This book builds a new understanding of the body and its relationship to images and technology, using a framework where novel writings of pragmatist somaesthetics and phenomenology meet new research on bodily reactions. Max Ryynanen gives an overview of the topic by collecting the existing information of our bodies gazing at visual culture and the philosophies supporting these phenomena, and examines the way the gaze and the body come together in our relationship to culture. Themes covered include somatic film; the body in artistic documentation of activist art; body parts (and their mutilation or surgeries) in contemporary art and film; robot cars and our visual relationship to them; the usefulness of Indian rasa philosophy in explaining digital culture; and an examination of Mario Perniola's work about the idea that we, human beings, are increasingly experiencing ourselves to be simply "things." The book will be of interest to scholars working in art history, aesthetics, cultural philosophy, film studies, technology studies, media studies, cultural studies, and visual studies.

This book inaugurates a new phase in kitsch studies. Kitsch, an aesthetic slur of the 19th and the 20th century, is increasingly considered a positive term and at the heart of today's society. Eleven distinguished authors from philosophy, cultural studies and the arts discuss a wide range of topics including beauty, fashion, kitsch in the context of mourning, bio-art, visual arts, architecture and political kitsch. In addition, the editors provide a concise theoretical introduction to the volume and the subject. The role of kitsch in contemporary culture and society is innovatively explored and the volume aims not to condemn but to accept and understand why kitsch has become acceptable today.

This book investigates how we are involved in politically informed structures and how they appear to us. Following different approaches in contemporary aesthetics and cultural philosophy, such as everyday aesthetics, atmosphere and aestheticization, the contributions explore how embedded powers in politics, education, democracy, and landscape are analyzed through aesthetics.

This edited volume traces cultural appearances of disgust and investigates the varied forms and functions disgust takes and is given in both established and vernacular cultural practices. Contributors focus on the socio-cultural creation, consumption, reception, and experience of disgust, a visceral emotion whose cultural situatedness and circulation has historically been overlooked in academic scholarship. Chapters challenge and supplement the biological understanding of disgust as a danger reaction and as a base emotion evoked by the lower senses, touch, taste and smell, through a wealth of original case studies in which disgust is analyzed in its aesthetic qualities, and in its cultural and artistic appearances and uses, featuring visual and aural media. Because it is interdisciplinary, the book will be of interest to scholars in a wide range of fields, including visual studies, philosophy, aesthetics, sociology, history, literature, and musicology.

The impact of aesthetics is increasing again. For today's scholars, aesthetic theories are a significant companion and contribution in studying and ana-lysing cultural phenomena and production. Today's scene of aesthetics is more global than what it is in most disciplines, as it does not just include scholars from all over the world, but also keeps on applying philosophical traditions globally

This book concentrates on the deep historical, political, and institutional relationships between art, education, and excess. Going beyond field specific discourses of art history, art criticism, philosophy, and aesthetics, it explores how the concept of excess has been important and enduring from antiquity through contemporary art, and from early film through the newer interactive media. Examples considered throughout the book focus on disgust, grandiosity, sex, violence, horror, disfigurement, endurance, shock, abundance, and emptiness, and frames them all within an educational context. Together they provide theories and classificatory systems, historical and political interpretations of art and excess, examples of popular culture, and suggestions for the future of educational practice.

Architectural decay as well as the reasons, effects, appearance and representation of ruination have always been important sources of understanding the state of our culture. The essays in this co-written book offer broad perspectives on the potential of ruins, on the use and appropriation of derelict architecture and on the aesthetics and also touristification of places by analysing a variety of phenomena in the range from classical to fake ruins, from historic city centres to hot dog stands, from debris to theme parks. The survey travels from Tallin through Venice and Istanbul to Beirut, discussing among others actual spaces, allegorical monuments and nostalgic aestheticisations of the past in high and popular culture, thus showing numerous inspiring opportunities of learning from decay.

This book is an introduction to the history of the concept and the institution of (fine) art, from its ancient Southern European roots to the establishment of the modern system of the arts in eighteenth century Central Europe. It highlights the way the concept and institution of (fine) art, through colonialism and diaspora, conquered the world. Ryynanen presents globally competing frameworks from India to Japan but also describes how the art system debased local European artistic cultures (by women, members of the working class, etc) and how art with the capital A appropriated not just non-Western but also Western alternatives to art (popular culture). The book discusses alternative art forms such as sport, kitsch, and rap music as pockets of resistance and resources for future concepts of art. Ultimately, the book introduces nobrow as an alternative to high and low, a new concept that sheds light on the democratic potentials of the field of art and invites reader to rethink the nature of art.

This book concentrates on the deep historical, political, and institutional relationships between art, education, and excess. Going beyond field specific discourses of art history, art criticism, philosophy, and aesthetics, it explores how the concept of excess has been important and enduring from antiquity through contemporary art, and from early film through the newer interactive media. Examples considered throughout the book focus on disgust, grandiosity, sex, violence, horror, disfigurement, endurance, shock, abundance, and emptiness, and frames them all within an educational context. Together they provide theories and classificatory systems, historical and political interpretations of art and excess, examples of popular culture, and suggestions for the future of educational practice.