Filosofi: æstetik

This book develops a philosophy of the predominant yet obtrusive aspects of digital culture, arguing that what seems like insignificant distractions of digital technology such as video games, mindless browsing, cute animal imagery, political memes, and trolling - are actually keyed into fundamental aspects of evolution. These elements are commonly framed as distractions in an economy of attention and this book approaches them with the prospect of understanding their attraction, from the starting point of diversions. Diversions designate not simply shifting states of attention but characterize the direction of any system on a different course, a theoretical perspective which makes it possible to investigate distractions as not only by-products of contemporary media and human attention. The perspective shifts from distractions as the unwanted and inconsequential to considering instead the function of diversions in the process of evolutionary development. Grounded in media theory but drawing from diverse interdisciplinary perspectives in biology, philosophy, and systems theory, this book provocatively theorizes the process of diversions - of the playful, stupid, cute, and funny -  as significant for the evolution of a range of organisms. 

»'A natural gesture' is a philosophy of sound, for musicians, for conductors, and can be read in metaphor by anyone who delves deeply into that about which they are passionate. It is a beautiful exploration of a Way. Reading this book makes me eager to get back to the scores, to the practise studio, and to the podium, to strive to serve the music at a deeper and deeper level. And also, to realize that it is not just burying oneself in music but the authentic and healthy being one must nourish through philosophy, self-realization and rhetoric, to reach the silence which precedes the sound.«From the Preface by Barbara Hannigan

Object Lessons is a series of short, beautifully designed books about the hidden lives of ordinary things.From the theater mask and masquerade to the masked criminal and the rise of facial recognition software, masks have long performed as an instrument for the protection and concealment of identity. Even as they conceal and protect, masks - as faces - are an extension of the self. At the same time, they are a part of material culture: what are masks made of? What traces do they leave behind? Acknowledging that that mask-wearing has become increasingly weaponized and politicized, Sharrona Pearl looks at the politics of the mask, exploring how identity itself is read on this object.By exploring who we do (and do not) seek to protect through different forms of masking, Sharrona Pearl's long history of masks helps us to better understand what it is we value. Object Lessons is published in partnership with an essay series in The Atlantic.

This book covers the nature and principles of beauty, aesthetics and art theory. It highlights concepts such as the sublime, taste, form, and design. The author takes a philosophical approach to the subject, exploring the significant works of other philosophers who wrote on the topic of aesthetics. It is ideal for individuals looking to understand the philosophy of beauty and art at a deeper level.This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it.This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This stimulating volume brings together an international team of emerging, mid-career, and senior scholars to investigate the relations between philosophical approaches to language and the language of literature. It has proven easy for philosophers of language to leave literary language to one side, just as it has proven easy for literary scholars to discuss questions of meaning separately from relevant issues in the philosophy of language. This volume brings the two together in mutually enlightening ways: considerations of literary meaning are deepened by adding philosophical approaches, just as philosophical issues are enriched by bringing them into contact or interweaving them with literary cases in all their subtlety.

This book analyzes the relation between the flow time and poetic speech in drama and rhetoric. It begins with the classical understanding of time as flux, and its problems and paradoxes entailing from Aristotle, Augustine, Kant and Husserl. The reader will see how these problems unfold and find resolutions through dramatic speech and rhetoric which has an essential relation to the flow of time. It covers elements in poetic speech such as affect, rhythm, metaphor, and syntax. It uses examples from classical rhetorical theories by Aristotle, Cicero, Quintilian, dramatic speeches from Shakespeare, as well as other modern dramatic texts by Chekhov, Beckett, Jelinek and Sarah Kane. This book appeals to students and academic researchers working in the philosophical fields of aesthetics and phenomenology as well those working in theater and the performing arts.

Das umfangreiche Werk von Carl Christian Erhard Schmid (1761-1812) hat in der Philosophiegeschichtsforschung mit Ausnahme seiner Lehre vom intelligiblen Fatalismus bislang keine Beachtung erfahren. Der vorliegenden Band präsentiert daher Analysen und Interpretationen auch zu den unbekannten Teile dieses Werks wie der Ästhetik, der Logik, der Metaphysik, der Rechtslehre und der Theologie, aber auch seiner Anthropologie, Physiologie. Dem Interesse an diesem Denker liegt die Überzeugung zugrunde, dass er auf diesen Gebieten Arbeiten von hohem Niveau geliefert hat, die bislang zu Unrecht ignoriert wurden. Von nicht geringerem Interesse ist Schmids Einfluss auf die Philosophie der Spätaufklärung sowie der Frühromantik, und zwar sowohl hinsichtlich seiner Bedeutung für die Verbreitung und Weiterentwicklung der Philosophie Kants als auch hinsichtlich seines spezifischen Beitrags zur Ausbildung der nachkantischen Systeme der Philosophie. Erkennbar wird durch den Band die Rolle Schmids als Katalysator der durch die Auseinandersetzung mit Kant bestimmten Phase klassischer deutscher Philosophie; gewürdigt werden seine Anteile an den Debatten über die Entstehung und Entwicklung der monistischen Systeme vor allem Fichtes und Reinholds.

Die Hauptthese dieses Buches ist es, Krankheit und Gesundheit mit Nietzsche auf zwei verschiedenen Ebenen zu denken, nämlich als Ereignisse des Willens zur Macht in einem zirkulär-relationalen Modell, in dem sie sich gegenseitig behaupten, sowie die Metaebene der Konzeptualisierung anzuerkennen. Es behandelt die Schwierigkeit des begrifflichen Denkens, diese Ereignisse einzuholen, und diskutiert kritisch Modellbildungen, die darauf hinauslaufen, dass Krankheit zu überwinden und als lineares singuläres Ereignis zu verstehen sei. In Nietzsches Spätwerk wird die Figur des "dionysischen Künstlers" als Idealisierung der Gesundheit gemäß seiner interpretierenden Sichtweise der Welt dargestellt. Die Relevanz des Buches liegt darin, eine Analyse der Begriffe von Gesundheit und Krankheit (tragischer und schlechter Pessimismus) in direkter Beziehung zu leiblichen Vorgängen vorzulegen, die sich von metaphysisch-dialektischen Voraussetzungen befreit. Zu diesem Zweck widmet die Untersuchung sich einer intertextuellen Lektüre der fünf Vorreden, die Nietzsche 1886/87 zu seinen früheren Schriften verfasste, und verknüpft sie mit der Interpretation des Nachlasses und weiterer Veröffentlichungen aus seiner letzten Schaffensphase.

Kräfte entziehen sich der Wahrnehmung. Umgekehrt wird Wahrnehmung ( aisthesis ) seit der Antike als Kraft ( dynamis ) bestimmt. Das Nachdenken über Wahrnehmung tariert die Spannung zwischen Wahrheitsfähigkeit und Täuschungsanfälligkeit, passiver Impression und aktiver Imagination, verborgener Ursache und wahrnehmbarer Wirkung aus. Ästhetisch kodierte Wahrnehmungseinstellungen wie Reiz, Überwältigung, Aufmerksamkeit oder Zerstreuung geben außerdem Anlass, über ästhetische Kraftvorstellungen nachzudenken. Die Beiträge fragen aus mehreren Fachperspektiven, wie sich Konzeptualisierungen der Sinneskräfte zur problematischen Wahrnehmbarkeit von Kräften verhalten, wie künstlerische Verfahren an Perzeptionsmodelle angepasst werden und welche Rolle sie bei der Ausbildung und Veränderung von Wahrnehmungskonventionen spielen.

This book provides a multifaceted view on the relation between the old and the new in music, between tradition and innovation. This is a much-debated issue, generating various ideas and theories, which rarely come to unanimous conclusions. Therefore, the book offers diverse perspectives on topics such as national identities, narrative strategies, the question of musical performance and musical meaning. Alongside themes of general interest, such as classical repertoire, the music of well-established composers and musical topics, the chapters of the book also touch on specific, but equally interesting subjects, like Brazilian traditions, Serbian and Romanian composers and the lullaby. While the book is mostly addressed to researchers, it can also be recommended to students in musicology, ethnomusicology, musical performance, and musical semiotics.