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This book develops a philosophy of aesthetic experience through two socially significant philosophical movements: early German Romanticism and early critical theory. In examining the relationship between these two closely intertwined movements, we see that aesthetic experience is not merely a passive response to art—it is the capacity to cultivate true personal autonomy, and to critique the social and political context of our lives. Art is political for these thinkers, not only when it paints a picture of society, but even more when it makes us aware of our deeply ingrained forms of experience in a transformative way. Ultimately, the book argues that we have to think of art as a form of truth that is not reducible to communicative rationality or scientific knowledge, and from which philosophy and politics can learn valuable lessons.
How aesthetics—understood as a more encompassing framework for human activity—might become the primary discourse for political and social engagement. These essays make the case for a reignited understanding of aesthetics—one that casts aesthetics not as illusory, subjective, or superficial, but as a more encompassing framework for human activity. Such an aesthetics, the contributors suggest, could become the primary discourse for political and social engagement. Departing from the “critical” stance of twentieth-century artists and theorists who embraced a counter-aesthetic framework for political engagement, this book documents how a broader understanding of aesthetics can offer insights into our relationships not only with objects, spaces, environments, and ecologies, but also with each other and the political structures in which we are all enmeshed. The contributors—philosophers, media theorists, artists, curators, writers and architects including such notable figures as Jacques Rancière, Graham Harman, and Elaine Scarry—build a compelling framework for a new aesthetic discourse. The book opens with a conversation in which Rancière tells the volume's editor, Mark Foster Gage, that the aesthetic is “about the experience of a common world.” The essays following discuss such topics as the perception of reality; abstraction in ethics, epistemology, and aesthetics as the “first philosophy”; Afrofuturism; Xenofeminism; philosophical realism; the productive force of alienation; and the unbearable lightness of current creative discourse. Contributors Mark Foster Gage, Jacques Rancière, Elaine Scarry, Graham Harman, Timothy Morton, Ferda Kolatan, Adam Fure, Michael Young, Nettrice R. Gaskins, Roger Rothman, Diann Bauer, Matt Shaw, Albena Yaneva, Brett Mommersteeg, Lydia Kallipoliti, Ariane Lourie Harrison, Rhett Russo, Peggy Deamer, Caroline Picard Matt Shaw, Managing Editor
Examines the notion of aesthetic experience as well as its value. This title brings together major voices that have directly theorised the concept of aesthetic experience or indirectly worked on topics connected to it.
In this book the influential philosopher Jacques Rancière, in discussion with Peter Engelmann, explores the enduring connection between politics and aesthetics, arguing that aesthetics forms the fundamental basis for social and political upheaval. Beginning from his rejection of structuralist Marxism, Rancière outlines the development of his thought from his early studies on workers’ emancipation to his recent work on literature, film and visual art. Rather than discussing aesthetics within narrow terms of how we contemplate art or beauty, Rancière argues that aesthetics underpins our entire ‘regime of experience’. He shows how political relations develop from sensual experience, as individual feelings and perceptions become the concern of the community as a whole. Since politics emerges from the ‘division of the sensual’, aesthetic experience becomes a radically emancipatory and egalitarian means to disrupt this order and transform political reality. Investigating new forms of emancipatory politics arising from current art practices and social movements, this short book will appeal to anyone interested in contemporary art, aesthetics, philosophy and political theory.
Despite the very obvious differences between looking at Manet’s Woman with a Parrot and listening to Elgar’s Cello Concerto, both experiences provoke similar questions in the thoughtful aesthete: why does the painting seem to express reverie and the music, nostalgia? How do we experience the reverie and nostalgia in such works of art? Why do we find these experiences rewarding in similar ways? As our awareness of emotion in art, and our engagement with art’s emotions, can make such a special contribution to our life, it is timely for a philosopher to seek to account for the nature and significance of the experience of art’s emotions. Damien Freeman develops a new theory of emotion that is suitable for resolving key questions in aesthetics. He then reviews and evaluates three existing approaches to artistic expression, and proposes a new approach to the emotional experience of art that draws on the strengths of the existing approaches. Finally, he seeks to establish the ethical significance of this emotional experience of art for human flourishing. Freeman challenges the reader not only to consider how art engages with emotion, but how we should connect up our answers to questions concerning the nature and value of the experiences offered by works of art.
The Phenomenology of Aesthetic Experience (Fr. Ph nom nologie de l'exp rience esth tique) was first published in 1953. In the first of four parts, Dufrenne distinguishes the "aesthetic object" from the "work of art." In the second, he elucidates types of works of art, especially music and painting. He devotes his third section to aesthetic perception. In the fourth, he describes a Kantian critique of aesthetic experience. A perennial classic in the SPEP series, the work is rounded out by a detailed "Translator's Foreword" especially helpful to readers in aesthetics interested in the context and circumstances around which the original was published as well as the phenomenological background of the book.
In this volume, a team of internationally respected contributors theorize the concept of aesthetic experience and its value. Exposing and expanding our restricted cultural and intellectual presuppositions of what constitutes aesthetic experience, the book aims to re-explore and affirm the place of aesthetic experience--in its evaluative, phenomenological and transformational sense--not only in relation to art and artists but to our inner and spiritual lives.
Bence Nanay explores how many influential debates in aesthetics look very different, and may be easier to tackle, if we clarify the assumptions they make about perception and experience. He focuses on the ways in which the distinction between distributed and focused attention can help us re-evaluate various key concepts and debates in aesthetics.
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This bold and persuasive study rereads the works of Hannah Arendt to recuperate her relevance to contemporary politics and to show that her deepest concerns are oriented by her ontology. Kimberley Curtis interprets Arendt's earlier work through the lenses of The Life of the Mind, elucidating what Curtis calls an "aesthetic sensibility of tragic pleasure" as a way out of the enclave politics of late modernity.Arguing that oblivion and radical forgetfulness of others are among the most ethically troubling features of our political landscape, Curtis shows that Arendt's aesthetic account of politics offers us an idiom in which to name and resist the depravations and dangers of our political condition. Curtis also elucidates Arendt's debt to phenomenology and argues that our sense of reality is born through highly charged sensuous provocation and mutual responsiveness. Arendt's innovation is to recognize that this countenancing of others is an aesthetic experience that creates the political world.Curtis plumbs the relevance of this work in current issues such as gated communities for the privileged and prisons for the disenfranchised, and in the extraordinary relationship between a black civil rights leader and a Ku Klux Klan officer. Our Sense of the Real is a poetic invocation of Arendt's politics, at once lively, passionate, and crucial.