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Contrast the glittering palette used to decorate rickshaws on the streets of Mumbai, the phlegmatic angst of Nordic noir, the taut ovoids of Kwakwaka'wakw carving, or the kawaii invasion of parts of Tokyo. The diversity of the aesthetic ecosystem enriches our lives. In Aesthetic Injustice, Dominic McIver Lopes draws on his earlier books, Beyond Art and Being for Beauty^—^as well as the rich tradition of cultural cosmopolitanism^—^to argue that we have interests in there being diverse conceptions of aesthetic value, each one at the centre of a thriving, self-directed aesthetic culture. These interests should govern how, from the perspective of our own aesthetic cultures, we interact with others' aesthetic cultures. Lopes articulates an entirely new theory of aesthetic injustice: the consequence of neglecting our own interests. This theory sheds light on cultural appropriation, gendered and racialized ideals of bodily beauty, the allocation of resources to the aesthetic pursuits of disabled people, and state support for the aesthetic cultures of minority groups. In its combination of theoretical innovation with detailed treatment of contemporary issues, Aesthetic Injustice forges important connections between aesthetics, political philosophy, and research on social justice.
This book establishes an argument for deeper attention to the aesthetic qualities of literature, to the question of the relation between the aesthetic and more immediate, practical, and urgent social and political matters. It attempts to establish the intrinsic value of the aesthetic at the same time as it demonstrates that focus on the aesthetic does not preclude attention of the urgent questions with which works of art consistently engaged. It argues that attention to the aesthetic does not diminish attention to these larger issues, but in effect increases the power both of art and criticism to engage them fruitfully.
Sport aesthetics is an important but often marginalized field in the philosophy of sport. Kinetic Beauty offers a comprehensive, principled, pluralist introduction to the philosophical aesthetics of sport. The book tackles a wide variety of issues in the philosophical aesthetics of sport, proposing a five-level analysis that coordinates extant scholarship on the same conceptual map, reveals gaps in the literature, and motivates a fresh perspective on stubborn debates and novel topics in the field (for example, the aesthetic experience of athletes, aesthetic biases in sport, the paradox of sport fiction, and whether dance can be sport). This is an excellent resource for professors and students in the philosophy of sport, sport aesthetics, general aesthetics, and the philosophy of art. It is also a fascinating read for those working in kinesiology, sport studies, philosophy, art, and aesthetics.
No values figure as pervasively and intimately in our lives as beauty and other aesthetic values. They animate the arts, as well as design, fashion, food, and entertainment. They orient us upon the natural world. And we even find them in the deepest insights of science and mathematics. For centuries, however, philosophers and other thinkers have identified beauty with what brings pleasure. Concerned that aesthetic hedonism has led us to question beauty's significance, Dominic McIver Lopes offers an entirely new theory of beauty in this volume. Beauty engages us in action, in concert with others, in the context of social networks. Lopes's 'network theory' explains the social dimension of aesthetic agency, the tie between beauty and pleasure, the importance of disagreement in matters of taste, and the reality of aesthetic values as denizens of the natural world. The two closing chapters shed light on why aesthetic engagement is so important to quality of life, and why it deserves (and gets) lavish public support. Being for Beauty offers a fresh contribution to aesthetics but also to thinking about metanormativity, the metaphysics of value, and virtue theory.
In this lively and groundbreaking book, arts educator Marit Dewhurst examines why art is an effective way to engage students in thinking about the role they might play in addressing social injustice. Based on interviews and observations of sixteen high schoolers participating in an activist arts class at a New York City museum, Dewhurst identifies three learning processes common to the act of creating art that have an impact on social justice: connecting, questioning, and translating. Noting that “one of the challenges of social justice art education has been the difficulty of naming effective strategies that can be used across multiple contexts,” Dewhurst outlines core strategies for an “activist arts pedagogy” and offers concrete suggestions for educators seeking to incorporate activist art projects inside or outside formal school settings. Social Justice Art seeks to give common language to educators and others who are looking to expand and refine their practices in an emerging field, whether they work in art education, social justice programming, or youth development.
"You have a complex and detailed aesthetic life. You make aesthetic decisions every day. You wake up, shower, and dress. When you decide what to wear, you think about how it feels and fits, how it expresses your style. You wander into the kitchen and think about what to eat. When you decide what to eat, you think about flavor, texture, smell. You head out into the world. You see your car, your bike, your shoes and appreciate how they look. When you decide what to buy, you think about how it will look in your house, or how it sounds or feels. You make aesthetic decisions every day-about what to listen to, what to watch, whether to arrange things just so, about how to sit, strut, or sing. You have aesthetic feelings and reactions every day. The sunset swings into view as you turn a corner and you think, "That's beautiful." A wave of calm and pleasure wash over you. You take a bite of cake and you think, "Wow, that's sweet." Maybe too sweet. You hear that new song and it blows you away. You play it on repeat and for your friends. You try the new restaurant and you think: "It's bland, boring, awesome, exciting, brilliant, bold." The novel is wonderful, the film disappoints, the dress looked better in the store. You have aesthetic feelings and reactions every day and these reactions move you through the world and shape your sense of self and well-being. You create aesthetic looks, atmospheres, and objects every day. When you dress you create an outfit that you put into the world. When you have friends over you play music, light a candle, arrange the dinner table, set a mood. You exercise aesthetic creativity when you design your tattoo, put on makeup, pierce your ear or nose, spritz cologne or perfume, or pay close attention to your hair. Almost everything you do has an aesthetic dimension-from the way you make your bed, prepare your coffee, and tie your shoes, to the way you speak to others and adjust photos to post on social media. You create aesthetic value every day. You have a complex and detailed aesthetic life that you orchestrate every day through your aesthetic decisions, reactions, feelings, and actions"--
This is a collective study of philosophical questions to do with experts and expertise, such as: What is an expert? Who decides who the experts are? Should we always defer to experts? How should expertise inform public policy? What happens when the experts disagree? Must experts be unbiased? Does it matter what the source of the expertise is?
The Power of Culture in City Planning focuses on human diversity, strengths, needs, and ways of living together in geographic communities. The book turns attention to the anthropological definition of culture, encouraging planners in both urban and cultural planning to focus on characteristics of humanity in all their variety. It calls for a paradigm shift, re-positioning city planners’ "base maps" to start with a richer understanding of human cultures. Borrup argues for cultural master plans in parallel to transportation, housing, parks, and other specialized plans, while also changing the approach of city comprehensive planning to put people or "users" first rather than land "uses" as does the dominant practice. Cultural plans as currently conceived are not sufficient to help cities keep pace with dizzying impacts of globalization, immigration, and rapidly changing cultural interests. Cultural planners need to up their game, and enriching their own and city planners’ cultural competencies is only one step. Both planning practices have much to learn from one another and already overlap in more ways than most recognize. This book highlights some of the strengths of the lesser-known practice of cultural planning to help forge greater understanding and collaboration between the two practices, empowering city planners with new tools to bring about more equitable communities. This will be an important resource for students, teachers, and practitioners of city and cultural planning, as well as municipal policymakers of all stripes.
This book offers a concise overview of the development of intercultural philosophy since the early 1990s, focusing on one of its key pioneers Heinz Kimmerle (1930– 2016). Building on influences from Gadamer, Heidegger, Derrida and Ramose, Kimmerle’s approach to intercultural philosophy is radical and fosters epistemic justice. Kimmerle critically reflected on his own western philosophical tradition, highlighting the problems of a discourse based on a dominant concept of rationality, and of excluding different approaches and participants. Instead, Kimmerle developed an alternative way of thinking, emphasizing the importance Of recognizing philosophies of different cultures. He focused particularly on African philosophies in academic discourse. In the book, the many layers of Kimmerle’s intercultural philosophy are revealed, exploring how dialectics, hermeneutics, deconstruction and decolonization can contribute to epistemic justice. The author goes beyond Kimmerle and demonstrates how Kimmerle’s approach can be further enhanced by using an intersectional approach and by engaging in dialogue with female philosophers and artists. This new study, which also introduces unpublished and untranslated texts from Kimmerle’s work in German and Dutch, will be of considerable interest to researchers of continental philosophy, intercultural and African philosophy, political philosophy, decolonial and feminist studies.
This volume documents research illustrating public dissents and interventions to injustice in modern-day cities. Authors present everyday occurrences of city life and place making; still, they show how the ordinary city grows from historical dimensions of injustice, violence and fear. Yet, ordinary citizens continue to make the city their own, to contribute to the creation of city structures and to contest those practices of spatial demarcation, which limit rather than uplift their everyday social livelihood. Chapters show how marginalized populations, from racial, to gendered, to the working poor, are part of the apparatus that makes the city function. However, their contributions to city arrangement and endurance are perpetually at the margins, and city spaces continue to be designed in ways that ignore and negate the existence of those who protest inequity. Novel to the volume are chapters that document and illustrate contestations of city spaces through artistic representation. Public spaces like schools, art galleries and museums are presented as central to projects of inhabiting, remembering and reimagining (in) the just city. Still, ordinary city spaces, like the public washroom, illustrate issues of gender inequity, spatial bias and other art-based protests. City dwellers interested in learning about ‘the making’ of the city; and those interested in the city as a space of possibilities – and the good life, will benefit from this volume. Scholars of geography, space, art and social justice will marvel and simultaneously be appalled by the everyday minute, yet shocking descriptions of the complexity – and unfairly structured city spaces in which they dwell.