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Contemporary Novelists and the Aesthetics of Twenty-First Century American Life gives us a new way to view contemporary art novels, asking the key question: How do contemporary writers imagine aesthetic experience? Examining the works of some of the most popular names in contemporary fiction and art criticism, including Zadie Smith, Teju Cole, Siri Hustvedt, Ben Lerner, Rachel Kushner, and others, Alexandra Kingston-Reese finds that contemporary art novels are seeking to reconcile the negative feelings of contemporary life through a concerted critical realignment in understanding artistic sensibility, literary form, and the function of the aesthetic. Kingston-Reese reveals how contemporary writers refract and problematize aesthetic experience, illuminating an uneasiness with failure: firstly, about the failure of aesthetic experiences to solve and save; and secondly, the literary inability to articulate the emotional dissonance caused by aesthetic experiences now.
Tracing the logic of media history, from the baroque tothe neo-baroque, from magic lanterns and automata to film andcomputer games.
Planting design is, rather obviously, a complex topic, spanning as it does art, science, social need, and morality--especially during these days of increasing planetary environmental threat. Although certainly not denying the importance of scientifically appropriate practices, the symposium "The Aesthetics of [Contemporary] Planting Design" addressed planting design today, proposing a renewed concern for the cultural and aesthetic aspects of the landscapes that result. This book, which has been developed from the original presentations at the symposium, presents the thoughts of a select international group of landscape architects and historians who discuss the subject of planting design through the lens of their own work as well as the work of others, both contemporary and historical. They suggest that, as in real estate, the most important factor in selecting plants is "location, location, location." Certainly the Californian situation is far more forgiving than the aridity and other restrictive environmental conditions endemic to the Sonoran desert, or the frost and short growing seasons of Nordic lands that direct Scandinavian landscape architects to rely on native birches, pines, rowan, and moss. Most of us would agree that there are plants sensible for each climatic zone. Addressing environmental conditions is but the first step in the equation, however. There are also the issues of combination and composition.
In this discussion of the aesthetic in everyday life the aesthetic codes of advertising, architecture, the Internet and everyday images are used as examples of the disorientation which a multiplication of codes creates. Welsch proposes untangling the 'aestheticization of everyday life' and replacing it by more meaningful and durable categories.
Using a variety of critical perspectives, this text demonstrates a renewal of garden design and directions for garden aesthetics, analysing projects by Fernando Chacel (Brazil), Andy Goldsworthy (Great Britain), Charles Jencks (Great Britain), Patricia Johanson (U.S.) and Bernard Lassus (France).
Contemporary Debates in Aesthetics and the Philosophy of Art features pairs of newly commissioned essays by some of the leading theorists working in the field today. Brings together fresh debates on eleven of the most controversial issues in aesthetics and the philosophy of art Topics addressed include the nature of beauty, aesthetic experience, artistic value, and the nature of our emotional responses to art. Each question is treated by a pair of opposing essays written by eminent scholars, and especially commissioned for the volume. Lively debate format sharply defines the issues, and paves the way for further discussion. Will serve as an accessible introduction to the major topics in aesthetics, while also capturing the imagination of professional philosophers
This book posits an interconnection between the ways in which contemporary television serials cue cognitive operations, solicit emotional responses, and elicit aesthetic appreciation. The chapters explore a number of questions including: How do the particularities of form and style in contemporary serial television engage us cognitively, emotionally, and aesthetically? How do they foster cognitive and emotional effects such as feeling suspense, anticipation, surprise, satisfaction, and disappointment? Why and how do we value some serials while disliking others? What is it about the particularities of serial television form and style, in conjunction with our common cognitive, emotional, and aesthetic capacities, that accounts for serial television’s cognitive, socio-political, and aesthetic value and its current ubiquity in popular culture? This book will appeal to postgraduates and scholars working in television studies as well as film studies, cognitive media theory, media psychology, and the philosophy of art.
An anthology of contemporary readings in analytic aesthetics, this reference reflects the relationships among the central aesthetic concerns of recent years. Providing a new perspective on the contemporary philosophy of art, this volume examines the challenge of Postmodernism and how it may or may not affect the future of analytic aesthetics ... offers a case study of the progress that has been made in handling the problem of expression in the arts ... reconceptualizes the concepts of the art work, its properties, and our experience and evaluation of it -- to take into account an expanding cultural, sociological contextualization, i.e., art as a culturally emergent product of social institutions and conventions ... features several readings organized around clusters of writers discussing each other's ideas and proposals, including: Beardsley, Dickie, and Blizek -- Wolterstorff, Levinson, and Bender -- Stolnitz and Dickie -- Beardsley, Margolis, and Novitz -- and Sibley and Dickie. Suitable for professionals in the art industry and anyone interested in the philosophy or aesthetics of art.
In The Sublime in Modern Philosophy: Aesthetics, Ethics, and Nature, Emily Brady takes a fresh look at the sublime and shows why it endures as a meaningful concept in contemporary philosophy. In a reassessment of historical approaches, the first part of the book identifies the scope and value of the sublime in eighteenth-century philosophy (with a focus on Kant), nineteenth-century philosophy and Romanticism, and early wilderness aesthetics. The second part examines the sublime's contemporary significance through its relationship to the arts; its position with respect to other aesthetic categories involving mixed or negative emotions, such as tragedy; and its place in environmental aesthetics and ethics. Far from being an outmoded concept, Brady argues that the sublime is a distinctive aesthetic category which reveals an important, if sometimes challenging, aesthetic-moral relationship with the natural world.
Speed is an obvious facet of contemporary society, whereas slowness has often been dismissed as conservative and antimodern. Challenging a long tradition of thought, Lutz Koepnick instead proposes we understand slowness as a strategy of the contemporary—a decidedly modern practice that gazes firmly at and into the present's velocity. As he engages with late twentieth- and early twenty-first-century art, photography, video, film, and literature, Koepnick explores slowness as a critical medium to intensify our temporal and spatial experiences. Slowness helps us register the multiple layers of time, history, and motion that constitute our present. It offers a timely (and untimely) mode of aesthetic perception and representation that emphasizes the openness of the future and undermines any conception of the present as a mere replay of the past. Discussing the photography and art of Janet Cardiff, Olafur Eliasson, Hiroshi Sugimoto, and Michael Wesely; the films of Peter Weir and Tom Tykwer; the video installations of Douglas Gordon, Willie Doherty, and Bill Viola; and the fiction of Don DeLillo, Koepnick shows how slowness can carve out spaces within processes of acceleration that allow us to reflect on alternate temporalities and durations.