The Meeting of Aesthetics and Ethics in the Academy provides a deep understanding of the nuances of ethics in the creative environment and contributes to the critical exploration of the nature of research ethics in higher education. Written by world-renown academics with a wealth of experience in this field, this volume explores ethical challenges and responses across a range of creative practices and disciplines including design, documentary film making, journalism, socially engaged arts and the visual arts. It addresses the complex negotiations that creative practice researchers in higher education undertake to ensure that the ethical compliance required does not undermine the research integrity and artistic aspirations. By presenting carefully considered challenges to accepted models of research, this book illustrates critical analysis through a variety of case studies and anecdotal examples that provide an insight into improved ethics practices and policies in higher education. This book is perfect for academics, ethics administrators, higher degree research candidates and supervisors looking to engage further in creative practice research and wanting to explore and understand its ethical oversight.

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.

Cognition and Temporality: The Genesis of Historical Thought in Perception and Reasoning argues that both verbal grammar and figural grammar have their cognitive basis in twelve characteristic forms of judgment, distributed among individuals in human populations throughout history. These twelve logical forms are context-free and language-free foundations in our attentional awareness and shape all verbal and figural statements. Moreover, these types of historical judgment are psychogenetic inheritances in a population, and each serves a distinct problem-solving function in the human species. Through analysis of verbal and figural statements, Mark E. Blum contends, the researcher can find evidence of these forms of judgment and in turn analyze how the event to which those statements attend is formally constructed by that judgment. This construction guides how the event is assessed, approached, and engaged in the process of problem-solving. Artists and aestheticians in the early twentieth century-including Wassily Kandinsky, Stephen C. Pepper, and Andrew Paul Ushenko-have all posited an inherited attentional perspective in individuals, manifested in the logical correspondence between their distinctive verbal and figural grammars. Cognition and Temporality elaborates these claims, arguing that while the styles of well-known writers and artists are conditioned by the public styles of a particular time period, variations in personal style manifest one's inherited form of judgment and the characteristic grammars that express that form. Through rigorous visual and stylistic analysis, this book demonstrates the expression of these forms among notable painters, historians, and writers across history. The result is a wide-ranging and provocative contribution to phenomenology, aesthetic philosophy, and cultural history.

Li Zehou is widely regarded as one of China's most influential contemporary thinkers. He has produced influential theories of the development of Chinese thought and the place of aesthetics in Chinese ethics and value theory. This book is the first English-language translation of Li Zehou's work on classical Chinese thought. It includes chapters on the classical Chinese thinkers, including Confucius, Mozi, Laozi, Sunzi, Xunzi and Zhuangzi, and also on later eras and thinkers such as Dong Zhongshu in the Han Dynasty and the Song-Ming Neo-Confucians. The essays in this book not only discuss these historical figures and their ideas, but also consider their historical significance, and how key themes from these early schools reappeared in and shaped later periods and thinkers. Taken together, they highlight the breadth of Li Zehou's scholarship and his syncretic approach-his explanations of prominent thinkers and key periods in Chinese intellectual history blend ideas from both the Chinese and Western canons, while also drawing on contemporary thinkers in both traditions. The book also includes an introduction written by the translator that helpfully explains the significance of Li Zehou's work and its prospects for fostering cross-cultural dialogue with Western philosophy. A History of Chinese Classical Thought will be of interest to advanced students and scholars interested in Chinese philosophy, comparative philosophy, and Chinese intellectual and social history.

This book is a significant re-thinking of Duchamp's importance in the twenty-first century, taking seriously the readymade as a critical exploration of object-oriented relations under the conditions of consumer capitalism. The readymade is understood as an act of accelerating art as a discourse, of pushing to the point of excess the philosophical precepts of modern aesthetics on which the notion of art in modernity is based. Julian Haladyn argues for an accelerated Duchamp that speaks to a contemporary condition of art within our era of globalized capitalist production.

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.

In this book, Stephen Acreman follows the development and reception of a hitherto under-analyzed concept central to modern and postmodern political theory: the Kantian ein erweiterte Denkungsart, or enlarged mentality. While the enlarged mentality plays a major role in a number of key texts underpinning contemporary democratic theory, including works by Arendt, Gadamer, Habermas, and Lyotard, this is the first in-depth study of the concept encompassing and bringing together its full range of expressions. A number of attempts to place the enlarged mentality at the service of particular ideals-the politics of empathy, of consensus, of agonistic contest, or of moral righteousness-are challenged and redirected. In its exploration of the enlarged mentality, the book asks what it means to assume a properly political stance, and, in giving as the answer 'facing reality together', it uncovers a political theory attentive to the facts and events that concern us, and uniquely well suited to the ecological politics of our time.

Affect and emotion have come to dominate discourse on social and political life in the mobile and networked societies of the early 21st century. This volume introduces a unique collection of essential concepts for theorizing and empirically investigating societies as Affective Societies. The concepts promote insights into the affective foundations of social coexistence and are indispensable to comprehend the many areas of conflict linked to emotion such as migration, political populism, or local and global inequalities. Adhering to an instructive narrative, Affective Societies provides historical orientation; detailed explication of the concept in question, clear-cut research examples, and an outlook at the end of each chapter. Presenting interdisciplinary research from scholars within the Collaborative Research Center "Affective Societies," this insightful monograph will appeal to students and researchers interested in fields such as affect and emotion, anthropology, cultural studies, and media studies.

This book argues that a renewed consideration of artistic value should both critique contemporary bureaucratic misunderstandings of what art is and address the complexities and questions of contemporary philosophers in new and provocative ways. Writer and poet Ali Alizadeh focusses on the artistic theories of the key Western philosopher of value, Karl Marx. He explores Marx's thoughts on art and literature and provides a new account of his revolutionary view of why we make art and how we understand art's value. By returning to Marx's writings, from his juvenile poetry and earliest journalism to his final publications, Alizadeh proposes a theory which not only challenges many tenets of contemporary Marxist literary or cultural theory, but one which also presents us with a profound, coherent and stimulating theory of art that defines, values and demonstrates artistic practice. By mapping Marx's intellectual development from the ideals of a young Hegelian to the polemics of a seasoned internationalist communist he shows that Marx never lost sight of art as a key aspect of human activity.

Sound Pressure reveals how speaker systems mounted in public, employment, military and entertainment environments have played a pivotal role in the way that humans have been physiologically and psychologically organised and disciplined throughout the past century. The networked Wired Radio speakers of the 1920's industrialised factory, acoustically anchor a narrative based on the functional utilisation of sound systems for insidious purposes; from the surround-sound techniques of the Waco siege, to the application of sonic torture in Guantanamo and Abu Ghraib. Crucially, Sound Pressure identifies the logic behind the miniaturisation and disappearance of visible sound system technologies as they transmute into the ultrasonic dynamics of the Hypersonic Sound System and covert bone conduction techniques of Whispering Windows. The book charts an evolution of speaker technology that has been, and will be, used to influence, manipulate and torture the collective and isolated body. It amplifies the connections between LRADs, iPods, Mosquitos, Intonarumori, loudhailers, and Sequential Arc Discharge Acoustic Generators - the meta-network of speaker systems through which rhythms and cadences of power are transmitted, connected, and modulated.

Adorno's writings are often the starting point for the teaching of popular music studies, usually passing swiftly on, after concluding that 'he didn't listen to the right jazz' or 'he was a snob'. In this book, using Adorno's aesthetic theory more generally, a viable philosophical approach to the study of idiomatic, non- standard music is constructed. The links between Adorno's work and its Kantian roots are explored, and a more general and inclusive aesthetic constructed, using the utopian and implicitly political elements in each. This book will be of interest to critical theorists and musicologists wishing to build a more engaged practice without the pitfalls of a by now outdated 'postmodern' turn.

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.

This book argues that a renewed consideration of artistic value should both critique contemporary bureaucratic misunderstandings of what art is and address the complexities and questions of contemporary philosophers in new and provocative ways. Writer and poet Ali Alizadeh focusses on the artistic theories of the key Western philosopher of value, Karl Marx. He explores Marx's thoughts on art and literature and provides a new account of his revolutionary view of why we make art and how we understand art's value. By returning to Marx's writings, from his juvenile poetry and earliest journalism to his final publications, Alizadeh proposes a theory which not only challenges many tenets of contemporary Marxist literary or cultural theory, but one which also presents us with a profound, coherent and stimulating theory of art that defines, values and demonstrates artistic practice. By mapping Marx's intellectual development from the ideals of a young Hegelian to the polemics of a seasoned internationalist communist he shows that Marx never lost sight of art as a key aspect of human activity.

This book offers a diverse understanding and practical approach towards the growing area of atmosphere research, in the context of philosophy, geography and architecture. It begins by tracing back to the model of experience called the "pathic". Drawing on the phenomenology of theorists Hermann Schmitz and Gernot Boehme, introductory chapters offer a grounding for the beginnings of pathic research. The chapters go on to apply pathic framework to a range of practical cases from theatre studies to education. Atmospheres are often defined as affects one feels in a "lived space" and researchers are becoming more interested in the emotions we feel in natural and artificial environments across day to day life. By providing a critical re-evaluation of phenomenology and aesthetics, the book brings a series of unexplored and controversial subjects to light, opening up a new context for thinking about our everyday life and experiences inscribed within aesthetics, politics, literature, spatial practices and pedagogy and effectively merging abstract philosophy and concrete practice. This book is particularly poignant in the emerging field of Atmosphere and New Aesthetics research. Practitioners, academics and researchers working within Cultural Geography, Aesthetics, Art and Philosophy will find this book extremely valuable.

From explorations of video game series to Netflix shows to Facebook timelines, Subjective Experiences of Interactive Nostalgia helps readers understand what it is actually like to be nostalgic in a world that increasingly asks us to interact with our past. Interdisciplinary authors tackle the subject from historical, philosophical, rhetorical, sociological, and economic perspectives, all the while asking big questions about what it means to be asked to be active participants in our own mediated histories. Scholars and pop culture enthusiasts alike will find something to love as this collection moves from a look at traditional interactive media, such as video games, to nostalgia within all things digital and ends with a rethinking of the potentials of nostalgia itself.

This compelling book defends realism concerning the aesthetic-in particular, concerning the aesthetic properties of works of art (including works of literature). Morais lucidly argues that art criticism, when referring to aesthetic properties, is referring not ultimately to the critic's subjective reactions, but to genuine properties of the works. With a focus on contemporary discussion conducted in the analytic tradition, as well as on arguments by Hume and Kant, this book characterizes the debate in aesthetics and the philosophy of art concerning aesthetic realism, examining attacks on the objectivity of values, the 'autonomy thesis', and Hume's sentimentalism. Considering and defusing scepticism concerning the significance of the ontological debate about aesthetic realism, Morais discusses two powerful attacks on aesthetic realism before defending the doctrine against them and providing a positive realist account of aesthetic properties.

This book is an exploration of how art-specifically paintings in the European manner-can be mobilized to make knowledge claims about the past. No type of human-made tangible thing makes more complex and bewildering demands in this respect than paintings. Ivan Gaskell argues that the search for pictorial meaning in paintings yields limited results and should be replaced by attempts to define the point of such things, which is cumulative and ever subject to change. He shows that while it is not possible to define what art is-other than being an open kind-it is possible to define what a painting is, as a species of drawing, regardless of whether that painting is an artwork or not at any given time. The book demonstrates that things can be artworks on some occasions but not necessarily on others, though it is easier for a thing to acquire artwork status than to lose it. That is, the movement of a thing into and out of the artworld is not symmetrical. All such considerations are properly matters not of ontology-what is and what is not an artwork-but of use; that is, how a thing might or might not function as an artwork under any given circumstances. These considerations necessarily affect the approach to paintings that at any given time might be able to function as an artwork or might not be able to function as such. Only by taking these factors into account can anyone make viable knowledge about the past. This lively discussion ranges over innumerable examples of paintings, from Rembrandt to Rothko, as well as plenty of far less familiar material from contemporary Catholic devotional works to the Chinese avant garde. Its aim is to enhance philosophical acuity in respect of the analysis of paintings, and to increase their amenability to philosophically satisfying historical use. Paintings and the Past is a must-read for all advanced students and scholars concerned with philosophy of art, aesthetics, historical method, and art history.

From explorations of video game series to Netflix shows to Facebook timelines, Subjective Experiences of Interactive Nostalgia helps readers understand what it is actually like to be nostalgic in a world that increasingly asks us to interact with our past. Interdisciplinary authors tackle the subject from historical, philosophical, rhetorical, sociological, and economic perspectives, all the while asking big questions about what it means to be asked to be active participants in our own mediated histories. Scholars and pop culture enthusiasts alike will find something to love as this collection moves from a look at traditional interactive media, such as video games, to nostalgia within all things digital and ends with a rethinking of the potentials of nostalgia itself.

Intersections of Value investigates the universal human need for aesthetic experience. It examines three appreciative contexts where aesthetic value plays a central role: art, nature, and the everyday. However, no important appreciative context or practice is completely centered on a single value. Hence, the book explores the way the aesthetic interacts with moral, cognitive, and functional values in these contexts. The account of aesthetic appreciation is complemented by analyses of the cognitive and ethical value of art, the connection between environmental ethics and aesthetics, and the degree to which the aesthetic value of everyday artefacts derives from their basic practical functions. Robert Stecker devotes special attention to art as an appreciative context because it is an especially rich arena where different values interact. There is an important connection between artistic value and aesthetic value, but it is a mistake to reduce the former to the latter. Rather, artistic value should be seen as complex and pluralistic, composed not only of aesthetic but also ethical, cognitive, and art-historical values.

There are as many meanings to drawing and painting as there are cultural contexts for them to exist in. But this is not the end of the story. Drawings and paintings are made, and in their making embody unique meanings that transform our perception of space-time and sense of finitude. These meanings have not been addressed by art history or visual studies hitherto, and have only been considered indirectly by philosophers (mainly in the phenomenological tradition). If these intrinsic meanings are explained and further developed, then the philosophy of art practice is significantly enhanced. The present work, accordingly, is a phenomenology of how the gestural and digital creation of visual imagery generates self-transformation through aesthetic space.

This volume addresses key questions related to how content in thought is derived from perceptual experience. It includes chapters that focus on single issues on perception and cognition, as well as others that relate these issues to an important social construct that involves both perceptual experience and cognitive activities: aesthetics. While the volume includes many diverse views, several prominent themes unite the individual essays: a challenge to the notion of the discreet, and non-temporal, unit of perception, a challenge to the traditional divide between perception and cognition, and a challenge to the traditional divide between unconscious and conscious intentionality. Additionally, the chapters discuss the content of perceptual experience, the value of traditional notions of content, disjunctivism, adverbialism, and phenomenal experience. The final section of essays dealing with perception and cognition in aesthetics features work in experimental aesthetics and unique perspectives from artists and gallerists working outside of philosophy. Perception, Cognition and Aesthetics is a timely volume that offers a range of unique perspectives on debates in philosophy of mind surrounding perception and cognition. It will also appeal to scholars working in aesthetics and art theory who are interested in the ways these debates influence our understanding of art.

Object-Oriented Cartography provides an innovative perspective on the changing nature of maps and cartographic study. Through a renewed theoretical reading of contemporary cartography, this book acknowledges the shifted interest from cartographic representation to mapping practice and proposes an alternative consideration of the 'thingness' of maps. Rather than asking how maps map onto reality, it explores the possibilities of a speculative-realist map theory by bringing cartographic objects to the foreground. Through a pragmatic perspective, this book focuses on both digital and nondigital maps and establishes an unprecedented dialogue between the field of map studies and object-oriented ontology. This dialogue is carried out through a series of reflections and case studies involving aesthetics and technology, ethnography and image theory, and narrative and photography. Proposing methods to further develop this kind of cartographic research, this book will be invaluable reading for researchers and graduate students in the fields of Cartography and Geohumanities.

Political Philosophy In the Moment uncovers the political power of narrative by both telling and explaining the stories that frame our ability to be "in the moment." In a series of eleven short stories, Jim Josefson presents the history of political philosophy and Hannah Arendt's alternative, an aesthetic form of politics. In the early stories, Josefson recounts how the four main traditions of political philosophy (Platonism, Aristotelianism, liberalism and historicism) promise truth but deny us the freedom available in reality. Then, he reviews the alternative narratives offered by thinkers like Kierkegaard, Nietzsche and Heidegger, which influenced Arendt's view. The final chapters chart Arendt's route back to the Moment, the freedom to read and tell a fuller story about the beauty and horrors that appear in the world. A page-turning book of short stories and a tour through the greatest works of political philosophy, Political Philosophy In the Moment is as approachable, comprehensible and welcoming as a fairy-tale, ideally suited for students of contemporary political theory and anyone interested in political thought.

This collection builds on the growing recognition and critical acclaim of Volumes 1 and 2 of "Violence, Desire, and the Sacred "with a distinct focus on media, film and television. It showcases the work of outstanding scholars in mimetic theory and how they are applying and developing Rene Girard's insights. Consistent with the previous volumes, "Mimesis, Movies, and Media" presents the most up-to-date interdisciplinary work being developed with the ground-breaking insights of Girard. This volume has a more popular focus with the contributors analyzing well-known films and television series. It brings together major Australian and international scholars working in this area.