When our smartphones distract us, much more is at stake than a momentary lapse of attention. Our use of smartphones can interfere with the building-blocks of meaningfulness and the actions that shape our self-identity. By analyzing social interactions and evolving experiences, Roholt reveals the mechanisms of smartphone-distraction that impact our meaningful projects and activities. Roholt's conception of meaning in life draws from a disparate group of philosophers - Susan Wolf, John Dewey, Hubert Dreyfus, Martin Heidegger, and Albert Borgmann. Central to Roholt's argument are what Borgmann calls focal practices: dinners with friends, running, a college seminar, attending sporting events. As a recurring example, Roholt develops the classification of musical instruments as focal things, contending that musical performance can be fruitfully understood as a focal practice. Through this exploration of what generates meaning in life, Roholt makes us rethink the place we allow smartphones to occupy in the everyday. But he remains cautiously optimistic. This thoughtful, needed interrogation of smartphones shows how we can establish a positive role for technologies within our lives.

This study illuminates the complex interplay between Deleuze and Guattari's philosophy and architecture. Presenting their wide-ranging impact on late 20th- and 21st-century architecture, each chapter focuses on a core Deleuzian/Guattarian philosophical concept and one key work of architecture which evokes, contorts, or extends it. Challenging the idea that a concept or theory defines and then produces the physical work and not vice versa, Chris L. Smith positions the relationship between Deleuze and Guattari's philosophy and the field of architecture as one that is mutually substantiating and constitutive. In this framework, modes of architectural production and experimentation become inextricable from the conceptual territories defined by these two key thinkers, producing a rigorous discussion of theoretical, practical, and experimental engagements with their ideas.

Robin George Collingwood (1889-1943) was one of the most important philosophers of the 20th century, with his work spanning theory of knowledge, metaphysics, philosophy of art, philosophy of history, and social and political philosophy. The full range and reach of Collingwood's philosophical thought is covered by Peter Skagestad in this study. Following Collingwood's education and his Oxford career, Skagestad considers his relationship with prominent Italian philosophers Croce and De Ruggiero and the British idealists. Taking Collingwood's publications in order, he explains under what circumstances they were produced and the reception of his work by his contemporaries and by posterity, from Religion and Philosophy (1916) and Speculum Mentis (1923) to the posthumously published The Idea of History (1946). Featuring full coverage of Collingwood's philosophy of art, Skagestad also considers his argument, in response to A. J. Ayer, that metaphysics is the historical study of absolute presuppositions. Most importantly, Skagestad reveals how relevant Collingwood is today, through his concept of barbarism as a perceptive diagnosis of totalitarianism and his prescient warning of the rise of populism in the 21st century.

Although beauty, in the pre-modern Arab world, was enjoyed and promoted almost everywhere, Islam does not possess a general theory on aesthetics or a systematic theory of the arts. This is a study of the Arabic discourse on beauty. The author had to search for her evidence in written statements from a wide variety of sources, such as the Qur'an, legal, religious and Sufi texts, chronicles, biographies, belle-lettres, literary criticism, and scientific, geographic and philosophical literature. The result is a compendium of references to beauty in chapters on the Religious Approach, Secular Beauty and Love, Music and Belle-Lettres, and the Visual Arts. This approach is informative and provocative. For the generalist, it provides comparative material for an understanding of the early Arab cultural context. For the specialist, it raises questions of sponsorship and purpose.

The Futility of Philosophical Ethics puts forward a novel account of the grounds of moral feeling with fundamental implications for philosophical ethics. It examines the grounds of moral feeling by both the phenomenology of that feeling, and the facts of moral feeling in operation - particularly in forms such as moral luck, vicious virtues, and moral disgust - that appear paradoxical from the point of view of systematic ethics. Using an analytic approach, James Kirwan engages in the ongoing debates among contemporary philosophers within metaethics and normative ethics. Instead of trying to erase the variety of moral responses that exist in philosophical analysis under one totalizing system, Kirwan argues that such moral theorizing is futile. His analysis counters currently prevalent arguments that seek to render the origins of moral experience unproblematic by finding substitutes for realism in various forms of noncognitivism. In reasserting the problematic nature of moral experience, and offering a theory of the origins of that experience in unavoidable individual desires, Kirwan accounts for the diverse manifestations of moral feeling and demonstrates why so many arguments in metaethics and normative ethics are necessarily irresolvable.

Is it ever morally wrong to enjoy fantasizing about immoral things? Many video games allow players to commit numerous violent and immoral acts. But, should players worry about the morality of their virtual actions? A common argument is that games offer merely the virtual representation of violence. No one is actually harmed by committing a violent act in a game. So, it cannot be morally wrong to perform such acts. While this is an intuitive argument, it does not resolve the issue. Focusing on why individual players are motivated to entertain immoral and violent fantasies, Video Games, Violence, and the Ethics of Fantasy advances debates about the ethical criticism of art, not only by shining light on the interesting and under-examined case of virtual fantasies, but also by its novel application of a virtue ethical account. Video games are works of fiction that enable players to entertain a fantasy. So, a full understanding of the ethical criticism of video games must focus attention on why individual players are motivated to entertain immoral and violent fantasies. Video Games, Violence, and the Ethics of Fantasy engages with debates and critical discussions of games in both the popular media and recent work in philosophy, psychology, media studies, and game studies.

Pop art has traditionally been the most visible visual art within popular culture because its main transgression is easy to understand: the infiltration of the "low" into the "high". The same cannot be said of contemporary art of the 21st century, where the term "Gaga Aesthetics" characterizes the condition of popular culture being extensively imbricated in high culture, and vice-versa. Taking Adorno and Horkheimer's "The Culture Industry" and Adorno's Aesthetic Theory as key touchstones, this book explores the dialectic of high and low that forms the foundation of Adornian aesthetics and the extent to which it still applied, and the extent to which it has radically shifted, thereby 'upending tradition'. In the tradition of philosophical aesthetics that Adorno began with Lukacs, this explores the ever-urgent notion that high culture has become deeply enmeshed with popular culture. This is "Gaga Aesthetics": aesthetics that no longer follows clear fields of activity, where "fine art" is but one area of critical activity. Indeed, Adorno's concepts of alienation and the tragic, which inform his reading of the modernist experiment, are now no longer confined to art. Rather, stirring examples can be found in phenomena such as fashion and music video. In addition to dealing with Lady Gaga herself, this book traverses examples ranging from Madonna's Madam X to Moschino and Vetements, to deliberate on the strategies of subversion in the culture industry.

Timbre is among the most important and the most elusive aspects of music. Visceral and immediate in its sonic properties, yet also considered sublime and ineffable, timbre finds itself caught up in metaphors: tone "color", "wet" acoustics, or in Schoenberg's words, "the illusory stuff of our dreams." This multi-disciplinary approach to timbre assesses the acoustic, corporeal, performative, and aesthetic dimensions of tone color in Western music practice and philosophy. It develops a new theorization of timbre and its crucial role in the epistemology of musical materialism through a vital materialist aesthetics in which conventional binaries and dualisms are superseded by a vibrant continuum. As the aesthetic and epistemological questions foregrounded by timbre are not restricted to isolated periods in music history or individual genres, but have pervaded Western musical aesthetics since early Modernity, the book discusses musical examples taken from both "classical" and "popular" music. These range, in "classical" music, from the Middle Ages through the Baroque, the belcanto opera and electronic music to saturated music; and, in "popular" music, from indie through soul and ballad to dark industrial.

Ethology, or how animals relate to their environments, is currently enjoying increased academic attention. A prominent figure in this scholarship is Gilles Deleuze and yet, the significance of his relational metaphysics to ethology has still not been scrutinised. Jason Cullen's book is the first text to analyse Deleuze's philosophical ethology and he prioritises the theorist's examination of how beings relate to each other. For Cullen, Deleuze's Cinema books are integral to this investigation and he highlights how they expose a key Deleuzian theme: that beings are fundamentally continuous with each other. In light of this continuity then, Cullen reveals that how beings understand each other shapes them and allows them to transform their shared worlds.

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.

What does it mean to see time in the visual arts and how does art reveal the nature of time? Paul Atkinson investigates these questions through the work of the French philosopher Henri Bergson, whose theory of time as duration made him one of the most prominent thinkers of the fin de siecle. Although Bergson never enunciated an aesthetic theory and did not explicitly write on the visual arts, his philosophy gestures towards a play of sensual differences that is central to aesthetics. This book rethinks Bergson's philosophy in terms of aesthetics and provides a fascinating and original account of how Bergsonian ideas aid in understanding time and dynamism in the visual arts. From an examination of Bergson's influence on the visual arts to a reconsideration of the relationship between aesthetics and metaphysics, Henri Bergson and Visual Culture explores what it means to reconceptualise the visual arts in terms of duration. Atkinson revisits four key themes in Bergson's work - duration; time and the continuous gesture; the ramification of life and durational difference - and reveals Bergsonian aesthetics of duration through the application of these themes to a number of 19th and 20th-century artworks. This book introduces readers and art lovers to the work of Bergson and contributes to Bergsonian scholarship, as well as presenting a new of understanding the relationship between art and time.

Uncurating Sound performs, across five chapters, a deliberation between art, politics, knowledge and normativity. It foregrounds the perfidy of norms and engages in the curatorial as a colonial knowledge project, whose economy of exploitation draws a straight line from Enlightenment's desire for objectivity, through sugar, cotton and tobacco, via lives lost and money made to the violence of contemporary art. It takes from curation the notion of care and thinks it through purposeful inefficiency as resistance: going sideways and another way. Thus it moves curation through the double negative of not not to "uncuration": untethering knowledge from the expectations of reference and a canonical frame, and reconsidering art as political not in its message or aim, but by the way it confronts the institution. Looking at Kara Walker's work, the book invites the performance of the curatorial via indivisible connections and processes. Reading Kathy Acker and Adrian Piper it speculates on how the body brings us to knowledge beyond the ordinary. Playing Kate Carr and Ellen Fullman it re-examines Modernism's colonial ideology, and materialises the vibrational presence of a plural sense. Listening to Marguerite Humeau and Manon de Boer it avoids theory but agitates a direct knowing from voice and hands, and feet and ears that disorder hegemonic knowledge strands in favour of local, tacit, feminist and contingent knowledges that demand like Zanele Muholi's photographs, an ethical engagement with the work/world.