Showing titles in Aesthetics

Philosopher Alva Noë explores the inseparability of life, art, and philosophy, arguing that we have greatly underestimated what this entangled reality means for understanding human nature. Life supplies art with its raw materials, but art, Noë argues, remakes life by giving us resources to live differently. Our lives are permeated with the aesthetic. Indeed, human nature is an aesthetic phenomenon, and art is the truest way of understanding ourselves. All this suggests that human nature is not a natural phenomenon. 

Poststructuralism changes the way we understand the relations between human beings, their culture, and the world. Following a brief account of the historical relationship between structuralism and poststructuralism, this Very Short Introduction traces the key arguments that have led poststructuralists to challenge traditional theories of language and culture. 

Featuring an enlightening introduction by the book's translator, Michael T. H. Sadler, providing generational and cultural context for Kandinsky and his work, Concerning the Spiritual in Art gives testimony to the mind and creative expression of Kandinsky and other artists of his generation. This seminal and thought-provoking book exploring the heart of the artistic endeavor belongs in the library of every serious artist and student of modern art.

The Aesthetic Brain takes the listener on a wide-ranging journey through the world of beauty, pleasure, and art. Chatterjee uses neuroscience to probe how an aesthetic sense is etched in our minds and evolutionary psychology to explain why aesthetic concerns feature centrally in our lives. Along the way, Chatterjee addresses fundamental questions: What is beauty? Is beauty universal? How is beauty related to pleasure? What is art? Should art be beautiful? Do we have an instinct for art?

Lost in Thought is a passionate and timely reminder that a rich life is a life rich in thought. Today, when even the humanities are often defended only for their economic or political usefulness, Hitz says our intellectual lives are valuable not despite but because of their practical uselessness. And while anyone can have an intellectual life, she encourages academics in particular to get back in touch with the desire to learn for its own sake and calls on universities to return to the person-to-person transmission of the habits of mind and heart that bring out the best in us.

In Material, Kary takes listeners along with him to visit some of the places where modern artisans are preserving, and in some cases passing on, the old craft skills. His vivid descriptions and eye for detail make this book a rich and delightful listen, and the natural and cultural history he imparts along the way provides an important context for understanding our own past and the roots of our industrial society. Personal, engaging, and filled with memorable people, landscapes, and scenes, Material is a rich celebration of what it means to imagine and create.

Aristotle's Poetics is the earliest surviving work of dramatic theory and the first extant philosophical treatise to focus on literary theory. In it, Aristotle offers an account of what he calls "poetry" (a term which in Greek literally means "making" and in this context includes drama—comedy, tragedy, and the satyr play—as well as lyric poetry, epic poetry, and the dithyramb). He examines its "first principles" and identifies its genres and basic elements. His analysis of tragedy constitutes the core of the discussion.

In A Philosophical Enquiry, Edmund Burke sets out to define the nature of beauty and sublimity, and establish an objective criterion for discussing aesthetics. His definition of beauty as rooted in pleasure and sexuality, and the sublime in pain and survival, aligned him with the empiricists John Locke and David Hume, as he replaced the metaphysics of Plato's aesthetics with a psychological and physiological perspective.

The book draws on history and sociology, and more personally on the author's early career as a professional cellist, as well as on his later work as a city planner and social thinker. It traces the evolution of performing spaces in the city; the emergence of actors, musicians, and dancers as independent artists; the inequality between performer and spectator; the uneasy relations between artistic creation and social and religious ritual; the uses and abuses of acting by politicians. The Janus-faced art of performing is both destructive and civilizing.

One of the great, but often unmentioned, causes of both happiness and misery is the quality of our environment: the kind of walls, chairs, buildings, and streets we’re surrounded by. And yet a concern for architecture and design is too often described as frivolous, even self-indulgent. The Architecture of Happiness starts from the idea that where we are heavily influences who we can be - and argues that it is architecture’s task to stand as an eloquent reminder of our full potential.

Ecce homo, "behold the man", are the words Friedrich Nietzsche chose as the title for his literary self-portrait. A main purpose of the book was to offer Nietzsche's own perspective on his work as a philosopher and human being. Ecce Homo also forcefully repudiates those interpretations of his previous works purporting to find support there for imperialism, anti-Semitism, militarism, and Social Darwinism.

The concept of disparity has long been a topic of obsession and argument for philosophers but Slavoj Žižek would argue that what disparity and negativity could mean, might mean and should mean for us and our lives has never been more hotly debated. Disparities explores contemporary 'negative'...

Imagination: A Very Short Introduction explores imagination as a cognitive power and an essential dimension of human flourishing, demonstrating how imagination plays multiple roles in human cognition and shapes humanity in profound ways. Examining philosophical, evolutionary, and literary perspectives on imagination, the author shows how this facility, while potentially distorting, both frees us from immediate reality and enriches our sense of it, making possible our experience of a meaningful world.

We live in an age of the mobile image. This recent kinetic revolution of the image has enormous consequences not only for the way we think about contemporary art and aesthetics but also for art history as well. Responding to this historical moment, Theory of the Image offers a fresh new theory and history of art from the perspective of this epoch-defining mobility. The image has been understood in many ways, but it is rarely understood to be fundamentally in motion.

Using step by step instructions, the author illustrates how to be fully present in the moment without clinging to joy or resisting sorrow. This opens the door to a kind of wellness that goes beyond circumstances. Actively engaging life as it is in this fashion holds the potential for awakening to a peace and well-being that are not dependent on whether a particular experience is joyful or sorrowful.

There is a cause, or a reason, behind everything that happens. This is the fundamental view behind the classical proposition the Principle of Sufficient Reason, which, in 1813, Schopenhauer chose as his subject for further examination in his doctoral dissertation On the Fourfold Root of the Principle of Sufficient Reason....

Written by an acknowledged master of comedy, this study reflects on the nature of humor and the functions it serves. Why do we laugh? What are we to make of the sheer variety of laughter, from braying and cackling to sniggering and chortling? Is humor subversive, or can it defuse dissent? Can we define wit?

Beauty today is a paradox. The cult of beauty is ubiquitous but it has lost its transcendence and become little more than an aspect of consumerism, the aesthetic dimension of capitalism. The sublime and unsettling aspects of beauty have given way to corporeal pleasures and 'likes', resulting in...

A compelling argument for the necessity for art in life, Nietzsche's first book is fuelled by his enthusiasms for Greek tragedy, for the philosophy of Schopenhauer and for the music of Wagner, to whom this work was dedicated. Nietzsche outlined a distinction between its two central forces: the Apolline, representing beauty and order, and the Dionysiac, a primal or ecstatic reaction to the sublime. He believed the combination of these states produced the highest forms of music and tragic drama, which not only reveal the truth about suffering in life, but also provide a consolation for it.

Postmodernism has become the buzzword of contemporary society over the last decade. But how can it be defined? In this highly engaging introduction, the mysteries of this most elusive of concepts are unraveled, casting a critical light upon the way we live now, from the politicizing of museum culture to the cult of the politically correct. The key postmodernist ideas are explored and challenged, as they figure in the theory, philosophy, politics, ethics, and artwork of the period, and it is shown how they have interacted within a postmodernist culture.