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Congo Style presents a postcolonial approach to discussing the visual culture of two now-notorious regimes: King Leopold II's Congo Colony and the state sites of Mobutu Sese Seko's totalitarian Zaïre. Readers are brought into the living remains of sites once made up of ambitious modernist architecture and art in Kinshasa, Democratic Republic of the Congo. From the total artworks of Art Nouveau to the aggrandizing sites of post-independence Kinshasa, Congo Style investigates the experiential qualities of man-made environments intended to entertain, delight, seduce and impress. In her study of visual culture, Ruth Sacks sets out to reinstate the compelling wonder of nationalist architecture from Kinshasa's post-independence era, such as the Tower of the Exchange (1974), Gécamines Tower (1977), and the artworks and exhibitions that accompanied them. While exploring post-independence nation-building, this book examines how the underlying ideology of Belgian Art Nouveau, a celebrated movement in Belgium, led to the dominating early colonial settler buildings of the ABC Hotels (circa 1908-13). Congo Style combines Sacks's practice as a visual artist and her academic scholarship to provide an original study of early colonial and independence-era modernist sites in their African context.

• A newcomer to the fine arts
• Scenes of nature
• The landscape as painting
• Beyond the visible
• Politics of the landscape.

"The time of the landscape is not the time when people started describing gardens, mountains and lakes in poems or representing them in works of art: it is the time when the landscape imposed itself as a specific object of thought. It is the time when both the harmony of arranged gardens and the disharmony of wild nature led to a revolution in the criteria of the beautiful and in the meaning of the word 'art.' It coincided with the birth of aesthetics, understood as a regime for shaping how art is seen and thought, and also with the French Revolution, understood as a revolution in the very idea of what binds together a human community. The time of the landscape is the time when the conjunction of these two upheavals brought into focus, however hazily, a common horizon: that of a revolution that no longer concerns only the laws of the state or the norms of art, but the very forms of sensible experience. This brilliant and wide-ranging book will be of interest to students and scholars in philosophy, literature, the visual arts, and the humanities generally, and to anyone interested in critical theory and philosophy"--Publisher's description.

• Between science and art. Beazley, Daubert, and the Burden of Proof / Peter Stewart
• The Scientific Approach to Collecting: Private Coin Collections in Qing Dynasty China / Lyce Jankowski
• Connoisseurs, Scientists and the Mineral Kingdom / Monica Price and Mike Rumsey
• Professionals, amateurs, and the market. Elite and Popular Connoisseurship at the Louvre c. 1848-1870 / Tom Stammers
• Wilhelm von Bode's Technical Art History: The 1909-1912 Investigation of the Bust of Flora Attributed to Leonardo da Vinci / Matthew Hayes
• Cultural connoisseurship and the senses. "The Stock of a Connoisseur?": The Development and Commercialization of Wine Connoisseurship in the Long Nineteenth Century / Graham Harding
• Connoisseur Consumer and Specialty Coffee / Ronan Torres Quintão
• On Touching: Connoisseurship of Literati Walnuts in Beijing / I-Yi Hsieh.

"In The Entanglement, philosopher Alva Noë explores the inseparability of life, art, and philosophy, and argues that we have radically underestimated the significance of this long recognized but underappreciated reality, what he refers to as the "entanglement." The core of The Entanglement is the idea that human existence is inextricably aesthetic and philosophical. In the first half of the book, Noë offers a detailed examination of pictures and seeing, writing and speech, and choreography and dancing, which serve as case studies and the base in which the phenomenon of entanglement is set. In later chapters, Noë deepens this analysis by exploring the nature of the aesthetic itself, and its place in our lives, examining what the entanglement can teach us about science, and, in particular, the project of applying science in the domain of the human. In these later chapters he covers a range of topics, including sex, gender, and the body, psychology and AI, the problem of style, and the nature of 'nature.' Drawing on his work in perception, consciousness, and the philosophy of art, Noë offers a new model for thinking about the nature of the human, the limits to what a natural science of the human can do on its own, and the irreplaceable importance of art and philosophy for the larger project of studying and understanding ourselves"-- Provided by publisher.

• Intro; Aesthetic Experience and Somaesthetics; Copyright; Contents; Acknowledgments; List of Illustrations; Notes on Contributors; Introduction: Aesthetic Experience and Somaesthetics;
• Part 1: Embodiment in Philosophy and Aesthetic Experience; 1 Nietzsche on Embodiment: A Proto-somaesthetics?; 2 Experience and Aesthetics; 3 Art as Experience: Gadamer and Pragmatist Aesthetics;
• Part 2: Somaesthetic Approaches to the Fine Arts; 4 Olafur Eliasson, Art as Embodied and Interdisciplinary Experience: In Dialogue with Else Marie Bukdahl; 5 Winckelmann's Haptic Gaze: A Somaesthetic Interpretation

• 6 Rethinking Aesthetics through Architecture?7 "The Co-Presence of Something Regular": Wordsworth's Aesthetics of Prosody; 8 Singing, Listening, Proprioceiving: Some Reflections on Vocal Somaesthetics;
• Part 3: Somaesthetics in the Photographic Arts and the Art of Living; 9 Spectral Absence and Bodily Presence: Performative Writings on Photography; 10 Cosmetic Practices: The Intersection with Aesthetics and Medicine; 11 Santayana on Embodiment, the Art of Living, and Sexual Aesthetics; 12 Thinking through the Body of Maya: Somaesthetic Frames from Mira Nair's Kamasutra; Name Index

This collection of essays explores the crucial connections between aesthetic experience and the interdisciplinary field of somaesthetics, while further advancing inquiry in both. After the editor's introduction and three articles examining philosophical accounts of embodiment and aesthetic experience in existentialism, phenomenology, hermeneutics, and pragmatism, the book's nine remaining articles apply somaesthetic theory to the fine arts (including detailed studies of the body's role in painting, sculpture, architecture, poetry, music, photography, and cinema) but also to diverse arts of living, considering such topics as cosmetics and sexual practice. These interdisciplinary, multicultural essays are written by a distinctively international group of experts, ranging from Asia (China and India) to Europe (Denmark, Finland, Hungary, and Italy) and the United States.

• Prologue: the Sirens' song;
• 1. Introduction: the 'as-if' of aesthetic experience. Part I. Narratives:
• 2. Narratives: experiencing time;
• 3. The reconfiguration of time in Heliodorus' Ethiopica;
• 4. Beyond Heliodorus: Francois Ozon, Dans la maison; Part II. Pictures:
• 5. Pictures: the detached gaze;
• 6. Seeing (in) ancient vases;
• 7. Beyond ancient vase-painting: Rabih Mroue, The Fall of a Hair; Epilogue: the Sirens in Los Angeles

N this bold book, Jonas Grethlein proposes a new dialogue between the fields of Classics and aesthetics. Ancient material, he argues, has the capacity to challenge and re-orientate current debates. Comparisons with modern art and literature help to balance the historicism of classical scholarship with transcultural theoretical critique. Grethlein discusses ancient narratives and pictures in order to explore the nature of aesthetic experience. While our responses to both narratives and pictures are vicarious, the 'as-if' on which they are premised is specifically shaped by the form of the representation. Form emerges as a key to how narratives and pictures constitute an important means of engaging with experience. Combining theoretical reflections with close readings, this book will appeal to art historians as well as to textual scholars.

• Preface to the English Translation; Acknowledgments; List of Figures; Introduction; 1 Contemporary Historiography of Arab-Islamic Aesthetic Thought; a) Western Criticism; b) Arabic Criticism; 2 Aesthetic Theory and Arab Andalusi Aesthetics; Chapter 1
• Beauty and the Arts in the Rise of Written Arabic Culture; 1.1 Pre-Islamic Sensibility and the Vocabulary of Aesthetics; 1.1.1 The Supernatural Origin of Artistic Creation; 1.1.2 The Physical and Luminous Character of Beauty in Pre-Islamic Poetry. Woman as an Aesthetic Object and Agent

• 1.1.3 The Arts and Architecture in Pre-Islamic Poetry1.2 The Great Message of Revelation and Its Aesthetic Dimension; 1.2.1 Beauty and Absolute Perfection in the Word and the Divine Order; a) The Inimitability of the Quran; b) The Creator; c) Creation; 1.2.2 Artistic Creation in the Sacred Texts; a) The Problem of Figurative Representation; b) Architecture and Sculpture in the Quran; c) Prophethood and Poetry; d) Music in the Ḥadīth; 1.2.3 The Development of the Arts under the New Politico-Religious Order of Islam

• Chapter 2
• The Arts on the Margins of Knowledge: Ideas and Concepts of Art in Classical Arab Culture2.1 The Arts in the Arab-Islamic Encyclopedia; 2.1.1 The Arts in the Classification of Knowledge in the East; 2.1.2 The Arts in the Classification of Knowledge in al-Andalus and the Maghrib; a) The Arts in the Ẓahiri System of Knowledge; b) Ibn Bājja: the Practical Arts and Classifications of Intellectual Knowledge in the Founding of Andalusi Falsafa; c) Ibn Ṭufayl's Self-Taught Philosopher: Man in a State of Nature Neither Produces nor Conceives of the Arts

• D) The Arts and Knowledge in Ibn Rushd's Rationalist Schemee) The Arts in Ibn Khaldūn's Study of Society; 2.2 The Brethren of Purity's Neopythagorean and Neoplatonic Concepts of Art, and al-Tawḥīdī's School in Baghdad; 2.2.1 The Brethren of Purity's Pythagorean Theory of Art; a) The Geometric Order of the Universe; b) The Harmonious Concord of the Cosmos; c) Ideal Proportion, the Key to Artistic Perfection; d) The Manual Arts and Artistic Creativity; 2.2.2 The Aesthetic Neoplatonism of al-Tawḥīdī's School in Baghdad; a) Thought, Art, and Inspiration; b) Artistic Form and the Unicity of God

• C) Artistic Creation as the Emanation of the Soul and the Perfection of Natured) The Nature of Beautiful Form; e) The Language Arts: Prose, Verse, and Rhetoric; f) Musical Harmony and Its Affinity with the Soul; f) Abū Ḥayyān Al-Tawḥīdī's Treatise on Calligraphy and the Foundations of the Genre in Arabic ; 2.3 Calligraphy among the Sciences of Language in Ibn al-Sīd of Badajoz; 2.4 Revelation, Morality, and Art in the Work of Ibn Ḥazm; 2.4.1 The Divine Origin of the Arts and their Human Transmission; 2.4.2 The Perfection and Immutable Order of Divine Creation

In Aesthetics in Arabic Thought from Pre-Islamic Arabia through al-Andalus José Miguel Puerta Vílchez analyzes the discourses about beauty, the arts, and sense perception that arose within classical Arab culture from pre-Islamic poetry and the Quran (sixth-seventh centuries CE) to the Alhambra palace in Granada (fourteenth century CE). He focuses on the contributions of such great thinkers as Ibn Ḥazm, Avempace, Ibn Ṭufayl, Averroes, Ibn ʻArabī, and Ibn Khaldūn in al-Andalus, and the Brethren of Purity, al-Tawḥīdī, al-Fārābī, Avicenna, Alhazen, and al-Ghazālī in the East. The work also explores literary criticism, calligraphy, music, belles-lettres (adab), and erotic literature, and highlights the contribution of Arab humanism to shaping the field of Aesthetics in the West.

• Cover; Half-title; Title; Copyright; Contents; (No) More Ears: A Preface to the English- Language Edition; Translator's Note; Entrance: The Spies of Jericho; Discipline and Listen; Before the Wiretap; Overhearing and Diaphony; A Small History of Big Ears (Toward the Panacousticon); Mastery and Metrics in Figaro; The Ages of Fear; Telelistening and Telesurveillance; A Secret Conversation; Underground Passage: The Mole in Its Burrow; In the Footsteps of Orpheus; The Trackers, with Hidden Noise; The Mortal Ear, or Orpheus Turns Around; On the Phone: Papageno at Mabuse's; The Phantom of the Opera.

• Wozzeck at the Moment of His DeathAdorno, the Informer; Exit: J.D.'s Dream; Notes; Bibliography.

An archeology of auditory surveillance combined with an analysis of representations of spying in works of literature, music, and film that provide philosophical reflections on the drives that animate listening: the drive for mastery and the death drive.

• Prologue. For Alice Walker
• Introduction. Femme-inist is to feminist as PYNK is to pink
• Part One. Pussy power and nonbinary vaginas
• Janelle Monáe : fem futures, pynk pants, and pussy power
• Indya Moore : nonbinary wild vagina dresses & biologically femme penises
• Part Two. Hymns for crazy black femmes
• Kelsey Lu : braids, twists, and the shapes of black femme depression
• Tourmaline : head scarves and freedom dreams
• Part Three. Black femme environmentalism for the futa
• (F)empower : swimwear, wade-ins, and trashy ecofeminism
• Juliana Huxtable : black witch-cunt lipstick and kinky vegan femme-inism
• Conclusion. Where is the black in black femme freedom?
• Epilogue. For my child
• Afterword by Candice Lyons : pynk parlance, a glossary.

"This book is a series of examinations of Black queer cis and transfeminity, a personal and loving homage to "Black femmes poetics of survival during the Trump era and beyond." Tinsley examines contemporary Black femme cultural production: the music of Kelsey Lu and Janelle Monáe; the visual work of Juliana Huxtable; Janet Mock's writing/directing of the TV show Pose, and the creations of Tourmaline; the fashion of Indya Moore; and (F)empower. She is interested in Black femme representations in film, popular music, television, graphic novels, and poetry to conceptualize Black femme as figuration: that is, as a set of consciously, continually rescripted cultural and aesthetic practices that disrupt conventional meanings of race, gender, and sexuality"-- Provided by publisher.

• Styles of repair
• Detox
• Filter
• Binge
• Ghost
• Afterword : on ambivalence and promiscuous archives.

"In this expansive and provocative new work, Michael Dango theorizes how aesthetic style manages crisis--and why taking crisis seriously means taking aesthetics seriously. Detoxing, filtering, binging, and ghosting: these are four actions that have come to define how people deal with the stress of living in a world that seems in permanent crisis. As Dango argues, they can also be used to describe contemporary art and literature. Employing what he calls "promiscuous archives, " Dango traverses media and re-shuffles literary and art historical genealogies to make his case. The book discusses social media filters alongside the minimalism of Donald Judd and La Monte Young and the television shows West Wing and True Detective. It reflects on the modernist cuisine of Ferran Adrià and the fashion design of Issey Miyake. And, it dissects writing by Jenifer Egan, David Foster Wallace, David Mitchell, and Zadie Smith. Unpacking how the styles of these works detox, filter, binge, or ghost their worlds, Crisis Style is at once a taxonomy of contemporary cultural production and a theorization of action in a world always in need of repair. Ultimately, Dango presents a compelling argument for why we need aesthetic theory to understand what we're doing in our world today"-- Provided by publisher.

• Cover; HalfTitle; Series page; Title; Copyright; Dedication; Contents; List of Figures; Acknowledgments; Credits; Introduction; 1 The Aesthetic, the Public, and the Promise of Culture; The aesthetic promise of a harmonious and egalitarian culture; Glitches in the promise; Creating the promise; Is the promise a threat?; The trustworthy, unreliable, future-oriented, and collaborative nature of promises; Promises, threats, relationality, and address; 2 Whiteness and Blackness as Aesthetic Productions; Enlightenment orders of whiteness and blackness.

• Contemporary collaborations between aesthetics and raceToward a quotidian aesthetics of race; Raising the aesthetic stakes; 3 The Gendered Aesthetic Detail; The sensory detail as a ground for taste; But is the aesthetic detail a detail?; A pearl's pleasures and perils; Interpretation regenders detail; Gendering aesthetics anew; 4 Beauty's Moral, Political, and Economic Labor; Beauty and ugliness in The Hour of the Star; Beauty and moral order: Plato, Shaftesbury, and Hutcheson; Beauty and the economy: Hume and Smith; Beauty, love, and the body: Burke and Wollstonecraft.

• Reaestheticizing beauty5 The Aesthetics of Ignorance; Aestheticizing and reaestheticizing ignorance; Intermingling states of knowledge and ignorance; Histories of aestheticized ignorance; The ignorance of the aesthetic; 6 An Aesthetic Confrontation; Aesthetic collectivity and the patrolling of racial boundaries; Aesthetic integrationism: Addison, Baumgarten, Schiller, Hegel; Dualities and integrations as forces of discipline; Regulating aesthetic relationality; The work and nonwork of aesthetic relationships; 7 Racialized Aesthetic Nationalism.

• Culture as property: Racialized aesthetic nationalism in everyday lifeDisruptive body politics: Racialized aesthetic nationalism in the art world; 8 Aesthetic Promises and Threats; The promise of the aesthetic in The Hour of the Star; Adorno and the promise of art; Nietzsche on keeping and changing promises; Arendt and the order of the promise; Postscript; Notes; Bibliography; Index.

Aesthetic desire and distaste prime everyday life in surprising ways. The Cultural Promise of the Aesthetic casts much-needed light on the complex mix of meanings our aesthetic activities weave into cultural existence. Anchoring aesthetic experience in our relationships with persons, places, and things, Monique Roelofs explores aesthetic life as a multimodal, socially embedded, corporeal endeavor. Highlighting notions of relationality, address, and promising, this compelling study shows these concepts at work in visions of beauty, ugliness, detail, nation, ignorance, and cultural boundary. Une.

• Cover; Contents; List of illustrations; Preface; Acknowledgements; Introduction; 1 Climate Change and Culture; 2 Ecologies; 3 Aesthetics; 4 Ruins and Catastrophes; 5 Regressions and Reclamations; 6 Representations; 7 Interruptions; 8 Cultures and Climate Change; Notes.

By moving beyond traditional aesthetic categories (beauty, the sublime, the religious), Eco-Aesthetics takes an inter-disciplinary approach bridging the arts, humanities and social sciences and explores what aesthetics might mean in the 21st century. It is one in a series of new, radical aesthetics promoting debate, confronting convention and formulating alternative ways of thinking about art practice. There is no doubt that the social and environmental spheres are interconnected but can art and artists really make a difference to the global environmental crisis? Can art practice meaningfully.

• Cover
• Half title
• Series
• Title
• Copyright
• Dedication
• Contents
• Acknowledgments
• Abbreviations
• Transcription and Citation
• Introduction
• 1 Christian Wolff's Critics and the Foundation of Morality
• Wolffâ#x80; #x99; s Defense of Natural Obligation
• Johann Liborius Zimmermann
• Nicolaus Hieronymus Gundling
• Conclusion
• 2 Pietist Aisthesis, Moral Education, and the Beginnings of Aesthetic Theory
• Pietist Aisthesis and Moral Education
• Divine Inspiration and Sacred Poetry
• Baumgartenâ#x80; #x99; s Defense of Divine Inspiration

• Anti-Stoic Resistance to WolffConclusion
• 3 Alexander Baumgarten's Intervention
• The Aesthetic Cultivation of Living Cognition
• Aesthetics and the Problem of â#x80; #x9C; Wolffianâ#x80; #x9D; Pedagogical Style
• Aesthetics and the Foundation of Morality
• Conclusion
• 4 Francis Hutcheson at the Margins of the Scottish Enlightenment
• The Shaftesburian Reform of Scottish Presbyterianism
• Hutchesonâ#x80; #x99; s Divergence from Shaftesbury
• Conclusion
• 5 William Cleghorn and the Aesthetic Foundation of Justice
• Cleghornâ#x80; #x99; s Life

• Hutcheson and Hume on the Foundation of JusticeHutcheson against the Rationalists
• Cleghornâ#x80; #x99; s Alternative
• Conclusion
• Conclusion
• Bibliography

This new study of eighteenth-century aesthetic theory situates it in theological contexts that are crucial to explaining why it arose.

• Cover; Contents; Preface; Introduction; Part I. Coming of Age; 1 Ten Steps in the Development of Western Environmental Aesthetics; 2 Future Directions for Environmental Aesthetics; 3 On Universalism and Cultural Historicism in Environmental Aesthetics; Part II. Rethinking Relationships; 4 The Cultural Aesthetics of Environment; 5 Toward an Aesthetics of Respect: Kant's Contribution to Environmental Aesthetics; 6 From Theoretical to Applied Environmental Aesthetics: Academic Aesthetics Meets Real-World Demands; Part III. Nature, Art, and the Power of Imagination.

• 7 Environmental Art and Ecological Citizenship8 Can Only Art Save Us Now?; 9 Landscapes of the Environmental Imagination: Ranging from NASA and Cuyahoga Images to Kiefer and O'Keeffe Paintings; Part IV. Wind Farms, Shopping Malls, and Wild Animals; 10 Beauty or Bane: Advancing an Aesthetic Appreciation of Wind Turbine Farms; 11 Thinking Like a Mall; 12 Aesthetic Value and Wild Animals; Notes; List of Contributors; Index; A; B; C; D; E; F; G; H; I; J; K; L; M; N; O; P; Q; R; S; T; U; V; W; X; Y; Z.

Environmental aesthetics crosses several commonly recognized divides: between analytic and continental philosophy, Eastern and Western traditions, universalizing and historicizing approaches, and theoretical and practical concerns. This volume sets out to show how these, perspectives can be brought into conversation with one another. The first part surveys the development of the field and discusses some important future directions. The second part explains how widening the scope of environmental aesthetics demands a continual rethinking of the relationship between aesthetics and other fields. H.