Aesthetic experiences are basically inconceivable without specific
objects. What consequences does this object-relatedness have for
the nature of aesthetic experience? To what extent do aesthetic
objects also determine how they are experienced? The texts in the
book consider their topic on the one hand empirically through
examining concrete aesthetic objects from art, popular culture, and
religion, but on the other, also by means of historical and
theoretical reflections. By examining new adjustments to theory
such as post-humanism, actor-network theory, object-oriented
rational ontology, and speculative realism, conventional
social-constructive explanatory models are transcended in favor of
defining the aesthetic as a necessary interplay between object and
experience.
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