Filosofi: æstetik

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.

This exploration of the crucially important role played by remorse in Iris Murdoch¿s philosophical, theological, and political thinking identifies it as a critical concept in her moral psychology and a recurrent theme in her art. Through engagement with Simone Weil, current theories of remorse, trauma theory and Holocaust studies, it offers fresh perspectives on Murdoch¿s fiction ¿ particularly the late novels, her radio play The One Alone, and her monograph Heidegger.

This book differentiates between and analyzes the Confucian, Taoist and Buddhist spirit in traditional Chinese aesthetics, explains the core characteristics and methods of traditional Chinese aesthetics, and conveys the author¿s overall thinking on the spirit of traditional Chinese aesthetics. Given its scope, the book is of great value in terms of understanding and promoting Chinäs unique traditional culture.

This book presents a new approach to computational musicology in which music becomes a computational entity based on human cognition, allowing us to calculate music like numbers. Does music have semantics? Can the meaning of music be revealed using symbols and described using language? The authors seek to answer these questions in order to reveal the essence of music. Chapter 1 addresses a very fundamental point, the meaning of music, while referring to semiotics, gestalt, Schenkerian analysis and cognitive reality. Chapter 2 considers why the 12-tone equal temperament came to be prevalent. This chapter serves as an introduction to the mathematical definition of harmony, which concerns the ratios of frequency in tonic waves. Chapter 3, "e;Music and Language,"e; explains the fundamentals of grammar theory and the compositionality principle, which states that the semantics of a sentence can be composed in parallel to its syntactic structure. In turn, Chapter 4 explains the most prevalent score notation - the Berklee method, which originated at the Berklee School of Music in Boston - from a different point of view, namely, symbolic computation based on music theory. Chapters 5 and 6 introduce readers to two important theories, the implication-realization model and generative theory of tonal music (GTTM), and explain the essence of these theories, also from a computational standpoint. The authors seek to reinterpret these theories, aiming at their formalization and implementation on a computer. Chapter 7 presents the outcomes of this attempt, describing the framework that the authors have developed, in which music is formalized and becomes computable. Chapters 8 and 9 are devoted to GTTM analyzers and the applications of GTTM. Lastly, Chapter 10 discusses the future of music in connection with computation and artificial intelligence.This book is intended both for general readers who are interested in music, and scientists whose research focuses on music information processing. In order to make the content as accessible as possible, each chapter is self-contained.

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.

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.

This book explores how speculative thinking is shaping how we relate to our entangled social, mental, and environmental ecologies. It examines how speculative philosophies and concepts are changing geographical research methods and techniques, whilst also developing how speculative thinking transforms the way human, non-human, and more-than-human things are conceptualised in research practices across the social sciences, arts, and humanities. Offering the first dedicated compendium of geographical engagements with speculation and speculative thinking, the chapters in this edited collection advance debates about how affective, imperceptible, and infra-sensible qualities of environments might be written about through alternative registers and ontologies of experience. Organised around the themes of Ethics, Technologies, and Aesthetics, the book will appeal to those engaging with architecture, Black political theory, fiction, cinema, children¿s geographies, biotechnologies, philosophy, rural studies, arts practice, and nuclear waste studies as speculative research practices appropriate for addressing contemporary ecological problems.Chapters 1, 3 and 4 are available open access under a Creative Commons Attribution 4.0 International License via link.springer.com.

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.