Experimental philosophy has blossomed into a variety of philosophical fields including ethics, epistemology, metaphysics and philosophy of language. But there has been very little experimental philosophical research in the domain of philosophical aesthetics. Advances to Experimental Philosophy of Aesthetics introduces this burgeoning research field, presenting it both in its unity and diversity, and determining the nature and methods of an experimental philosophy of aesthetics. Addressing a wide variety of empirical claims that are of interest to philosophers and psychologists, a team of authors from different disciplines tackle traditional and new problems in aesthetics, including the nature of aesthetic properties and norms, the possibility of aesthetic testimony, the role of emotions and moral judgment in art appreciation, the link between art and language, and the role of intuitions in philosophical aesthetics. Interacting with other disciplines such as moral psychology and linguistics, it demonstrates how philosophical aesthetics can integrate empirical methods and discover new ways of approaching core problems. Advances to Experimental Philosophy of Aesthetics is an important contribution to understanding aesthetics in the 21st century.

'Place in garden, lawn, to beautify landscape.' When Don Featherstone's plastic pink flamingos were first advertised in the 1957 Sears catalogue, these were the instructions. The flamingos are placed on the cover of this book for another reason: to start us asking questions. That's where philosophy always begins. Introducing Aesthetics and the Philosophy of Art is written to introduce students to a broad array of questions that have occupied philosophers since antiquity, and which continue to bother us today-questions like: - Is there something special about something's being art? Can a mass-produced plastic bird have that special something? - If someone likes plastic pink flamingos, does that mean they have bad taste? Is bad taste a bad thing? - Do Featherstone's pink flamingos mean anything? If so, does that depend on what Featherstone meant in designing them? Each chapter opens using a real world example - such as Marcel Duchamp's signed urinal, The Exorcist, and the ugliest animal in the world - to introduce and illustrate the issues under discussion. These case studies serve as touchstones throughout the chapter, keeping the concepts grounded and relatable. With its trademark conversational style, clear explanations, and wealth of supporting features, Introducing Aesthetics and the Philosophy of Art is the ideal introduction to the major problems, issues, and debates in the field. Now expanded and revised for its second edition, Introducing Aesthetics and the Philosophy of Art is designed to give readers the background and the tools necessary to begin asking and answering the most intriguing questions about art and beauty, even when those questions are about pink plastic flamingos.

Since the 1980s the number of women regularly directing films has increased significantly in most Western countries: in France, Claire Denis and Catherine Breillat have joined Agnes Varda in gaining international renown, while British directors Lynne Ramsay and Andrea Arnold have forged award-winning careers in feature film. This new volume in the Thinking Cinema series draws on feminist theorists and critics from Simone de Beauvoir on to offer readings of a range of the most important and memorable of these films from the 1990s and 2000s, focusing as it does so on how the films convey women's lives and identities.Mainstream entertainment cinema traditionally distorts the representation of women, objectifying their bodies, minimizing their agency,and avoiding the most important questions about how cinema can 'do justice' to female subjectivity: Kate Ince suggests that the films of independent women directors are progressively redressing the balance, and thereby reinvigorating both the narratives and the formal ambitions of European cinema. Ince uses feminist philosophers to cast a new veil over such films as Sex Is Comedy, Morvern Callar, White Material, and Fish Tank; and includes a timeline ofdevelopments in women's film-making and feminist film theory from 1970 to 2011.

Randall B. Bush analyzes the ways unacknowledged axiological assumptions (e.g., about what is important, why human beings are valuing creatures, and where the capacity to value comes from) prejudice the perspectives and approaches of various academic disciplines, especially in the social sciences and the humanities. The disciplines of ethics and aesthetics provide the most useful tools for a philosophy of value, but academic overspecialization has compartmentalized and segregated these disciplines from others, threatening to unravel the unity of conceptions of the moral and the beautiful in human existence. Bush argues that a dialectical approach to conflicts between ethics and aesthetics can point to a broader, axiological vision--informed by a Trinitarian conception of reality--in which the whole, a coherent theory of value, is more than the sum of its parts.

Morton Feldman: Friendship and Mourning in the New York Avant-Garde documents the collaborations and conflicts essential to the history of the post-war avant-garde. It offers a study of composer Morton Feldman's associations and friendships with artists like John Cage, Jackson Pollock, Philip Guston, Frank O'Hara, Charlotte Moorman, and others. Arguing that friendship and mourning sustained the collective aesthetics of the New York School, Dohoney has written an emotional and intimate revision of New York modernism from the point of view of Feldman's agonistic community.

Locating poetry in a philosophy of the everyday, Brett Bourbon continues a tradition of attention to logic in everyday utterances through Wittgenstein, Austin, Quine, and Cavell, arguing that poems are events of form, not just collections of words, which shape everyone's lives. Poems taught in class are formalizations of the everyday poems we live amidst, albeit unknowingly. Bourbon resurrects these poems to construct an anthropology of form that centers everyday poems as events or interruptions within our lives. Expanding our understanding of what a poem is, this book argues that poems be understood as events of form that may depend on words but are not fundamentally constituted by them. This line of thought delves into a poem's linguistic particularity, to ask what a poem is and how we know. By reclaiming arenas previously ceded to essayists and literary writers, Bourbon reveals the care and attention necessary to uncovering the intimate relationship between poems, life, reading and living. A philosophical meditation on the nature of poetry, but also on the meaning of love and the claim of words upon us, Everyday Poetics situates the importance of everyday poems as events in our lives.

Translation exposes aspects of language that can easily be ignored, renewing the sense of the proximity and inseparability of language and thought. The ancient quarrel between philosophy and literature was an early expression of a self-understanding of philosophy that has, in some quarters at least, survived the centuries. This book explores the idea of translation as a philosophical theme and as an important feature of philosophy and practical life, especially in relation to the work of Stanley Cavell. The essays in this volume explore philosophical questions about translation, especially in the light of the work of Stanley Cavell. They take the questions raised by translation to be of key importance not only for philosophical thinking but for our lives as a whole. Thoreau's enigmatic remark "The truth is translated" reveals that apparently technical matters of translation extend through human lives to remarkable effect, conditioning the ways in which the world comes to light. The experience of the translator exemplifies the challenge of judgement where governing rules and principles are incommensurable; and it shows something of the ways in which words come to us, opening new possibilities of thought. This book puts Cavell's rich exploration of these matters into conversation with traditions of pragmatism and European thought. Translation, then, far from a merely technical matter, is at work in human being, and it is the means of humanisation. The book brings together philosophers and translators with common interests in Cavell and in the questions of language at the heart of his work.

'Nobody knows how to write'. Thus opens this carefully nuanced and accessible collection of essays by one of the most important writer-philosophers of the 20th century, Jean-Francois Lyotard (1924-1998). First published in French in 1991 as Lectures d'enfance, these essays have never been printed as a collection in English. In them, Lyotard investigates his idea of infantia, or the infancy of thought that resists all forms of development, either human or technological. Each essay responds to works by writers and thinkers who are central to cultural modernism, such as James Joyce, Franz Kafka, Hannah Arendt, Jean-Paul Sartre, and Sigmund Freud. This volume - with a new introduction and afterword by Robert Harvey and Kiff Bamford - contextualises Lyotard's thought and demonstrates his continued relevance today.

Philosophic attention shifted after Hegel from Kant s emphasis on sensibility to criticism and analyses of the fine arts. The arts themselves seemed as ample as nature; a disciplined science could devote as much energy to one as the other. But then the arts began to splinter because of new technologies: photography displaced figurative painting; hearing recorded music reduced the interest in learning to play it. The firm interiority that Hegel assumed was undermined by the speed, mechanization, and distractions of modern life. We inherit two problems: restore quality and conviction in the arts; cultivate the interiority the sensibility that is a condition for judgment in every domain. What is sensibility s role in experiences of every sort, but especially those provoked when art is made and enjoyed?"

Bare Architecture: a schizoanalysis, is a poststructural exploration of the interface between architecture and the body. Chris L. Smith skilfully introduces and explains numerous concepts drawn from poststructural philosophy to explore the manner by which the architecture/body relation may be rethought in the 21st century. Multiple well-known figures in the discourses of poststructuralism are invoked: Gilles Deleuze and Felix Guattari, Roland Barthes, Georges Bataille, Maurice Blanchot, Jorges Luis Borges and Michel Serres. These figures bring into view the philosophical frame in which the body is formulated. Alongside the philosophy, the architecture that Smith comes to refer to as 'bare architecture' is explored. Smith considers architecture as a complex construction and the book draws upon literature, art and music, to provide a critique of the limits, extents and opportunities for architecture itself. The book considers key works from the architects Douglas Darden, Georges Pingusson, Lacatan and Vassal, Carlo Scarpa, Peter Zumthor, Marco Casagrande and Sami Rintala and Raumlabor. Such works are engaged for their capacities to foster a rethinking of the relation between architecture and the body.

The cinema of Theo Angelopoulos is celebrated as challenging the status quo. From the political films of the 1970s through to the more existential works of his later career, Vrasidis Karalis argues for a coherent and nuanced philosophy underpinning Angelopoulos' work. The political force of his films, including the classic The Travelling Players (1975), gave way to more essayistic works exploring identity, love, loss, memory and, ultimately, mortality. This development of sensibilities is charted along with the key cultural moments informing Angelopoulos' shifting thinking. From Voyage to Cythera (1984) until his last film, The Dust of Time (2009), Angelopoulos' problematic heroes in search of meaning and purpose engaged with the thinking of Plato, Mark, Heidegger, Arendt and Luckacs, both implicitly and explicitly. Theo Angelopoulos also explores the rich visual language and 'ocular poetics' of Angelopopulos' oeuvre and his mastery of communicating profundity through the everyday. Karalis argues for a reading of his work that embraces contradiction and celebrates the unsettling questions at the heart of his work.