Filosofi: æstetik

Giorgio Manganelli (1922-1990), one of Italy¿s most radical and original writers, went further than most in exploring the creative possibilities of hybrid genres and open forms. Ostentation, theatricality, and a love of drapery and verbal excess are defining features of his body of work, which ranges from prose fiction, literary criticism, and drama to travel writing, treatises, commentaries, and imaginary interviews.This study examines the wealth of Manganelli¿s imagination ¿ his grotesque animals, speaking corpses, and melancholy spectres ¿ and argues that his spectacular eloquence was shaped by an exceptional awareness of literary and philosophical models. Following Manganelli¿s lead, the author addresses issues such as the boundaries of meaningful language, the relationship between literary and visual texts, fantasy and realism, and the power of literature to express the apprehensions and intimations of human consciousness.

Aristotle's Poetics is the earliest-surviving work of dramatic theory and the first extant philosophical treatise to focus on literary theory. It is widely regarded as one of the earliest and most influential works of literary criticism and has been studied by countless scholars. Poetics provides a thorough analysis of the structure and elements of drama, as well as a discussion of the essential ingredients of good tragedy. Aristotle explains how the most effective tragedies rely on complication and resolution, recognition and reversals, centring on characters of heroic stature, idealized yet true to life. One of the most powerful, perceptive and influential works of criticism in Western literary history, the Poetics has informed serious thinking about drama ever since.A masterpiece of literary criticism, poetics has majorly influenced literary theories. Even after centuries it continues to remain an evaluation benchmark for literature.

This ambitious text is a monograph about human experiences concerning the potentialities, capacities, and features of humankind from the wholeness of the collective mind body spirit. The purpose in reframing human endeavors is for enhanced alignment for livability and sustainability. This book departs from the concept and practice of ¿design and technology¿ and argues that most crises that endanger and destruct our ecological livability and sustainability come from our way of thinking and doing with ¿design and technology¿ based on the necessity for control. It is the control for overcoming the fear of scarcity, starvation, and the unknown. This book is rather an attempt to find alternate way of decision-making thru holistic methods. It appeals to researchers working in design, sustainability, architecture and urban studies.

This book, The Kyoto Post-COVID Manifesto for Global Economics (KM-PC), is a sequel to our 2018 book, The Kyoto Manifesto for Global Economics (KM-I, 2018). It further exposes the failures of a global economic regime that, based on self-interest, has led to the enormously unequal and fragmented society of today and our decreased ability to respond and recover from the critical worldwide consequences of such a regime over time - notably, climate change. At stake is our very survival beyond the twenty-first century. The fundamental tenet of this book is that our power to heal our currently fractured society lies in the depth of our humanity - in our shared human spirit and spirituality. What is sacred or of imperishable supreme value is what we can be as a human race: empowered, fulfilled individuals, living in harmony, deeply sharing and caring for one another and the environment that sustains us across our distinct cultures and worlds in which we live. Thus, the norms in our economic relations do not have to be those of self-interest that separates us, the ever-watchful distrust represented by "the deal" and immediate economic advantage for me. Instead, we can build an economic frame for our society based on mindfulness, care, mutual human benefit, and trust - on our shared humanity. Our argument was complete and we were ready to publish. But then, suddenly, from the dawning of 2020, everything changed. COVID-19 invaded and the world as we knew it simply stopped. No one saw it coming. As authors, we waited to watch and seek to understand. The result is that the book captures the COVID trauma and, against the fractures based on self-interest already visible in today's society, assesses the impact of COVID-19 now and for the future. Focusing on a humanity-based economics is even more important now, and this book shows why.Chapter 15 is available open access under a Creative Commons Attribution 4.0 International License via link.springer.com.

Object Lessons is a series of short, beautifully designed books about the hidden lives of ordinary things.A cylinder of baked graphite and clay in a wood case, the pencil creates as it is being destroyed. To love a pencil is to use it, to sharpen it, and to essentially destroy it. Pencils were used to sketch civilization's greatest works of art. Pencils were there marking the choices in the earliest democratic elections. Even when used haphazardly to mark out where a saw's blade should make a cut, a pencil is creating. Pencil offers a deep look at this common, almost ubiquitous, object. Pencils are a simple device that are deceptively difficult to manufacture. At a time when many use cellphones as banking branches and instructors reach students online throughout the world, pencil use has not waned, with tens of millions being made and used annually. Carol Beggy sketches out how the lowly pencil is still a mighty useful tool. Object Lessons is published in partnership with an essay series in The Atlantic.

Cleanliness is a core value of societies around the globe. So much so that cleaning seems to be an inherent part of human nature and an expression of how we interact with and domesticate our environment. This book explores the concept of cleaning in its various aspects. Illustrations from various cleaning methods expand our conception of an activity that is such a big part of our daily lives. From a child sorting its toys and the meticulous work of a clockmaker to an impressive deep-clean of a ship: each process is treated with the same calm fascination while short texts add a semi-poetic dimension. The book's handy size invites readers to take it out into the world as they look at everyday processes with fresh eyes. Flipping through the pages of Cleaning is as enlightening as it is entertaining.

A classic study of the art of painting and its relationship to reality In this book, Étienne Gilson puts forward a bold interpretation of the kind of reality depicted in paintings and its relation to the natural order. Drawing on insights from the writings of great painters-from Leonardo, Reynolds, and Constable to Mondrian and Klee-Gilson shows how painting is foreign to the order of language and knowledge. Painting, he argues, seeks to add new beings to nature, not to represent those that already exist. For this reason, we must distinguish it from another art, that of picturing, which seeks to produce images of actual or possible beings. Though pictures play an important part in human life, they do not belong in the art of painting. Through this distinction, Gilson sheds new light on the evolution of modern painting. A magisterial work of scholarship by an acclaimed historian of philosophy, Painting and Reality features paintings from both classical and modern schools, and includes extended selections from the writings of Reynolds, Delacroix, Gris, Gill, and Ozenfant.

Per Étienne Gilson, "philosophy is a collective enterprise in which no one can pretend to take part unless he is first properly introduced." To provide that proper introduction vis-à-vis the modern period, Gilson and Langan move systematically through the landmark figures and ideas of the seventeenth and the eighteenth centuries. Beginning with the vestiges of medievalism in Montaigne and Bacon, they then cover the interplay of science and philosophy (Descartes, Newton, and Vico); the emergence of a new political ethos (Hobbes, Locke, and Rousseau); the installation of the golden age of modern metaphysics (Spinoza, Leibniz, and Wolff); the juxtaposition of materialism with idealism (Newton, Berkeley, and Hume); the Christian reaction (Pascal and Gerdil); and the rise of Romanticism (Lessing, Herder and Kant).With its emphasis on the doctrinal content of each philosopher, braced by healthy portions of biographical detail, Modern Philosophy is a comprehensive treatment of what it has meant and what it means to philosophize, the ambitious breadth of which is matched only by its absorbing depth.

Object Lessons is a series of short, beautifully designed books about the hidden lives of ordinary things.In 1971, the first lunar rover arrived on the moon. The design became an icon of American ingenuity and the adventurous spirit many equated with the space race. The lunar roving vehicles (LRVs) would be the first and last manned rovers to date, but they provided a vision of humanity's space-faring future: astronauts roaming the moon like space cowboys. Fifty years later, that vision feels like a nostalgic fantasy, but the LRV's legacy would pave the way for Mars rovers like Sojourner, Curiosity and Perseverance, who afforded humanity an intimate portrait of our most tantalizingly (potentially) colonizable neighbor. Other rovers have made accessible the world's deepest caves and most remote tundra, extending our exploratory range without risking lives. Still others have been utilized for search and rescue missions or in clean up operations after disasters such as Chernobyl. For all these achievements, rovers embody not just our potential, but our limits. Examining rovers as they wander our terrestrial and celestial boundaries, we might better comprehend our place, and fate, in this universe. Object Lessons is published in partnership with an essay series in The Atlantic.

Argues that aesthetic pleasure plays a key role in both racial practices and struggles against racistdomination For Pleasure proposes that experimental aesthetics shaped race in the twentieth-century United Statesby creating transformative scenes of pleasure. Rachel Jane Carroll explains how aesthetic pleasure isfundamental to the production and circulation of racial meaning in the United States through a study ofexperimental work by authors and artists of color. For Pleasure offers methods for reading experimental literature and art produced by racially minoritizedauthors and artists working in and around the US, including Isaac Julien, Nella Larsen, Yoko Ono, JackWhitten, Byron Kim, Glenn Ligon, Zora Neale Hurston, Theresa Hak Kyung Cha, and Cici Wu. Along theway, we learn what a racist joke has to do with the history of monochrome painting, if beauty has a partto play in social change, and whether whimsy should be taken seriously as a political affect. Carrolldraws attention to key connections between aesthetic pleasure and experimentation through theirshared capacity for world-building. Neither aesthetic pleasure nor experimental forms are liberatory inand of themselves; however, both can interrupt, defamiliarize, and rearrange our habits of aestheticjudgment.

Escape into a world of chic and trendy coloring with our Minimalist Boho Coloring Book for Adults. Filled with boho-inspired illustrations, this coloring book is suitable for all skill levels and is printed on high-quality paper for vibrant, crisp finished products. In addition to providing entertainment, coloring has numerous benefits for adults including reducing stress and improving focus. Add this stylish coloring book to your home decor and start enjoying the benefits today!♥ If You Want To Start Coloring this book, Then Scroll Up and Click The BUY NOW Button!This coloring book features:¿The book contains 50 high-quality unique images¿Each coloring page is printed on a separate page to avoid bleed-through.¿Suitable for markers, gel, pens, coloring pencils, fine liners, and watercolors.¿High-resolution printing¿Unique and cool designs, no repeats,¿Large 8,5 x 11"" format, professional-quality designs from independent artists.¿Premium finish cover design.¿Please leave a review to let me know if you enjoyed the book or if I need to improve something! ¿

The author claims that concerning the "progress" and "development" of the technoscientific mind in the application of artificial intelligence, the anthropological definition of man has become not only outdated and ineffective, but "man" has become "superfluous" for the logic of the digital age. He develops his argumentative assumptions, critically confronting numerous approaches to this problem, from Heidegger, Severino, G. Anders, Deleuze, Simondon, and Wiener. By showing how the prospects of future philosophy presuppose technological singularity and extropy, the link between posthumanism and transhumanism, the author raises the question of the possibility of thinking differently from metaphysics within the labyrinth of language.

" J¿ai écrit, dans les propositions qui forment la conclusion de l¿Hérédo, que l¿homme vit et meurt de ses images. En effet, il y a un rapport étroit, attesté par un nombre considérable de phénomènes faciles à constater, entre les images qui viennent à l¿esprit et les fonctions organiques. Le désir procède par images, qui mettent en mouvement le système érectile, vaso-moteur, glandulaire et musculaire. La peur est le résultat d¿une image, qui agit sur la vessie, le système sudoripare et l¿intestin. Tout le monde connaît le phénomène de la chair de poule. Le rire et les larmes, les mouvements de contraction ou de dilatation du c¿ur et des gros vaisseaux dérivent de nos images intérieures, succédant aux images du dehors, ou spontanées. L¿imagination commande le corps plus que le corps ne commande l¿imagination. Une inclinaison heureuse des images fait la vie agréable et intéressante, malgré ses traverses."

Der Band widmet sich der Frage, wie sich europäische Romantiken im Zeitraum zwischen ca. 1790 und 1850 mit ökologischen Theoremen und umweltbezogenen Problembereichen auseinandersetzen. Die Aufsätze dieses interdisziplinären Sammelbandes untersuchen dabei insbesondere den spezifischen Beitrag, den die Künste bei der Ausgestaltung und Formierung eines modernen ökologischen Denkens leisten, das seit Ende des 18. Jahrhunderts Gestalt annimmt, in den 1860er Jahren mit Ernst Haeckels Definition der ¿Ökologie¿ terminologisch grundiert wird und bis heute unser Verständnis von ökologischen Zusammenhängen prägt. Der Band bereichert auf diese Weise die bereits lebendige Forschungslandschaft der Environmental Humanities im Allgemeinen, des Romantic Ecocriticism im Speziellen und fragt mit Blick auf die ¿Romantischen Ökologien¿ nicht nur nach der Diversität und den konfliktreichen Bruchlinien ökologischer Denkformen um 1800, sondern auch nach dem Stellenwert, dem Eigen- und möglicherweise Mehrwert des Ästhetischen sowie, damit verknüpft, nach der Rolle des Romantischen für die Entstehung, Reflexion und Transformation eines ökologischen Denkens.

Drawing on archival research and exploring the correspondence of revolutionary women and activists in the long durée of the nineteenth and twentieth centuries in Europe and the USA, this book examines the epistolary narratives of women political theorists and activists, following traces of Hannah Arendt's philosophical approaches to love.

Using five case studies of contemporary art, this book uses ideas of systems and dispersion to understand identity and experience in late capitalism.¿This book considers five artists who exemplify contemporary art practice: Seth Price; Liam Gillick; Martin Creed; Hito Steyerl; and Theaster Gates. Given the diversity of materials used in art today, once-traditional artistic mediums and practices have become obsolete in describing what artists do today. Francis Halsall argues that, in the face of this obsolescence, the ideas of system and dispersion become very useful in understanding contemporary art. That is, practitioners now can be seen to be using whatever systems of distribution and display are available to them as their creative mediums. The two central arguments are first that any understanding of what art is will always be underwritten by a related view of what a human being is; and second that these both have a particular character in late capitalism or, as is named here, the Age of Dispersion.¿The book will be of interest to scholars and students working in art history, contemporary art, studio art, and theories of systems and networks.

Object Lessons is a series of short, beautifully designed books about the hidden lives of ordinary things.Barcodes are about as ordinary as an object can be. Billions of them are scanned each day and they impact everything from how we shop to how we travel to how the global economy is managed. But few people likely give them more than a second thought. In a way, the barcode's ordinariness is the ultimate symbol of its success.However, behind the mundanity of the barcode lies an important history. Barcodes bridged the gap between physical objects and digital databases and paved the way for the contemporary Internet of Things, the idea to connect all devices to the web. They were highly controversial at points, protested by consumer groups and labor unions, and used as a symbol of dystopian capitalism and surveillance in science fiction and art installations. This book tells the story of the barcode's complicated history and examines how an object so crucial to so many parts of our lives became more ignored and more ordinary as it spread throughout the world.Object Lessons is published in partnership with an essay series in The Atlantic.

This musical-philosophical study interweaves music improvisation, composition, and analysis with Deleuze's philosophy of time, plus includes reformulations of Deleuze's concepts. The author draws on his own work alongside examples from the history of music practice in improvised and experimental musics, developing a new concept: Rhythmicity.

This book argues that philosophical pessimism can offer vital impulses for contemporary cultural studies. Pessimist thought offers ways to interrogate notions of temporality, progress and futurity. When the horizon of future expectation is increasingly shaped by the prospect of apocalypse and extinction, an exploration of pessimist thought can help to make sense of an increasingly complex and uncertain world by affirming rather than suppressing the worst. This book argues that a cultural logic of the worst is at work in a substantial section of contemporary philosophical thought and cultural representations.Spectres of pessimism can be found in contemporary ecocritical thought, antinatalist philosophies, political thought, and cultural theory, as well as in literature, film, and popular music. In its unsettling of temporality, this new pessimism shares sensibilities with the field of hauntology. Both deconstruct linear narratives of time that adhere to a stable sequence of past, present and future. Mark Schmitt therefore couples pessimism and hauntology to explore the spectres of pessimism in a range of theories and narratives¿from ecocriticism, antinatalism and queer theory to utopianism, from afropessimism to the fiction of Hari Kunzru and Thomas Ligotti to the films of Camille Griffin, Gaspar Noé, Denis Villeneuve and Lars von Trier.

René Daumal (b. 1908) is best known for his novel Mt. Analogue, unfinished at his death, in 1944 (other works in English include A Night of Serious Drinking and The Power of the Word). Daumal was an autodidact, ie. a non-academic, Sanskritist. Following youthful explorations, with poet Gilbert Le Conte (Black Mirror) and initial instruction in Sanskrit from René Guernon, he embarked on a solitary study, surpassed his teacher and eventually formulated his own Sanskrit dictionary. He translated essential texts on Sanskrit composition, poetry in Sanskrit, including the famous hymn concerning SOMA and the first chapter of the Bharatya NatyaSastra, the world's first treatise on the dramatic arts written circa 4th century. Writing numerous essays on Sanskrit poetics his deeply felt intention was to present these texts and the spiritual etymology of the sub-continent in a form accessible to the 'common man', the artists and new societies of the 20th century. As secretary to Uday Shankar, he wrote the first reviews of Indian music and dance in the West (Paris, circa 1935) and accompanied Uday Shankar's troupe, which included Ravi Shankar as a 12 year old dancer to NYC. During the 2nd. World War, exiled in the South of France, with his wife Vera who was Jewish, he furthered his literary work, completing essays, translations, reviews while maintaining, with others so exiled. a profound epistolary exchange (see Letters 1930-1944), until his death from tuberculosis, shortly before the alien landing. RASA, a 'cult classic' edited by Claudio Rugafori, secretary of the Daumal archives and translated by American poet and musician, Louise Landes Levi, has earned its reputation.This is its 3rd. edition, prior editions being New Directions, 1982 and Shivastan 2003 and 2006.

This book examines the conceptual, existential, and logical conditions under which the philosophical novel can be treated as a literary genre on a par with generally recognized literary genres, such as mystery, romantic, adventure, religious, or historical novel. Michael H. Mitias argues that the philosophical novel meets these conditions. He advances a detailed analysis of the concept of literary genre, and discusses the reasons which justify the claim that philosophical novel is a distinct literary genre. This is based on the assumption that philosophical ideas can be communicated metaphorically. An analysis of this assumption necessarily leads to a detailed discussion of the concept of metaphor and the extent to which it can be the vehicle of communicating philosophical truth.

The author clears the confusion surrounding creativity, inspiration, and the creative process, while considering who is our audience. How we impart significance to works is also explored.

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.