuries. This GuideBook introduces and assesses:

• Nietzsche's life and the background to his writings on art
• the ideas and texts of his works which contribute to art, including The Birth of Tragedy, Human, All Too Human and Thus Spoke Zarathustra
• Nietzsche's continuing importance to philosophy and contemporary thought.

This GuideBook will be essential reading for all students coming to Nietzsche for the first time.

This book presents essays that address fundamental issues in social and cultural theory by viewing them through the lens of aesthetic theory. Drawing on the aesthetic theories of Theodor W. Adorno, Gregory Bateson, Jean-Marie Guyau, Talcott Parsons and Georg Simmel, it suggests a new take on basic sociological concepts and methodologies. The chapters cover a wide range of topics, including the sensuality of social action, social construction of unreality, and The Rolling Stones' enduring success as a reflection of our society and culture. The book's title Sociology in a New Key refers to a classic work by Susanne K. Langer, whose Philosophy in a New Key argued for a reorientation of modern philosophical thought based on a thorough account of symbolism in general and of the arts in particular. In this way, the basic ideas and assumptions of the philosophical tradition are transposed to new understandings and perspectives. After all, it was Georg Simmel himself who claimed to have gained several of his general theoretical insights "via the detour of reflections on the essence of art." The book will appeal to scholars and students of the sociology of the arts and music, and to anyone interested in the intersection of social theory and aesthetics.

This book traces the emergence of modern pessimism in nineteenth-century France and examines its aesthetic, epistemological, ethical, and political implications. It explores how, since pessimism as a worldview is not empirically verifiable, writers on pessimism shift the discussion to verisimilitude, opening up rich territory for cross-fertilization between philosophy and literature. The book traces debates on pessimism in the nineteenth century among French nonfiction writers who either lauded its promotion of compassion or condemned it for being a sick and unliveable attempt at renunciation. It then examines the way novelists and poets take up and transform these questions by portraying characters in lived situations that serve as testing grounds for the merits or limitations of pessimism. The debate on pessimism that emerged in the nineteenth century is still very much with us, and this book offers an interhistorical argument for embracing pessimism as a way of living well in the world, aesthetically, ethically, and politically.

This book provides a timely contribution to the discussion on what constitutes the 'political' in the art of filmmaking The book is especially relevant as filmmakers and the film industry at large grow concscious of the relations between politics and art The book is grounded in the analytic philosophy of art and cognitivist film theory, with insights from political science, political philosophy, epistemology, and cognitive science, and thus presents a unique analysis of the relation between films and the 'political' The book also includes detailed case studies, and the author uses specific films as examples of the applicability and explanatory power of this theoretical framework This book will be of interest not just to film studies, film theory and political philosophy scholars, but to anyone with an interest in political film, aesthetic practice, and philosophy of art

The aim of the volume is to show in which sense the study of culture, literature and the arts can contribute to a better understanding of human cognition. The collection of essays is questioning whether culture is exclusively human and discusses evolutionary substrates of narrative and the interfaces between culture, stories and cognition. The contributions examine the cognitive strengths and weaknesses of literary reading and analyse other techniques of sense-making in the arts through imagined dialogues and the experience of ambiguity. The final contributions are dealing with musical cognition, the relation between music, aesthetics and cognition.

The examination of the transcendentals of truth, beauty and the good in this book stems from the perspective of Christian humanism, transcending ourselves in moral psychology, and perfecting ourselves to attain the good life. These critical approaches are each pertinent to the search for meaning in our lives which the transcendentals augment. From such a perspective, the book engages in an exploration of the philosophy of culture and religion which at key points in the discussion draws upon ritual, works of high and especially popular culture. The truth that moves us closer to discovering meaning and a fuller humanity is largely found in the world and culture that surrounds us and is related to wisdom, which is something that concerns us all.

The first time that Nietzsche crossed the path of Dostoevsky was in the winter of 1886-87. While in Nice, Nietzsche discovered in a bookshop the volume L'esprit souterrain. Two years later, he defined Dostoevsky as the only psychologist from whom he had anything to learn. The second, metaphorical encounter between Nietzsche and Dostoevsky happened on the verge of nihilism. Nietzsche announced the death of God, whereas Dostoevsky warned against the danger of atheism. This book describes the double encounter between Nietzsche and Dostoevsky. Following the chronological thread offered by Nietzsche's correspondence, the author provides a detailed analysis of Nietzsche's engagement with Dostoevsky from the very beginning of his discovery to the last days before his mental breakdown. The second part of this book aims to dismiss the wide-spread and stereotypical reading according to which Dostoevsky foretold and criticized in his major novels some of Nietzsche's most dangerous and nihilistic theories. In order to reject such reading, the author focuses on the following moral dilemma: If God does not exist, is everything permitted?

Connecting poetry and philosophy of language, Philip Mills bridges the continental and analytical divide by bringing together the writings of Nietzsche and Wittgenstein. Through an expressivist philosophy of poetry, he argues that we can understand some of the core questions in the philosophy of language. Mills highlights the continuity of poetic language with ordinary language, and positions Nietzsche and Wittgenstein's thinking as the clearest way to expand the philosophy of poetry. By tracing the expressivist tradition of philosophy of language, this study locates its roots in German Romanticism right through to the work of contemporary expressivists such as Huw Price and Robert Brandom. Where poetry has been difficult to grasp with the traditional philosophical tools used by aestheticians, A Poetic Philosophy of Language operates at the crossroads between philosophy of art and language, proposing a new philosophy of poetry with wide-ranging potentialities.

This book provides a presentation of the concept of "atmosphere" in the realm of aesthetics. An "atmosphere" is meant to be an emotional space. Such idea of "atmosphere" has been more and more subsumed by human and social sciences in the last twenty years, thereby becoming a technical notion. In many fields of the Humanities, affective life has been reassessed as a proper tool to understand the human being, and is now considered crucial. In this context, the link between atmospheres and aesthetics becomes decisive. Nowadays, aesthetics is no longer only a theory of art, but has recovered its original vocation: to be a general theory of perception conceived of as an ordinary experience of pre-logical character. In its four parts (Atmospheric turn?, Senses and Spaces, Subjects and Communities, Aesthetics and Art Theory), this volume discusses whether atmospheres could take the prominent and paradigmatic position previously held by art in order to make sense of such sensible experience of the world.

The first collection to address the vexing issue of Nabokov's moral stances, this book argues that he designed his novels and stories as open-ended ethical problems for readers to confront. In a dozen new essays, international Nabokov scholars tackle those problems directly while addressing such questions as whether Nabokov was a bad reader, how he defined evil, if he believed in God, and how he constructed fictional works that led readers to become aware of their own moral positions. In order to elucidate his engagement with aesthetics, metaphysics, and ethics, Nabokov and the Question of Morality explores specific concepts in the volume's four sections: "Responsible Reading," "Good and Evil," "Agency and Altruism," and "The Ethics of Representation." By bringing together fresh insights from leading Nabokovians and emerging scholars, this book establishes new interdisciplinary contexts for Nabokov studies and generates lively readings of works from his entire career.

In a wide-ranging 2007 study of Claude Levi-Strauss's aesthetic thought, Boris Wiseman demonstrates not only its centrality within his oeuvre but also the importance of Levi-Strauss for contemporary aesthetic enquiry. Reconstructing the internal logic of Levi-Strauss's thinking on aesthetics, and showing how anthropological and aesthetic ideas intertwine at the most elemental levels in the elaboration of his system of thought, Wiseman demonstrates that Levi-Strauss's aesthetic theory forms an integral part of his approach to Amerindian masks, body decoration and mythology. He reveals the significance of Levi-Strauss's anthropological analysis of an 'untamed' mode of thinking (pensee sauvage) at work in totemism, classification and myth-making for his conception of art and aesthetic experience. In this way, structural anthropology is shown to lead to ethnoaesthetics. Levi-Strauss, Anthropology and Aesthetics adopts a broad-ranging approach that combines the different perspectives of anthropology, philosophy, aesthetic theory and literary criticism into an unusual and imaginative whole.

This book challenges the widespread view of Kierkegaard's idiosyncratic and predominantly religious position on mimesis. Taking mimesis as a crucial conceptual point of reference in reading Kierkegaard, this book offers a nuanced understanding of the relation between aesthetics and religion in his thought. Kaftanski shows how Kierkegaard's dialectical-existential reading of mimesis interlaces aesthetic and religious themes, including the familiar core concepts of imitation, repetition, and admiration as well as the newly arisen notions of affectivity, contagion, and crowd behavior. Kierkegaard's enduring relevance to the malaises of our own day is firmly established by his classic concern for the meaning of human life informed by reflective meditation on the mimeticorigins of the contemporary age. Kierkegaard, Mimesis, and Modernity will be of interest to scholars and advanced students working on Kierkegaard, Continental philosophy, the history of aesthetics, and critical and religious studies.

Beauty today is a paradox. The cult of beauty is ubiquitous but it has lost its transcendence and become little more than an aspect of consumerism, the aesthetic dimension of capitalism. The sublime and unsettling aspects of beauty have given way to corporeal pleasures and 'likes', resulting in a kind of 'pornography' of beauty. In this book, cultural theorist Byung-Chul Han reinvigorates aesthetic theory for our digital age. He interrogates our preoccupation with all things slick and smooth, from Jeff Koon's sculptures and the iPhone to Brazilian waxing. Reaching far deeper than our superficial reactions to viral videos and memes, Han reclaims beauty, showing how it manifests itself as truth, temptation and even disaster. This wide-ranging and profound exploration of beauty, encompassing ethical and political considerations as well as aesthetic, will appeal to all those interested in cultural and aesthetic theory, philosophy and digital media.

This impressive edited collection investigates the relationship between British Pop Art pioneer Eduardo Paolozzi and the philosopher Ludwig Wittgenstein. At this time, when Paolozzi's oeuvre is in the process of being rediscovered, his long-time fascination with Wittgenstein requires thorough exploration, as it discloses a deeper understanding of his artistic production, further helping to reassess the philosopher's actual impact on visual arts and its theory in the second half of the 20th century. With 13 diverse and comprehensive chapters, bringing together philosophers and art historians, this volume aims at retracing and pondering the influence of Wittgenstein on the idea of art in Paolozzi, thus giving an unprecedented insight into Wittgenstein's philosophy as employed by contemporary artists.

This is the first book to present an aesthetics of virtual reality media. It situates virtual reality media in terms of the philosophy of the arts, comparing them to more familiar media such as painting, film and photography. When philosophers have approached virtual reality, they have almost always done so through the lens of metaphysics, asking questions about the reality of virtual items and worlds, about the value of such things, and indeed, about how they may reshape our understanding of the "real" world. Grant Tavinor finds that approach to be fundamentally mistaken, and that to really account for virtual reality, we must focus on the medium and its uses, and not the hypothetical and speculative instances that are typically the focus of earlier works. He also argues that much of the cultural and metaphysical hype around virtual reality is undeserved. But this does not mean that virtual reality is illusory or uninteresting; on the contrary, it is significant for the altogether different reason that it overturns much of our understanding of how representational media can function and what we can use them to achieve. The Aesthetics of Virtual Reality will be of interest to scholars and advanced students working in aesthetics, philosophy of art, philosophy of technology, metaphysics, and game studies.

- Offers a new perspective on the development of architectural theory from early Modernism to the present as informed equally and uniquely by both philosophical trends and computational advances - Synthesizes a new history of design theory by tracing the use of difference in architectural theory from the end of the 18th century to the present as it informed contemporary design theory - Illustrated throughout with captioned diagrams and photographs

- Offers a new perspective on the development of architectural theory from early Modernism to the present as informed equally and uniquely by both philosophical trends and computational advances - Synthesizes a new history of design theory by tracing the use of difference in architectural theory from the end of the 18th century to the present as it informed contemporary design theory - Illustrated throughout with captioned diagrams and photographs

At the bottom of the sea, freedivers find that the world bestows humans with the magic of bodily and mental freedom, binding them in small communities of play, affect and respect for nature. On land, rational human interests dissolve this magic into prescriptive formulas of belonging to a profession, a nation and an acceptable modernity. The magical exploration is morphed by such multiple interventions successively from a pilgrimage, to a cinematic and digital articulation of an anarchic project, to an exercise in national citizenship and finally, a projection of post-imperial cosmopolitan belonging. This is the story of an embodied, relational and affective journey: the making of the explorer of worlds. At its heart stands a clash between individual and collective desires to belong, aspirations to create and the pragmatics of becoming recognised by others. The primary empirical context in which this is played is the contemporary margins of European modernity: the post-troika Greece. With the project of a freediving artist, who stages an Underwater Gallery outside the iconic island of Amorgos, as a sociological spyglass, it examines the networks of mobility that both individuals and nations have to enter to achieve international recognition, often at the expense of personal freedom and alternative pathways to modernity. Inspired by fusions of cultural pragmatics, phenomenology, phanerology, the morphogenetic approach, feminist posthumanism and especially postcolonial theories of magical realism, this study examines interconnected variations of identity and subjectivity in contexts of contemporary mobility (digital and embodied travel/tourism). As a study of cultural emergism, the book will be of interest to students and scholars in critical theory, cultural, postcolonial and decolonial studies, and tourism/pilgrimage theory.

The Reformation was one of the defining cultural turning points in Western history, even if there is a longstanding stereotype that Protestants did away with art and material culture. Rather than reject art and aestheticism, Protestants developed their own aesthetic values, which Protestant Aesthetics and the Arts addresses as it identifies and explains the link between theological aesthetics and the arts within a Protestant framework across five-hundred years of history. Featuring essays from an international gathering of leading experts working across a diverse set of disciplines, Protestant Aesthetics and the Arts is the first study of its kind, containing essays that address Protestantism and the fine arts (visual art, music, literature, and architecture), and historical and contemporary Protestant theological perspectives on the subject of beauty and imagination. Contributors challenge accepted preconceptions relating to the boundaries of theological aesthetics and religiously determined art; disrupt traditional understandings of periodization and disciplinarity; and seek to open rich avenues for new fields of research. Building on renewed interest in Protestantism in the study of religion and modernity and the return to aesthetics in Christian theological inquiry, this volume will be of significant interest to scholars of Theology, Aesthetics, Art and Architectural History, Literary Criticism, and Religious History.

Sport aesthetics is an important but often marginalized field in the philosophy of sport. Kinetic Beauty offers a comprehensive, principled, pluralist introduction to the philosophical aesthetics of sport. The book tackles a wide variety of issues in the philosophical aesthetics of sport, proposing a five-level analysis that coordinates extant scholarship on the same conceptual map, reveals gaps in the literature, and motivates a fresh perspective on stubborn debates and novel topics in the field (for example, the aesthetic experience of athletes, aesthetic biases in sport, the paradox of sport fiction, and whether dance can be sport). This is an excellent resource for professors and students in the philosophy of sport, sport aesthetics, general aesthetics, and the philosophy of art. It is also a fascinating read for those working in kinesiology, sport studies, philosophy, art, and aesthetics.

Ethics of Cinematic Experience: Screens of Alterity deals with the relationship between cinema and ethics from a philosophical perspective, finding an intrinsic connection between film spectatorship and the possibility of being open to different modes of alterity. The book's main thesis is that openness to otherness is already found in the basic structures of cinematic experience. Through a close examination of the ethical relevance of the philosophy of Maurice Merleau-Ponty, Stanley Cavell, Emmanuel Levinas and Gilles Deleuze to cinema studies, Ethics of Cinematic Experience: Screens of Alterity pursues the question of how film can open the viewer to what is not her, and so bring her to encounter otherness in a way that is unique to cinematic experience. The book sees ethics as not just the subject, content or story of a film but part of its aesthetic structure. Accompanied by readings of films mainly from mainstream cinema, each chapter focuses on a different aspect of the encounter with alterity through cinema. The book gives particular attention to how theoretical discussion of the cinematic close-up can lead to ethical insights into the status of both the human and the non-human in film, and thus lead to an understanding of the relationships the viewer makes with them. The book is a helpful resource for students and scholars interested in the relationship between philosophy, film and ethics, and is appropriate for students of philosophy and media and cultural studies.

This unique collection of essays has two main purposes. The first is to honour the pioneering work of Cora Diamond, one of the most important living moral philosophers and certainly the most important working in the tradition inspired by Ludwig Wittgenstein. The second is to develop and deepen a picture of moral philosophy by carrying out new work in what Diamond has called the realistic spirit. The contributors in this book advance a first-order moral attitude that pays close attention to actual moral life and experience. Their essays, inspired by Diamond's work, take up pressing challenges in Anglo-American moral philosophy, including Diamond's defence of the concept 'human being' in ethics, her defence of literature as a source of moral thought that does not require external sanction from philosophy, her challenge to the standard 'fact/value' dichotomy, and her exploration of non-argumentative forms of legitimate moral persuasion. There are also essays that apply this framework to new issues such as the nature of love, the connections of ethics to theology, and the implications of Wittgenstein's thought for political philosophy. Finally, the book features a new paper by Diamond in which she contests deep-rooted philosophical assumptions about language that severely limit what philosophers see as the possibilities in ethics. Morality in a Realistic Spirit offers a tribute to a great moral philosopher in the best way possible-by taking up the living ideas in her work and taking them in original and interesting directions.

For a good part of the 20th century, the classic Pragmatists-Charles Sanders Peirce, William James, and John Dewey-and pragmatism in general were largely ignored by analytic philosophers. They were said to hold such untenable views as whatever best satisfies our needs is true and that the end justifies the means. Despite a recent revival of interest in these figures, spurred largely by the work of Richard Rorty, it is not uncommon to continue to hear claims that pragmatism is a subjectivist, anti-realist position that denies that there is a mind-independent world, and fails to place objective constraints on inquiry. In this book, Robert Schwartz dispels these traditional views by examining the empiricist and constructivist orientation of the classic pragmatists. Based on updated and expanded versions of his influential papers, as well as a number of previously unpublished essays, in this book Schwartz demonstrates the relevance of pragmatic thought to a wide range of issues beyond concerns over truth and realism that currently dominate discussions. The individual essays elaborate and defend pragmatic, instrumentalist, and constructivist conceptions of truth and inquiry, moral discourse and ethical statements, perception, art, and worldmaking. Pragmatic Perspectives will appeal to scholars interested in the history of American philosophy and pragmatic approaches to contemporary issues in analytic philosophy.