'The Aestheticization of History and the Butterfly Effect: Visual Arts Series' introduces the audience to philosophical concepts that broach the beginning of the history of Western thought in Plato and Aristotle to that of more modern thought in the theoretician Jacques Rancière in which the main conceptual framework of this anthology is predicated. The introduction is mainly concerned with Rancière's concept of the distribution of the sensible, which is the arrangement of things accessible to our senses, what we experience (...) in real-time and space- compartmentalization and categorization of all things. These things do not just involve tangible items, but audible speech, written language, and visibilities. Rancière's theory of the regimes of art is undertaken as the unfolding of the distribution. Such is evoked in the various genres of visual art forms, from two-dimensional paintings to three-dimensional sculptures and architectures. Understanding the aesthetic regime of art is crucial for grasping how art performs time travel. One way of understanding this phenomenon is in terms of embodied philosophy imbued vis-à-vis art forms, which are subsequently challenged by contemporary artists. The contributing essays examine these reiterations, reevaluations-performances. Aesthetics is a term deriving from the 18th-century European Enlightenment. It is here that aesthetics as the study of beauty is probed for its political potential after the failure of the French Revolution. Many major thinkers during this period signed on to the aesthetic moment, recognizing that Reason in its present state failed to develop humankind beyond barbarism. J.E.B. Stuart's statue is part of an equestrian theme that approximates the Western canon of power and class in the pursuit of domination. But such power and domination will be dethroned in the restaging of history and the redistribution of said canon. This reimagining of the form not only alters perception but constitutes a new narrative. (shrink)

The aestheticization of everyday life is a multidimensional socio-cultural phenomenon. The study of the history of everyday life is today one of the most relevant areas of modern science.This research aims to identify the origins of the process of aestheticization of everyday life in Modern times and the expansion of time boundaries beyond its philosophical understanding in the XVIII century. The purpose of the study is to analyze the historical material of the XVII century, demonstrating that the processes (...) of aestheticization and theatricalization of everyday life took place at this time. In France of the XVII century, there are all conditions for the process of aestheticization and theatricalization of everyday life. The process of socialization of elites is completed by the middle of the XVII century, a new aesthetic taste and aesthetic ideal is being formed, which can be transferred to the subject-spatial environment, art is being institutionalized and the luxury industry is emerging. In the XVII century, we see not only the artistic and aesthetic design of the subject-spatial environment, but also an absolutely obvious expansion of artistic life beyond art, when everyday life is likened to art, bodily needs such as sleep, nutrition, toilet are aestheticized and dramatized. There was also a change in the canons of behavior and appearance under the influence of a new aesthetic ideal. The process of aestheticization in the XVII century was not of a mass nature, remaining elitist and affecting only the social elite. However, the model or mechanism of the aestheticization of everyday life, created in the XVII century, persists for the next centuries, spread across Europe and reach Russia. (shrink)

In The Aesthetic Function of Art, I was mainly concerned to show how my “new aestheticism” can meet standard objections to aestheticism, but I have come to realize that, since it is as much a new institutionalism as it is a new aestheticism, its institutionalist aspect requires defense as much as its aestheticist aspect does. In this article, I show how a judicious aestheticizing of George Dickie's second version of the institutional theory of art, incorporating fundamental features of my own (...) view, can meet what seems to me to be the most serious objection to institutionalism in general, the dilemma famously proposed by Richard Wollheim. (shrink)

The paper aims to give a phenomenological account of the way in which the experience of violence is modified in the aesthetic images. The phenomenological framework in which I place my analysis is primarily given by Edmund Husserl’s conception. The investigation starts from the curious fact that violence cannot be aesthetically experienced when it is presented in person, but it can be aesthetically experienced in images. I claim that the reason for this asymmetry lies in the structure of image-consciousness, that (...) is, in the differences between the physical thing, the depicting object and the depicted subject. Given that the image-consciousness presupposes the background of the physical thing, which is constantly and implicitly aimed by the consciousness, it is possible to focus only on the manner in which the depicted violence appears. In this way, we can aesthetically contemplate a violent scene without being disturbed by it. To show this, I bring forth a brief presentation of the a priori structure of (i) image-consciousness and (ii) aesthetic attitude, as they have been theorised by Husserl. After (iii) providing a minimal concept of violence and explaining some of the modifications that violence undergoes in image-consciousness, (iv) I show how violence is modified in aesthetic images. (shrink)

This paper discusses the phenomena of performativity and aestheticization and their implications for education. The forces of performativity pose a threat to music and the other arts, even though some advocators try to justify music education by appealing to their alleged performative results. At first sight, aestheticization seems to accord much better with music education but closer analysis of this many‐sided phenomenon also yields negative points: superficiality often reigns, overfeeding leads to anaesthesia, and the aesthetic itself is often (...) controlled by economic performativity. Even so, it is argued, the prospects of music education may not be as sombre as postmodern philosophy suggests. (shrink)

With Google marking its 20th year online, the piece provides a retrospective of cultural commentary and select works of Google art that have transformed the search engine into an object of critical interest. Taken up are artistic and cultural responses to Google by independent artists but also by cultural critics and technology writers, including the development of such evocative notions as the deep web, flickering man and filter bubble. Among the critiques that have taken shape in the works to be (...) discussed here are objects and subjects brought into being by Google, Googlization, Google’s information politics, its licensing as well as issues surrounding specific products such as Google Street View, as Google leaves the web, capturing more spaces to search. (shrink)

This study brings together various images of enslaved women characterized as jawārī (sing. jāriya) across Fatimid visual culture to shed light on the frequency with which jawārī are represented in the corpus of Fatimid art and to offer an explanation for their ubiquity in the visual archive. This study argues that the oft-repeated visual motif of jawārī highlights the required visibility of enslaved women in Fatimid society. In addition to their labor being exploited as well as their bodies being sexually (...) accessible to their owners, jawārī were also visually available to those they served. In this sense, the jawārī represented in Fatimid visual culture became mere objects on the surface of objects, things on things, constructed to provide pleasurable experiences for their audiences – their owners, of course, but also members of elite society at large. Carved in wood and ivory, painted on ceramics and walls of architectural spaces, drawn on paper, and crafted in sculptural form, representations of jawārī sought to beautify physical and sexual labor, superimposing an aesthetic element on the representation of enslavement. Representations of jawārī thus reveal less about the day-to-day experience of enslaved women in the Fatimid world and more about the carefully constructed ideologies and desires undergirding enslavement in the period. Slavery and its images were therefore not hidden features of the Fatimid visual landscape but rather spectacles to be commodified, consumed, and enjoyed. (shrink)

What we face today is the recovery of critical judgment under the condition of changing history. Aestheticizing bids us to abandon the need for legitimation by way of refocusing the public impulses of the “people” or assures us without argument that the aestheticizing impulse is reliably generous in the best democratic sense. The author finds himself unwilling to trust either tendency and believes, rather, that if there is a disciplined debate that may be mounted, we will find that we have (...) reclaimed the question of moral or ethical direction which would mean outflanking both the revelatory and the postmodernist options once again – without falling back to modernist assurances. (shrink)

The present paper deals with the problem of the digital-culture-public-philosophy as a possible response of those philosophers who see the need to face the challenges of the Internet and the visual culture that constitutes an important part of the Internet cultural space. It claims that this type of philosophy would have to, among many other things, modify and broaden philosophers’ traditional mode of communication. It would have to expand its textual, or mainly text-related, communication mode into the aesthetic and visual (...) communication mode. More precisely, philosophers would have to learn how to aestheticize and visualize their ethical narratives by using some digital tools – YouTube clips for example. (shrink)

Recent interest in communism as an idea prompts reconsideration of Walter Benjamin’s conception of a “communist” aesthetic politics. In spite of Benjamin’s categorical condemnation of aestheticized politics, his “artwork essay” is better read as both explicit condemnation of a particular (regressive fascist) type of aestheticized politics and implicit commendation of another (progressive communist) type. Under the modern conditions of the technological reproducibility of art, and mass politics, the character of and relationship between the cultural value spheres of politics and aesthetics (...) also changes. Benjamin analyzes dialectically the actuality of the fascist response to modern mass arts and politics in which technology and society are misaligned, and the potentiality of a communist response that would bring about a collective interplay of humanity and technology. (shrink)

According to the transcendental Aesthetic of the Critique of pure reason, there are two properties of time that cannot be intellectualized: passage and infinitude. This study tries to show that these essential properties of time come to light in Kant’s Critique of Judgment. The contemplation of beauty will be understood as a non-successive time and the wonder that we experience in seeing the sublime will be understood through Kant’s concept of infinite moment. These two aesthetic concepts of time will be (...) integrated into Kant’s broader view of time as developed in the first Critique. (shrink)

ArgumentI propose that both Moholy-Nagy's suggestions that products of applied, particularly scientific, photography be employed as exemplars for art photography, and his practice of integrating such applied photographs with art photographs in his publications and exhibitions, laid the groundwork for an aestheticization of scientific photography within the twentieth-century artistic avant-garde. This photographic “New Vision,” formulated in the 1920s, also effected a kind of “scientization” of art photography. Rather than Positivist mechanism, however, I argue that the science at play was (...) “biocentrism,” the early twentieth-century worldview that can be described as Naturromantik updated by biologism. His key inspiration in this regard was one of the most important figures of biocentrism, the biologist and popular scientific writer Raoul Heinrich Francé, and his conception of Biotechnik [bionics], in which he proposed that all human technologies are based in natural technologies.The biological, pure and simple, taken as the guide.– Moholy-Nagy. (shrink)

This article analyses different ways of perceiving sports based on the study of cinematographic documentary of the first Olympic Games. The aim is to explore the political discourses and aesthetic senses transmitted through images, studying footages from the beginning of the twentieth century until Berlin 1936, when the aestheticization process became analogous to the sportization process, as Norbert Elias pointed out. This ‘movement-image’—as Gilles Deleuze named it—shows that a set of documentary Olympics footages, especially those produced since Saint Louis (...) Games in 1904, projected meanings about the individual and collective body. The hypothesis is that historic filmed physical activities intended to educate through not only the gaze but also the gaze itself, to form ways of perceiving bodies and practices.The central focus of this paper argues that the informative cinema teaches through the exhibition of educated bodies, but also forms the sensitivity of the viewer perspective. In other words, it not only transmits ways of doing but also forms an ethos, to form ways of perceiving, to form ways of being sensitive. The aim of this study is to explore the political discourses and aesthetic senses transmitted through the Olympic images, which are often loaded with moralism and patriotism. This paper concludes with a conceptual counterpoint between Jacques Rancière and Walter Benjamin about technical reproducibility and political reproduction, considering the aesthetic-political tension that sports put into play. (shrink)

This analysis holds that just as wisdom is good for its own sake, the effervescent perfuming of aesthetic pleasure in rasa, camatkāra, need not be useful for a goal or purpose. However, there is an intellectual virtue in the act of aestheticizing the affective response of wonder. The “here and now” of the aestheticized emotion of wonder, adbhutarasa, is a moment of focus and attention regained as a logically atemporal, even timeless moment. As the carvaṇā process unfolds, adbhutarasa invites an (...) epistemic agent to give time through focused attention, a contemplative tarrying, or an unhurried attentional prolongation. Looking across Platonic, Cartesian, and Kantian traditions to answer the question of epistemic value in rasa experiences, I argue that an agent is moved, and moves into an evaluative mode through the lenses of the sublime and taste. Renewed vigor to see, feel, and contemplate how things are, thickens epistemic emotions. The agentive freedom of the rasika to affectively resonate with ideas re-cognitively makes adbhuta a vehicle of inquiry like none other. (shrink)

This paper focuses on Nietzsche’s claim that suffering is closely related to the realization of certain perfectionist values, such as artistic excellence. According to Bernard Reginster, creative achievement consists in overcoming suffering, and therefore, suffering is an essential ingredient of creative achievement. Because suffering forms an essential part of a valuable whole in this way, Reginster argues that we must in turn value suffering ‘for its own sake’. This paper argues that Reginster’s position is open to the following objection: from (...) the fact that suffering is an essential part of a valuable whole, it does not follow that suffering is itself valuable. Rather, by taking advantage of the principle of organic unities, it would have to form an essential part of a valuable whole in a particular way. The author considers two ways the principle might be attributed to Nietzsche’s views on suffering: first, as an ‘enabling condition’, in which suffering allows for a whole that outweighs its disvalue; and second, as ‘a contributor’, in which suffering positively contributes value to the whole. The paper explores how Nietzsche’s ethics turns out to be crucially informed by this conceptual distinction. (shrink)

ABSTRACTWhen Manchester United Football Club publicly announced the signing of Alexis Sanchez in 2018, it was done through a short video that purported to demonstrate the rich traditions and...

The essay has the aim to analyze the brief history of applied aesthetics from the arts and crafts theories to the everyday aestheticization of postmodernism: the key role of form and function, the problem of ornament, the social implications of commodities, the object value system, objects as simulacra. Is it possible to go beyond these categories? Are they conceptual or just historical categories?

Introduction -- Aestheticized violence -- Women warriors: the rise of female control -- Hyper-violence: the thrill of Kill Bill -- Surrealistic violence: no muscles, no splatter -- Surrealistic violence: women warriors unite.

Wolfgang Welsch examines global aestheticization phenomena, probes the relationship of aesthetics and ethics, and considers the broad relevance of aesthetics for contemporary thinking. He argues that modes of thought familiar from the aesthetic realm comprise fundamental paradigms for understanding todayÆs reality. The implications for specific and everyday issues are demonstrated in studies of architecture, advertising, the Internet, and our perception of the life world. Surgically precise, innovative, and, above all, relevant, this book is an essential resource, providing the analysis (...) of contemporary culture with philosophical bite. Aesthetics is to transcend itself, address the whole realm of aethesis, and hence enable orientation in the contemporary condition. Undoing aesthetics means releasing it from old cultural binds and giving it new ties with the future. (shrink)

The wholesale aestheticization of society had found its grotesque apotheosis for a brief moment in fascism, with its panoply of myths, symbols, and orgiastic spectacles.... But in the post-war years a different form of aestheticization was also to saturate the entire culture of late capitalism, with its fetishism of style and surface, its culture of hedonism and technique, its reifying of the signifier and displacement of discursive meaning with random intensities. Terry Eagleton, The Ideology of the Aesthetic.

Philosophers have long distinguished between appearance and reality, and the opposition between a supposedly deceptive surface and a more profound truth is deeply rooted in Western culture. At a time of obsession with self-representation, when politics is enmeshed with spectacle and social and economic forces are intensely aestheticized, philosophy remains moored in traditional dichotomies: being versus appearing, interiority versus exteriority, authenticity versus alienation. Might there be more to appearance than meets the eye? In this strikingly original book, Barbara Carnevali offers (...) a philosophical examination of the roles that appearances play in social life. While Western metaphysics and morals have predominantly disdained appearances and expelled them from their domain, Carnevali invites us to look at society, ancient to contemporary, as an aesthetic phenomenon. The ways in which we appear in public and the impressions we make in terms of images, sounds, smells, and sensations are discerned by other people's senses and assessed according to their taste; this helps shape our ways of being and the world around us. Carnevali shows that an understanding of appearances is necessary to grasp the dynamics of interaction, recognition, and power in which we live-and to avoid being dominated by them. Anchored in philosophy and traversing sociology, art history, literature, and popular culture, Social Appearances develops new theoretical and conceptual tools for today's most urgent critical tasks. (shrink)

This paper is a preliminary attempt to bring to the fore some questions and issues regarding the role of habits in aesthetics. Indeed, much attention has recently been given to habits across a wide range of fields of inquiry: philosophers turn to the concept to investigate its significance to the historical development of Western thought; neuroscientists look into the role that habits play in the functioning of the human mind and identify the neural and psychological underpinnings of habitual behavior; anthropologists, (...) political scientists and sociologists tap into habits as a key notion to explain social dynamics and collective behavior. For all of these waves that the notion has made in other parts of the humanities and social sciences, there have been so far, however, only a few sustained discussions of habits in conjunction with aesthetics. What is the role of habits in aesthetic experience? How do habits influence and regulate artistic creative processes? (shrink)

Aesthetization, or aestheticization, has recently become a new key word in scholarly debates about culture and society, roughly concerned with the kind of phenomenon that pictorial turn describes. It is not that `aesthetization', in its literal sense, is making the unaesthetic aesthetic, nor does it point to the sort of topics typical of an aestheticized human life as favored by some traditional Chinese intellectuals; rather it is about a transaesthetization. This process differs not just in the range and extent (...) of aesthetization, but in its essence and nature: reality will no longer exist when it is transaesthetized and what is left is an aesthetic realm only; in other words, there will be no reality, but purely the `hyperreal'. Accordingly, transaesthetization can then often be associated with the concept of simulacrum, or the proliferation of images; it would thus result from the expansion of simulacra. However, there arises the problem that simulacrum is not identical with image. Assuming that the beauty of image consists in its rich connotations and its presentation at the level of form, it is doubtful that transaesthetization is configured merely by the simulacral. Why, and how could it be so? (shrink)

If indeed aestheticization and enchantment are perennial traits of state discourses and practices in China, it is perhaps unsurprising that a countertradition in modern literature should emphasize disenchantment. Cultural productions that originate from outside the sphere of the state have often questioned its authority. Where the state seeks to enchant, literature has sometimes sought to kindle doubt, to arouse debate. Although such debates have often been curtailed or suppressed, it is worth reexamining the connections between literary production and political (...) debates in different historical contexts throughout twentieth-century China. Drawing on theories that stress the intentionality of literature and the speech act value of the literary text, the present essay attempts to characterize the communicational dynamics both within the text and in the context of its reception. In this perspective, it revisits some of the literary debates that took place in China in the May Fourth and Republican periods (represented by Lu Xun), the early postwar years and the ROC—PRC transition (Lao She), in certain works written during the Cultural Revolution (Jin Fan/Liu Qingfeng), as well as post-1979 literature on the mainland (Yan Lianke). It does so by selecting texts that seem to have been produced with the intention of challenging the aesthetics of enchantment, using literary devices to interrupt readers’ enjoyment and thus open a space for public discussion of both aesthetics and politics. (shrink)

"The Federalist" is commonly read as an exemplar of political realism. However, alongside Publius' arguments against the enthusiastic imagination --its tendency to inflame the passions, betray the intellect, and subvert political authority--are formative appeals to the imagination 's role in reconstituting the public authority shaken during the postrevolutionary years. This essay explores three central aspects of Publius' restorative appeal to the imagination : the appeal to the public veneration required for sustaining political authority across time; the strategies for shifting citizen (...) loyalty from the state and local level to that of a newly energized federal government; and the rhetorical elicitation of the public's imagination in aestheticized portrayals of Providential nationality. These aspects of Publius' argument make up the core of "The Federalist's aesthetics of rule. In each instance, Publius invokes the imagination as a heteronomic support to navigate familiar dilemmas of democratic self-authorization. (shrink)

This chapter contains sections titled: Introduction The Schopenhauerian Challenge “Justification” The Extension of “Aesthetic Phenomenon” The Aestheticization of Suffering Concluding Remarks: The Ethics of Aesthetic Justification.

Zagorin presents a critique of F. R. Ankersmit's postmodernist philosophy of history as fallacious and opposed to some of the fundamental convictions and intuitions historians feel about their discipline. It questions Ankersmit's conclusion that the overproduction of historical writings and continuing generation of new interpretations has obliterated the past as an object of knowledge. It argues that Ankersmit's attempt, in accord with Hayden White, to aestheticize historiography and regard it as a linguistic construction indistinguishable from literature, must sever it from (...) its necessary grounding in reality and truth. It also rejects as groundless Ankersmit's claim to have deconstructed causality, and concludes that the postmodernist conception trivializes historiography and deprives it of its essential function in education and culture. (shrink)

Gauḍīya Vaiṣṇava thinkers adapted rasa theory to a context of devotion to the god Kṛṣṇa. In doing so, bhayānaka-rasa, the aestheticized experience of horror, presents interesting complexities. This paper examines the conceptualizations of bhayānaka-rasa by four Gauḍīya Vaiṣṇava authors: Rūpa Gosvāmin, Jīva Gosvāmin, Kavi Karṇapūra, and Baladeva Vidyābhūṣaṇa. Between them, they discuss three distinct modes of bhayānaka-rasa in a devotional context: a devotee’s fear after committing an offense against Kṛṣṇa, fear of some dreadful being who the devotee thinks might hurt (...) Kṛṣṇa, and fear of Kṛṣṇa’s display of his cosmic form. This paper also briefly examines the Rūpa’s explicit rejection of the fear felt by Kaṃsa as a case of devotional bhayānaka-rasa. A central concern for the Gauḍīya Vaiṣṇava authors is whether fear, a typically unpleasant emotion, can attain the status of a rasa and how it is subordinated to more direct forms of devotion. This paper argues that these thinkers make an important contribution to reconceptualizing bhayānaka-rasa, particularly highlighting Jīva’s Gosvāmin’s argument that the real object of bhayānaka-rasa is not the person who serves as the source of fear, but is Kṛṣṇa, out of love for whom such fear is felt. (shrink)

The very idea of humanity seems to be in crisis. Born in the ashes of devastation after the slaughter of millions, the liberal conception of humanity imagined a suffering victim in need of salvation. Today, this figure appears less and less capable of galvanizing the political imagination. But without it, how are we to respond to the inhumane violence that overwhelms our political and philosophical registers? How can we make sense of the violence that was carried out in the name (...) of humanism? And how can we develop more ethical relations without becoming parasitic on the pain of others? Through a critical exploration of violence and the sacred, Ecce Humanitas recasts the fall of liberal humanism. Brad Evans offers a rich analysis of the changing nature of sacrificial violence, from its theological origins to the exhaustion of the victim in the contemporary world. He critiques the aestheticization that turns victims into sacred objects, sacrificial figures that demand response, perpetuating a cycle of violence that is seen as natural and inevitable. In novel readings of classic and contemporary works, Evans traces the sacralization of violence as well as art’s potential to incite resistance. Countering the continued annihilation of life, Ecce Humanitas calls for liberating the political imagination from the scene of sacrifice. A new aesthetics provides a form of transgressive witnessing that challenges the ubiquity of violence and allows us to go beyond humanism to imagine a truly liberated humanity. (shrink)

This book examines recent forms of secularisation to demonstrate that we are now witnessing a "fourth secularisation": the autonomy of lifestyles. After introducing two initial secularising movements, from mythosto Logosand from Logosto Christianity, the book sets out how from Max Weber onwards a third movement emerged that practised the autonomy of science. More recently, daily life radicalises Weber's secularisation and its scope has spread out to include autonomy of individual practices, which has given rise to this fourth iteration. The book (...) outlines these first three forms of secularisation and then analyses the fourth secularisation in depth, identifying its three main dimensions: the de-institutionalisation of the religious lifestyle; the individualisation of faith; and the development of new social forms in the religious field. These areas of religious practice are shown to be multiplying partly as a result of the general aestheticization of society. Individuals, therefore, aspire to personal styles of life with regard to beliefs and the choice of their own religious practices. This book will be of great use to scholars of religious studies, secularisation and the sociology of religion. own to be multiplying partly as a result of the general aestheticization of society. Individuals, therefore, aspire to personal styles of life with regard to beliefs and the choice of their own religious practices. This book will be of great use to scholars of religious studies, secularisation and the sociology of religion. (shrink)

Carl Schmitt's polemical discussion of political Romanticism conceals the aestheticizing oscillations of his own political thought. In this respect, too, a kinship of spirit with the fascist intelligentsia reveals itself. Jürgen Habermas, “The Horrors of Autonomy: Carl Schmitt in English”The pinnacle of great politics is the moment in which the enemy comes into view in concrete clarity as the enemy.Carl Schmitt, The Concept of the Political (1927).

For decades, aesthetics has been subjected to a variety of critiques, often concerning its treatment of beauty or the autonomy of art. Collectively, these complaints have generated an anti-aesthetic stance prevalent in the contemporary art world. Yet if we examine the motivations for these critiques, Michael Kelly argues, we find theorists and artists hungering for a new kind of aesthetics, one better calibrated to contemporary art and its moral and political demands. Following an analysis of the work of Stanley Cavell, (...) Arthur Danto, Umberto Eco, Susan Sontag, and other philosophers of the 1960s who made aesthetics more responsive to contemporary art, Kelly considers Sontag's aesthetics in greater detail. In _On Photography_ (1977), she argues that a photograph of a person who is suffering only aestheticizes the suffering for the viewer's pleasure, yet she insists in _Regarding the Pain of Others_ (2003) that such a photograph can have a sustainable moral-political effect precisely because of its aesthetics. Kelly considers this dramatic change to be symptomatic of a cultural shift in our understanding of aesthetics, ethics, and politics. He discusses these issues in connection with Gerhard Richter's and Doris Salcedo's art, chosen because it is often identified with the anti-aesthetic, even though it is clearly aesthetic. Focusing first on Richter's Baader-Meinhof series, Kelly concludes with Salcedo's enactments of suffering caused by social injustice. Throughout _A Hunger for Aesthetics_, he reveals the place of critique in contemporary art, which, if we understand aesthetics as critique, confirms that it is integral to art. Meeting the demand for aesthetics voiced by many who participate in art, Kelly advocates for a critical aesthetics that confirms the limitless power of art. (shrink)

As the depiction of a relatively unpeopled view of a portion of land, Kōjin Karatani once suggested a link between the rise of a Western concept of “landscape” and the solitary interiority of Cartesianism. He showed that while aesthetic views of nature existed for centuries in Japan, an interiorized relationship to “landscape” in Japanese art and literature did not appear until the period of intense Westernization. Yet, landscapes and their “missing people” have also been sites for imagining alternative models of (...) community and politics, particularly among those whose lands have endured colonial fetishization and exploitation. Instead of repudiating its aestheticization, how are these renarrativizations and revisualizations of landscapes used to dramatize and weaponize processes of becoming and self-invention? Such questions about the relationship between art, landscape, and the politics of becoming are carried forth through a conversation between texts about islands by Suzanne Césaire, Aimé Césaire, and Gilles Deleuze. (shrink)

Alongside the robots, rockets, kitchen appliances, and other technical wonders displayed at the great expositions and world’s fairs of the late-19th and early-20th centuries, visitors frequently found deceptively staid demonstrations of banal bureaucratic tools: cards, fiches, and files. Yet these technologies of information management were aestheticized and presented as integral to the generation and pursuit of the fairs’ ambitious ‘world projects’: global networks, universal intelligences, efficient cities, colonized galaxies. The small, moving parts of information functioned as critical tools for city- (...) and world-building. In this article we begin with the 1964–5 World’s Fair, where bits and fragments of information fueled space-age visions, then trace those mid-century imaginaries back to the 1939–40 World’s Fair and a constellation of expos at the turn of the century, to see how the small, moving parts of information management ‘scale up’ to generate grand fantasies, and, at the same time, how they serve to index their own particular political and cultural milieux. (shrink)

Derrière un seul et même mot – l’« esthétisation » – se cachent des constats que tout ou presque sépare. Peu étonnant que les différents débats autour de cette notion, en France, en Allemagne ou aux États-Unis, aient souvent engendré des incompréhensions mutuelles. Avant même de savoir si l’esthétisation du monde est un phénomène désirable ou condamnable, il faut éclairer les arrière-plans conceptuels qui orientent ce diagnostic, et qui lui confèrent un sens parfois diamétralement opposé. En ouverture du dossier, l’article (...) entreprend de faire la généalogie de ces débats, avec trois moments-clés – le moment 1800, l’entre-deux-guerres (1919-1939), et enfin les années post -68 (1970-1990). Il propose ensuite une typologie pour s’orienter dans ces débats et comparer les quatre versions de ce qu’« esthétisation » peut vouloir dire. (shrink)

The publication of Art as Experience in 1934 marked a theoretical turning point away from the disinterested spectatorship of Kant towards an aesthetics of everyday life. Dewey’s major claim therein is that “aesthetic experience” is privileged and ought to be taken as paradigmatic for all experience because it is controlled by an affective unity that he calls “pervasive quality” which harmonizes thought and action with its social and environmental context. In 1935 Walter Benjamin argued that pre-industrial works of art have (...) an “aura” that exerts an affective lure on consciousness, and that the remnants of this aura in the post-industrial age may lead to the abandonment of critical thought and seduce the masses into the sway of fascism. This paper considers John Dewey’s aesthetic theory in light of the critical perspective developed by his contemporaries in the Frankfurt School. I will consider whether Dewey’s reliance on the qualitative dimension of experience undermines the critical reflection that, theoretically, prevents the “aestheticization of politics” that leads to the spread of fascism, and propose that pragmatist aesthetics would benefit from greater tolerance for the “negativity” exemplified by the critical theorists. (shrink)

Diffused aesthetics is the formula by which the pervasiveness of aesthetic phenomena in the current scenario is summarized: having overcome the long phase of the exclusive dominance of art as the parameter of aesthetic values, contemporaneity has recognized itself in a plurality of practices in which even the non-aesthetic is thought and experienced as aesthetic. The essay aims to probe the theoretical aspects of this process in which material consumption and immaterial consumption converge into a single, everyday and pervasive scenario. (...) This definition of a globalized aesthetics, in which the role of the aesthetic in consumer culture is fully activated, has configured first of all the opposition between the aestheticization and the aesthetics of the everyday, one approach ideological and critic and another more constrained to the aesthetic experience of the practices of the contemporary life-world. (shrink)