Filosofi: æstetik

In this book, Hong Kong is seen as a labyrinth, a postmodern site of capitalist desires, and a panoptic space both homely and unhomely. The author maps out various specific locations of the city through the intertwined disciplines of street photography, autoethnography and psychogeography. By meandering through the urban landscape and taking street photographs, this form of practice is open to the various metaphors, atmospheres and visual discourses offered up by the street scenes. The result is a practice-led research project informed by both documentary and creative writing that seeks to articulate thinking via the process of art-making. As a research project on the affective mapping of places in the city, the book examines what Hong Kong is, as thought and felt by the person on the street. It explores the everyday experiences afforded by the city through the figure of the flâneur wandering in shopping districts and street markets. Through hisown street photographs and drawing from the writings of Byung-Chul Han, Walter Benjamin and Michel de Certeau, the author explores feelings, affects, and states of mind as he explores the city and its social life.

Ouesto volume raccoglie gli Atti del Congresso lnternazionale "Attualita dell'Estetica hegeliana", organizzato da Giacomo Rinaldi in collaborazione con l'Universita di Urbino, dove ebbe luogo dal 3 al 5 maggio 2022. II ruolo cruciale svolto nello sviluppo storico dell'Estetica dalla Filosofia dell'arte di Hegel, e la sua costante vitalita e rilevanza teoretica, spiegano e giustificano ii titolo apposto sia al Congresso che al volume degli Atti, e sono stati esaminati con ampiezza e profondita in alcune delle relazioni in esso tenute, mentre altre hanno messo debitamente in rilievo l'inconsistenza delle tendenze alternative elaborate dall'estetica contemporanea, in particolare dal materialismo storico, dall'esistenzialismo fenomenologico e dallo storicismo di Croce. Una sommaria valutazione critica di tutte le teorie estetiche presentate in questo volume viene delineata nell'lntroduzione dal suo Curatore.

Collects together for the first time essays devoted to a detailed historical and systematic discussion of the topic of life in Kant's work.

Offers a fresh approach to the problem of the human figure in an age of digital cinema.

Offers a new, Spinozist framework for understanding encounters with otherness in Romantic literature as experiences of immanence.

DENNE BOG handler om, hvordan man har tænkt skønheden ud fra den præmis, at mennesket er et sanseligt og fornuftigt væsen. Den omfatter filosofiske, idéhistoriske og kunsthistoriske studier. Skønhedens erfaring vil sige, at skønheden er virkelig og sætter sig igennem i menneskets følelsesliv. Bogen vil afdække skønhedens fænomenologi. Som filosofisk æstetik undersøger bogen den tese, at skønheden er et særtilfælde af sansning, aisthēsis, et begreb, der må stå i centrum, og hvorfra de væsentligste begreber må udspringe. For at forklare, hvordan sansningen, nuet og skønheden er knyttet sammen, inddrages nogle af filosofiens største navne. Analyser af litteratur, billedkunst og film indgår forat kaste lys over æstetiske idéer som det skønne, det hæslige, smag, landskab og kunstværk. Til sammen sigter studierne efter at indkredse, hvordan skønhedensbegreb er blevet udformet i den vestlige tradition.

This book provides a thorough analysis focused on the sound expression produced by human-crafted musical instrument ¿ a pipe organ, in which various components blend into a complex whole to produce a wide range of timbres. The sound produced by wooden and metal pipes of a variety of sizes is an integral part of the instrument¿s unique character, while the organ stop is like its signature, from which one can judge about the size and style of the instrument, an organ building school or even an organ master, to which it is attributable. Precise identification of the name of the stop in accordance to both the pipework itself and the authentic inscriptions on the pipes is instrumental in investigating the geographic origins and authorship of an organ. The monograph focuses on the craftsmanship of complex and historically influential organ stop Vox humana. Its research and definition provides specific information distinguishing particular features in the variety of organ building traditions and discussing the differences in organ sound perception and production. The volume is aimed at art and music historians, as well as musicologists and scholars researching restoration techniques.The book contains supplemental material with video and audio material as well as photo-documentation of authentic Vox humana examples. The material is placed in the online catalog, which may be accessed by scanning the QR code in the appendix of the book.dsgdsgds

This book challenges the dominant expertise professionalism rationale for music education by responding to the call to develop ¿ecological awareness¿ at a time when all professions have a moral obligation to place sustainable and interdependent life at the center. The book aims to expand music education¿s professional horizons to acknowledge the responsibility of the music field to contribute to the demands of complex questions of sustainability and identify the ways in which sustainable music education may be strengthened through an activist relational ecological stance. It suggests a radical moral turn by asking: What if music education is recognised as part of the problem of sustaining unsustainability? and What if music teacher education was developed in and through dialogue with a futures perspective? These questions are interrogated through a critical analysis of the historical positioning of music in education and an interdisciplinary application of theories of ecology and professionalism.

Roger Fry ¿ Maler, Kurator, Kunstkritiker und -theoretiker in Personalunion ¿ hat in der ersten Hälfte des 20. Jahrhunderts wie kein Zweiter die Wahrnehmung von Kunst in Großbritannien beeinflusst. Fry war Mitglied der »Bloomsbury Group« um die Schwestern Virginia Woolf und Vanessa Bell und hat mit zwei skandalumwitterten Ausstellungen in London 1910 und 1912 bedeutende Vertreter der europäischen Malerei der Moderne, insbesondere Manet, Cézanne, Gauguin, Van Gogh und Matisse, unter dem von ihm geprägten Ausdruck »Post-Impressionisten« in der angelsächsischen Welt zuerst einem größeren Publikum bekannt gemacht.Mit diesem Band wird erstmals im deutschen Sprachraum eine Auswahl seiner kunsttheoretischen Schriften vorgelegt. Der »Versuch über Ästhetik« (1909), den Clive Bell als »hilfreichsten Beitrag zu dieser Wissenschaft ... seit den Tagen Kants« bezeichnete, gibt der kurz darauf in London ausgestellten Malerei das theoretische Fundament, indem Fry darin den Begriff einer Kunst entfaltet, die sich in der Moderne nicht mehr zur Nachahmung der Natur verpflichtet weiß. Weitere kleine Schriften, u.a. etwa »Das Sehen des Künstlers« (1919) oder »Der Künstler und die Psychoanalyse« (1924), machen manche im »Versuch über Ästhetik« nur angedeutete argumentative Zusammenhänge in einem breiteren Kontext verständlich.

Nietzsche zeigt, dass die Sprache, wo immer sie Wirklichkeit abbildet, diese verfälscht. Diese Feststellung muss jedoch nicht mit einer Entwertung der Sprache einhergehen, sondern sie erlaubt vielmehr, deren schöpferisches Potenzial für das Erkennen freizulegen. Ein halbes Jahrhundert später findet man auch bei Adorno den Versuch, die Sprache während des Sturzes der Wahrheit und Erkenntnis verbürgenden Metaphysik dennoch als Darstellungsinstrument zu retten. Doch wie lässt sich die spezifische Darstellungsform einer Philosophie begreifen, die die Form selbst als Verfälschung ihres Inhalts begreift? Was ist die ,Form' kritischen Denkens? Das Buch untersucht ästhetische Konvergenzen zwischen zwei Denkern, die die philosophische Forschung üblicherweise auseinanderhält, da sie Nietzsches ,Perspektivismus' für unvereinbar mit Adornos ,Materialismus' hält. Die Autorin zeigt dagegen auf, wie entscheidend Nietzsche für die Prägung von Adornos Ästhetik ist ("Ich habe ihm am meisten zu verdanken, in Wahrheit vielleicht mehr noch als Hegel") und wie tief sich ihre Überlegungen entlang dreier Themenkreise verweben: Sprachkritik, Musik und Stil. Das Buch unternimmt es auf diese Weise, eine Tradition der ästhetischen Form zu rekonstruieren, die dem logischen Positivismus der Sprachphilosophien des 20. Jahrhunderts gegenübersteht.

Die künstlerische Produktion der Gegenwart ist äußerst divers und kaum mehr auf klare Kategorien festlegbar. Es ist eine geläufige Diagnose, dass sich Disziplinengrenzen auflösen und dass letztlich alles in einer Kunst im Singular aufgeht. Das Buch vertritt die These, dass bei allen Überschreitungs- und Hybridisierungsbewegungen disziplinäre Logiken weiterhin bedeutsam sind und dass die Begriffe der Kunst im Singular und der Künste im Plural nur schlecht geeignet sind, diese Situation zu beschreiben: Sie unterschätzen die Heterogenität der künstlerischen Arbeiten bzw. suggerieren, die verschiedenen Disziplinen ließen sich sauber nebeneinander sortieren und folgten im Großen und Ganzen derselben Logik, was offensichtlich nicht der Fall ist. Als alternative Beschreibungsmöglichkeiten werden die Begriffe des Materials und des Ortes angeboten, mit denen jeweils konkrete, aber systematisch verankerte Analysen an die Stelle klarer Kategorisierungen gesetzt werden. Der Begriff des künstlerischen Materials wird von Theodor W. Adorno übernommen, aber flexibilisiert: Er ist produktiv darin, dass er die innere Historizität von Kunstwerken zu denken erlaubt und sie auf Vorläufer und Traditionslinien beziehbar macht. Er muss allerdings von der Vorstellung eines klaren Fortschritts befreit und von der Fixierung auf einzelne, getrennte Disziplinen gelöst werden. Mit dem Begriff des Ortes wird der disziplinären, architektonischen, institutionellen und geopolitischen Situierung künstlerischer Arbeiten Rechnung getragen. Die beiden Begriffe funktionieren komplementär, indem sie Materiallinien auch über Grenzen hinweg verfolgbar und die Interferenzen beschreibbar machen, die sich bei Ortswechseln ergeben.Dies ist ein Open-Access-Buch.

This collection delves into the conceptual and semantic dissection of aesthetic and moral emotions. It grapples with their definition, scope, function, and structure. Highlighting a range of semantic research methods, the authors also present interdisciplinary studies on emotions like anger, admiration, disgust, guilt, and feelings linked to beauty perception. This book serves as a thematic and methodological gateway to interdisciplinary human emotionality research.

This book connects recent developments in speculative realism, new materialism, and eco-phenomenology to articulate an approach to wonder that escapes the connected traps of anthropocentrism and correlationism. Brian Onishi argues that wonder has explanatory power for the constitution of the world and the organization of meaning. To do this, he appeals to both fiction (speculative and Weird fiction in particular) and quantum physics. More specifically, he argues that the focus of Weird fiction on impossible experiences and a feeling of something just beyond the limits of one¿s grasp dramatizes the speculative reach beyond the limits of our understanding. But more than a tool for knowledge acquisition, wonder is an organizing property of objects. Like the collapse of superposition in quantum physics, reality is constituted when objects reveal themselves to other objects and thereby organize themselves into complex objects. Since no relation is exhaustive, the capacity to wonder remains at a material level, and the possibility of reorganization is ever present. Ultimately, Onishi argues for a speculative eco-phenomenology with wonder as an engine for a Weird environmental ethics.

This book grapples with what it means when education and democracy are at an end: when these two foundational aspects of our society seem to have reached a culminating point, no longer appearing to produce and make sense amid the crises of our time. Engaging topical political events and mobilizing a variety of cultural resources, Di Paolantonio shows that today the possibility of the future and the significance of an expansive transgenerational sensibility are radically in question as trends toward destruction, cruelty, and banality are steering world-defying calamities, and sparking ¿chronopathologies¿ of doom and despair among the planet¿s occupants. Unfolding his argument through a series of accessible chapters that draw on contemporary philosophy, educational thinking, and cultural-artistic works, Di Paolantonio explores how the transgenerational sensibility retains a possibility we might tap for overcoming the impasses of our time.

Dass Beck's art traces an "invisible thread" across cultural boundaries--the human need to discover, contemplate, and communicate via art. Part I focuses on non-Indian content, e.g. American and African, Part II on comparable Indian arts.

Argues that Daoism and dandyism, linked by likeminded philosophies of "carefree wandering," deconstruct the puritanism and political correctness sought by Confucianism, Victorianism, and contemporary neoliberal culture.

Argues that truth, moral right, political right, and aesthetic value may be understood as arising out of a naturalist account of humanity, if naturalism is rightly conceived.

The book explores the liminal aesthetics of U.S. cultural and literary practice. Interrogating the notion of a presumptive unity of the American experience, Moveable Designs argues that inner conflict, divisiveness, and contradiction are integral to the nation's cultural designs, themes, and motifs. The study suggests that U.S. literary and cultural practice is permeated by 'moveable designs'-flexible, yet constant features of hegemonial practice that constitute an integral element of American national self-fashioning. The naturally pervasive liminality of U.S. cultural production is the key to understanding the resilience of American culture. Moveable Designs looks at artistic expressions across various media types (literature, paintings, film, television), seeking to illuminate critical phases of U.S. American literature and culture-from the revolutionary years to the movements of romanticism, realism, and modernism, up to the postmodern era. It combines a wide array of approaches, from cultural history and social anthropology to phenomenology. Connecting an analysis of literary and cultural texts with approaches from design theory, the book proposes a new way of understanding American culture as design. It is one of the unique characteristics of American culture that it creates-or, rather, designs-potency out of its inner conflicts and apparent disunities. That which we describe as an identifiable 'American identity' is actually the product of highly vulnerable, alternating processes of dissolution and self-affirmation. 

Examines how philosophical concepts like free will, personal identity, and goodness are given an artistic life in films and television programs.

This book draws on theories of aesthetics, post-colonialism, multiculturalism and transnationalism to explore salient aspects of perpetuating traditional dance customs in diaspora. It is the first book to present a broad-ranging analysis of cultural dance in Australia. Topics include adaptation of dance customs within a post-migration context, multicultural festivals, prominent performers, historiographies and archives, and the relative positionings of cultural and Western theatrical dance genres. The book offers a decolonized appraisal of dance in Australia, critiquing past and present praxes and offering suggestions for the future. Overall, it underscores the highly variegated nature of the Australian dance landscape and advocates for greater recognition of amateur community dance practices. Cultural Dance in Australia makes a substantial contribution to the catalogue of work about immigrants and cultural dance styles that continue to be preserved in Australia. This book will be of interest to scholars of dance, performance studies, migration studies and transnationalism.

In this highly original interdisciplinary study incorporating close readings of literary texts and philosophical argumentation, Henry W. Pickford develops a theory of meaning and expression in art intended to counter the meaning skepticism most commonly associated with the theories of Jacques Derrida.Pickford arrives at his theory by drawing on the writings of Wittgenstein to develop and modify the insights of Tolstoy's philosophy of art. Pickford shows how Tolstoy's encounter with Schopenhauer's thought on the one hand provided support for his ethical views but on the other hand presented a problem, exemplified in the case of music, for his aesthetic theory, a problem that Tolstoy did not successfully resolve. Wittgenstein's critical appreciation of Tolstoy's thinking, however, not only recovers its viability but also constructs a formidable position within contemporary debates concerning theories of emotion, ethics, and aesthetic expression

In a present marked by planetary crisis, a radical rethinking of aesthetics is necessary. This inspirational collection proposes a new way of thinking about aesthetics as fundamental to cultivating more liveable futures. Drawing on the philosophies of Alfred North Whitehead and Félix Guattari, the book develops aesthetics as central to all more-than-human forms of experience, including knowledge practices. Each contribution invites readers on an adventure to explore how this broader view of aesthetics can reshape areas including biomedicine, geological forensics, nuclear waste, race, as well as arts and education. This is an agenda-setting contribution to understanding the significance of aesthetics in science and technology studies, as well social and cultural research more broadly.

This book presents a design research on the basalt fiber, a natural mineral material with important characteristics, and investigates the material's properties, production techniques, and most common uses, while also delving into aspects yet to be improved. The work presents a part of original research in between art and design, in which concepts, prototypes, and ideas are proposed, aimed at the enhancement of basalt fiber also from an esthetic point of view and not only from a performance one. By working on its perceived qualities and creative and formal potential, it is possible to support and extend the use of this material in many areas of design, including product, exhibit, cultural industries, and fashion. Considering that environmental regulations are increasingly stringent, the use of basalt fiber may in some cases be more advantageous than other popular technical fibers, both because of its own performance characteristics and specifically because of its inherent sustainability.

This book presents a theory of motives that has evolved over decades in dialogue with academics and with practitioners. The key proposal is that of collectively cultivating meta-motives ¿ rather than the ubiquitous recipes for manipulating self-regulation. Cultivating meta-motives can proceed through rearticulating motives. Such rearticulation engages with theories and practices of motivation and motives. First, this is a discussion of the psychologies of motivation, and a reflection of post-psychology as a way forward. Second, this discussion takes us back to fundamental problems with subjectivity, and with psychology, even critical psychology, as a way of addressing it. Third, out of this theoretical work come concepts that are put to work in understanding practices of modelling and cultivating motives ¿ clinical, social work, and educational practices. In the first instance, as a critique of contemporary pragmatic practices, and then by rearticulating aesthetic practices as ways to expand and overcome those. Fourth, this has implications for the cultivation of the competence in care for motives, and for the place of theory in this competence. The book provides both a theoretical argument and a resource for those professionals in education, social work, and health who seek a qualitative understanding of what they do.