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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.
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 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.
This selection of photographs by cameraman Martin Strba is an
important representative of the Slovak New Wave, and reflects the
personal story of this artist and his unique ability through simple
compositions to capture the feelings and values that he believes to
be important. The publication is the first monograph to be
presented to the wider public and critics. Martin Strba doesn't
intend to shock the viewer, he just wants to talk. He doesn't want
to comprehend the whole world, only what he finds to be important.
Love, faith, closeness, friendship. The men and women in his
photographs are symbols at the same time as they are concrete
people. He admits that he is inspired by surrealism, which is
visible in the absurd line of his work. The influence of the film
industry appeares in his pictures too.
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.
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.
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
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.
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