Contemporary Aesthetics does not publish book reviews.
However, to inform our readers of new publications of interest, we do
publish brief descriptions extracted from information provided by the
publishers. These notices do not necessarily represent the views or
judgment of this journal. Readers are invited to send us such
information about books they think will interest other readers of CA.
Bolt Rasmussen, After the Great Refusal
(Zero Books, 2018), 145 pp.
After the Great
Refusal offers a Western Marxist reading of contemporary art focusing on
the continued presence (or absence) of the avant-garde’s transgressive
impulse. Taking art’s ability to contribute
to a potential radical social transformation as its point of departure, Mikkel
Bolt Rasmussen analyzes the relationship between the current neoliberal
hegemony and contemporary art, including relational aesthetics and
interventionist art, new institutionalism, and post-modern architecture.
Jim Vernon, Hip Hop,
Hegel, and the Art of Emancipation: Let's Get Free (Palgrave Macmillan,
2018), 259 pp.
This book argues that Hip Hop’s early history in the South
Bronx charts a course remarkably similar to the conceptual history of artistic creation
presented in Hegel’s Lectures on Aesthetics. It contends that the
resonances between Hegel’s account of the trajectory of art in general, and the
historical shifts in the particular culture of Hip Hop, are both numerous and
substantial enough to make us re-think not only the nature and import of
Hegel’s philosophy of art, but the origin, essence and lesson of Hip Hop. As a
result, the book articulates and defends a reading of Hegel’s Aesthetics,
as well as providing a philosophical explanation of the Hip Hop community’s
transition from total social abandonment to some limited form of social
inclusion, via the specific mediation of an artistic culture grounded in novel
forms of sensible expression. Thus, the fundamental thesis of this book is that
Hegel and Hip Hop are mutually illuminating, and when considered in tandem each
helps to clarify and reinforce the validity and power of the other.
Thomas Gould, Silence
in Modern Literature and Philosophy: Beckett, Barthes, Nancy, Stevens
(Palgrave Macmillan, 2018), 199 pp.
This book discusses the elusive centrality of silence in
modern literature and philosophy, focusing on the writing and theory of
Jean-Luc Nancy and Roland Barthes, the prose of Samuel Beckett, and the poetry
of Wallace Stevens. It suggests that silence is best understood according to
two categories: apophasis and reticence. Apophasis is associated with theology,
and relates to a silence of ineffability and transcendence; reticence is
associated with phenomenology, and relates to a silence of listenership and
speechlessness. In a series of diverse though interrelated readings, the study
examines figures of broken silence and silent voice in the prose of Samuel
Beckett, the notion of shared silence in Jean-Luc Nancy and Roland Barthes, and
ways in which the poetry of Wallace Stevens mounts lyrical negotiations with
forms of unsayability and speechlessness.
E. Cooper, Senses of Mystery: Engaging with
Nature and the Meaning of Life (Routledge, 2017), 104 pp.
this book, David E. Cooper uses a gentle walk through a tropical garden, the
view of the fields and hills beyond it, the sound of birds, voices and flutes,
the reflection of light in water, the play of shadows among the trees and the
presence of strange animals, as an opportunity to reflect on experiences of
nature and the mystery of existence.
an extensive range of topics, from Daoism to dogs, from gardening to walking,
from Zen to Debussy, Cooper conveys some deep and difficult philosophical ideas
about the meaning of life and shows how those ideas bear upon the practical
question of how we should relate to our world and live our lives.
Heather Widdows, Perfect
Me: Beauty as an Ethical Ideal (New Jersey: Princeton University Press,
2018), 368 pp.
The demand to be beautiful is
increasingly important in today's visual and virtual culture. Rightly or
wrongly, being perfect has become an ethical ideal to live by, and according to
which we judge ourselves good or bad, a success or a failure. Perfect Me
explores the changing nature of the beauty ideal, showing how it is more
dominant, more demanding, and more global than ever before.
Heather Widdows argues that our perception of the
self is changing. More and more, we locate the self in the body--not just our
actual, flawed bodies but our transforming and imagined ones. As this happens,
we further embrace the beauty ideal. Nobody is firm enough, thin enough, smooth
enough, or buff enough—not without significant effort and cosmetic
intervention. And as more demanding practices become the norm, more will be
required of us, and the beauty ideal will be harder and harder to resist.
If you have ever felt the urge to "make the best
of yourself" or worried that you were "letting yourself go,"
this book explains why. Perfect Me examines how the beauty ideal has
come to define how we see ourselves and others and how we structure our daily
practices—and how it enthralls us with promises of the good life that are
dubious at best. Perfect Me demonstrates that we must first recognize
the ethical nature of the beauty ideal if we are ever to address its harms.
Marc Botha, A Theory of Minimalism (Lodon: Bloomsbury, 2017), 304 pp.
The explosion of minimalism into the worlds of visual arts,
music, and literature in the mid-to-late twentieth century presents one of the
most radical and decisive revolutions in aesthetic history. Detested by some,
embraced by others, minimalism's influence was immediate, pervasive, and
lasting, significantly changing the way we hear music, see art, and read
In The Theory of Minimalism, Marc Botha offers a general
theory of minimalism, equally applicable to literature, the visual arts, and
music. He argues that minimalism establishes an aesthetic paradigm for rethinking
realism in genuinely radical terms. In dialogue with thinkers from both the
analytic and continental traditions, including Kant, Danto, Agamben, Badiou and
Meillassoux, Botha develops a constellation of concepts that together
encapsulate the transhistorcial and transdisciplinary reach of minimalism.
Illustrated by a range of historical, canonical and
contemporary minimalist works of different media, from the caves of early
Christian ascetics to Samuel Beckett's late prose, Botha offers an argument that
will equip readers with the tools to engage critically with past, present, and
future minimalism, and to recognize how, in a culture caught between the poles
of excess and austerity, minimalism still matters.
eds. Samir Gandesha & Johan Hartle (London: Bloomsbury Academic, 2018), 344
The whole of Marx's project confronts the narrow concerns of
political philosophy by embedding it in social philosophy and a certain
understanding of the aesthetic. From those of aesthetic production to the
"poetry of the future" (as Marx writes in the Eighteenth Brumaire),
from the radical modernism of bourgeois development to the very idea of
association (which defined one of the main lines of tradition in the history of
aesthetics), steady references to Dante, Shakespeare, and Goethe, and the idea
that bourgeois politics is nothing but a theatrical stage: the aesthetic has a
prominent place in the constellation of Marx's thought.
This book offers a study of both Marx in the aesthetic, and
the aesthetic in Marx. It differs from previous discussions of Marxist
aesthetic theory as it understands the works of Marx themselves as
contributions to thinking the aesthetic. This is an engagement with
Marx's aesthetic that takes into account Marx's broader sense of the aesthetic,
as identified by Eagleton and Buck-Morss – as a question of sense perception
and the body. It explores this through questions of style and substance in Marx
and extends it into contemporary questions of how this legacy can be perceived
or directed analytically in the present. By situating Marx in contemporary art
debates this volume speaks directly to the function of the aesthetic in
accounts of emancipatory politics.
Raffaele Milani, The
Art of the City, translated by Corrado Federici (Montreal and Kingston:
McGill-Queen’s University Press, 2017), 206 pp.
In The Art of the City,
Raffaele Milani reflects on the ways in which inhabitants of the cityscape have
interacted on a spiritual, psychological, and philosophical level with the
architecture that surrounds them. Working with the premise that the city has a
“soul,” which is externalized in the physical structures of its urban space,
Milani expresses alarm in the face of sprawling megacities that typify the
postmodern age and endanger the survival of cities’ distinctiveness. While he
laments that the nature surrounding cities is disappearing under concrete, his
concern is counterbalanced by the realization that there are ongoing projects
of urban reclamation, renewal, and reutilization aimed at preserving an
ancient, almost mystical rapport between the citizen and the lived space.
Milani illustrates his argument by citing the works of modern architects
including Emilio Ambasz, Massimiliano Fuksas, Frank Gehry, Rem Koolhaas, Kisho
Kurokawa, Daniel Libeskind, and Renzo Piano. Rather than a history of
architecture, The Art of the City is
a reflection on the important challenge of insuring the continued liveability
and aesthetic valorization of public spaces.
Jianping Gao, Aesthetics
and Art: Traditional and Contemporary China in a Comparative Study (Berlin
and Heidelberg: Springer-Verlag, 2018), 232 pp.
This book introduces traditional and modern aesthetics and
arts and compares the similarities and differences between traditional and
modern Chinese aesthetics. It also explores the aesthetic implications of
traditional Chinese paintings, discusses the development of aesthetics
throughout history, and the changes and improvements in Chinese aesthetics in
the context of globalization.
China, Europe, and the Transcultural Object, 1600-1800, editors Anna
Grasskamp & Monica Juneja (Springer International Publishing, 2018), 253
This volume examines the mutually constitutive relationship
between the materiality of objects and their aesthetic meanings. Its approach
connects material culture with art history, curation, technologies, and
practices of making. A central dimension of the case studies collected here is
the mobility of objects between Europe and China and the transformations that
unfold as a result of their transcultural lives. Many of the objects studied
here are relatively unknown or understudied. The stories they recount suggest
new ways of thinking about space, cultural geographies, and the complex and
often contradictory association of power and culture. These studies of
transcultural objects can suggest pathways for museum experts by uncovering the
multi-layered identities and temporalities of objects that can no longer be
labeled as located in single regions. It is addressed to students of art
history, of European and Chinese studies, and scholars of consumer culture.
O. Bradley Bassler, Kant,
Shelley and the Visionary Critique of Metaphysics (Palgrave Macmillan,
2018), 262 pp.
This book addresses the philosophy of Kant and the poetry of
Shelley as historical starting points for a new way of thinking in the modern
age. Fusing together critical philosophy and visionary poetry, Bassler develops
the notion of visionary critique, or paraphysics, as a model for future
philosophical endeavor. This philosophical practice is rooted in the concept of
the indefinite power associated with the sublime in both Kant and Shelley’s
work, to which the notion of the parafinite or indefinitely large is extended
in this book.
Robert Appelbaum, The
Aesthetics of Violence: Art, Fiction, Drama and Film (Rowman &
Littlefield International, 2017), 196 pp.
Violence at an aesthetic remove from the spectator or reader
has been a key element of narrative and visual arts since Greek antiquity. Here,
Robert Appelbaum explores the nature of mimesis, aggression, the affects of
antagonism and victimization, and the political uses of art throughout history.
He examines how violence in art is formed, contextualized, and used by its
audiences and readers. Bringing German aesthetic and social theory to bear on
the modern problem of violence in art, Appelbaum engages theorists including
Kant, Schiller, Hegel, Adorno, and Gadamer. The book takes the reader from
Homer and Shakespeare to slasher films and performance art, showing how
violence becomes at once a language, a motive, and an idea in the experience of
art. It addresses controversies head-on, taking a nuanced view of the subject,
understanding that art can damage as well as redeem. It concludes by showing
that violence (in the real world) is a necessary condition of art (in the world
of mimetic play).
Paula Albuquerque, The
Webcam as an Emerging Cinematic Medium (Amsterdam University Press, 2018),
ISBN 978 94 6298 558 2
All the world’s a stage—literally so, given the ubiquitous
presence of webcams recording daily life in cities. This footage, allegedly
documentary, recreates cities as cinematic environments as people interact with
the multitudes of cameras and screens around them. Paula Albuquerque’s original
research and experimental films, presented in this book, expose fictionalizing
elements in archival webcams and explore video surveillance as an urban
condition that influences both perceptions of the past and visions of the
Renate Dohmen, Encounters
Beyond the Gallery: Relational Aesthetics and Cultural Difference (I.B.
Tauris & Co. Ltd., 2016), 256 pp.
Encounters Beyond the
Gallery examines the terms of their exclusion, looking to relational art,
Deleuze-Guattarean aesthetics, and notions of perception, as well as
anthropological theory for ways to create connections between seemingly
disparate worlds. Embracing a unique and experimental format, the book imagines
encounters between the art works and art worlds of Rirkrit Tiravanija, Tamil
women, the Shipibo-Conibo of Eastern Peru, and a fictional female contemporary
artist named Rikki T, in order to rethink normative aesthetic and cultural
categories. Its method reflects the message of the book, and embraces a
plurality of voices and perspectives to steer critical attention towards the
complexity of artistic life beyond the gallery.
New Sound and Musicology
- International Journal of Music Vol. 50 No. II, twenty-fifth anniversary
issue (Belgrade: Department of Musicology, Faculty of Music, 2017) 344 pp.
International Journal of Music is a peer reviewed academic periodical. It
promotes musical creativity and theoretical concepts about music –
musicological, ethnomusicological, analytical, philosophical, aesthetic, etc.
While presenting Serbian contemporary and traditional music worldwide, New
Sound also deals with provocative issues on music and scientific problems
concerning music in other countries, as well. It focuses on composers' poetics,
recent compositions, various research problems, etc. from the aspect of
analysis and contextual musicological interpretation. The journal also contains
a survey of international festivals of new music, book and CD reviews, and
reviews of defended MA and PhD theses.
The Art of Hegel's
Aesthetics: Hegelian Philosophy and the Perspectives of Art History, Paul
A. Kottman and Michael Squire, editors (Germany: Wilhelm Fink, 2018),
This volume explores one of modernity's most profound and
far-reaching philosophies of art: the Vorlesungen
über die Ästhetik, delivered by Georg Friedrich Wilhelm Hegel in the 1820s.
The book has two overriding objectives: first, to ask how Hegel's work
illuminates specific periods and artworks in light of contemporary art-historical
discussions; second, to explore how art history helps us make better sense and
use of Hegelian aesthetics. In bringing together a range of international voices,
the volume establishes a disciplinary bridge between aesthetics and art
history. Given the recent resurgence of interest in 'global' art history, and
calls for more comparative approaches to 'visual culture,' contributors ask
what role Hegel has played within the field and what role he could play in the
future. What can a historical treatment of art accomplish? How should we
explain the 'need' for certain artistic forms at different historical
junctures? Has art history been 'Hegelian' without fully acknowledging it?
Indeed, have art historians shirked some of the fundamental questions that
Advancements in the Philosophy
of Design, edited by Pieter E. Vermaas & Stéphanie Vial (Springer
International Publishing, 2018), 564 pp.
This volume presents 25 essays on the philosophy of design.
With contributions originating from philosophy and design research, and from
product design to architecture, it gives a rich spectrum of state of the art
research and brings together studies on philosophical topics in which design
plays a key role and design research to which philosophy contributes.
Coverage zooms in on specific and more well-known design
disciplines but also includes less-studied disciplines, such as graphic design,
interior architecture, and exhibition design. In addition, contributors take up
traditional philosophical issues, such as epistemology, politics, phenomenology,
and philosophy of science. Some essays cover philosophical issues that emerge
in design, for instance what design can do in addressing societal problems,
while other essays analyze main-stream philosophical issues in which design is
part of the argument, for example abduction and aesthetics.
Readers will discover new research with analyses of design
research, design thinking, and the specificity of design. Overall, this is a
comprehensive overview of an emerging topic in philosophy.
The Life of Reason in
an Age of Terrorism, edited by Charles Padrón & Krzysztof Piotr
Skowronski (Brill Rodopi, 2018).
The Life of Reason in An Age of Terrorism brings
together seventeen essays that discuss George Santayana's (1863-1952) social
and political thought within the context of contemporary considerations,
especially terrorism, as well as fanaticism, barbarism, and madness.
Pedro Reyes: Ad Usum /
To Be Used (Focus on Latin American Art and Agency), edited by José Luis
Falconi (Cultural Agents Initiative at Harvard University, 2018), 520 pp.
For more than a decade the Mexico City–based artist,
architect, and cultural agent Pedro Reyes has been turning existing social
problems into opportunities for effecting tangible change through collective
imagination. By breaking open failed models and retooling them with space to
project alternatives, Reyes’s art enables productive diversions of otherwise
destructive forces. Ad Usum: To Be Used is the second volume in the
series Focus on Latin American Art and Agency, which is dedicated to
contemporary cultural agents, a term that is perhaps best understood through
the words of Reyes himself: “changing our individual habits has no degree of
effectiveness” as “progress is only significant if you start to multiply by 10,
by 100, by 1,000.” Rather than to merely illustrate his work, this collection
of images, interviews, and critical essays is intended as an apparatus for
multiplying the possibilities when art becomes a resource for the common good.
This full-color illustrated survey of Reyes’s projects
includes critical essays by José Luis Falconi, Robin Greeley, Johan Hartle,
Adam Kleinman, and Doris Sommer, as well as interviews between the artist and
such thinkers as Lauren Berlant, Michael Hardt, Alejandro Jodorowsky, and
Paolo D'Angelo, Sprezzatura:
Concealing the Effort of Art from Aristotle to Duchamp (New York: Columbia
University Press, 2018), 170 pp
The essence of art is
to conceal art. A dancer or musician does not only need to perform with
ability; there should also be a lack of visible effort that gives an impression
of naturalness. To disguise technique and feign ease is to heighten beauty. To
express this notion, Italian has a word with no exact equivalent in other languages,
sprezzatura: a kind of unaffectedness or nonchalance.
In this book, philosopher of art Paolo D’Angelo considers sprezzatura in
its own right, reconstructing the history of concealing art, from ancient
rhetoric to our own times. The word sprezzatura was coined in 1528 by
Baldassarre Castiglione in The Book of the Courtier to mean a kind of
grace with a special essence: the ability to conceal art. But the idea reaches
back to Aristotle and Cicero and forward to avant-garde works such as Duchamp’s
ready-mades, all of which share the suspicion of the overt display of skill.
The precept that art must be hidden turns up in a number of fields, from
cosmetics to interior design, politics to poetry, the English garden to shabby
chic. Through exploring different articulations of this idea, D’Angelo shows
the paradox of aesthetics: art hides that it is art, but in doing so it reveals
itself to be art and becomes an assertion about art. When art is concealed, it
appears as spontaneous as nature, yet, paradoxically, also reveals its
indebtedness to technique.
Language, Beauty, and the Environment, edited by Peter Quigley & Scott
Slovic (Indiana University Press, 2018), 219 pp.
This collection of essays explores the vital role of beauty
in the human experience of place, interactions with other species, and
contemplation of our own embodied lives. Devoting attention to themes such as
global climate change, animal subjectivity, environmental justice and activism,
and human moral responsibility for the environment, these contributions
demonstrate that beauty is not only a meaningful dimension of our experience
but also a powerful strategy for inspiring cultural transformation. Taken as a
whole, they underscore the ongoing relevance of aesthetics to the ecocritical
project and the concern for beauty that motivates effective social and
Glenn Willmott, Reading for Wonder (Palgrave Macmillan,
2018), 226 pp.
In a world awash in awesome, sensual technological experiences,
wonder has diverse powers, including awakening us to unexpected ecological
intimacies and entanglements. Yet this deeply felt experience, at once cognitive,
aesthetic, and ethical, has been dangerously neglected in our cultural
education. In order to cultivate the imaginative empathy and caution this
feeling evokes, we need to teach ourselves and others to read for wonder. This
book begins by unfolding the nature and artifice of wonder as a human capacity
and as a fabricated experience. Ranging across poetry, foodstuffs, movies,
tropical islands, wonder cabinets, apes, abstract painting, penguins and more, Reading
for Wonder offers an anatomy of wonder in transmedia poetics, and explores
its ethical power and political risks from early modern times to the present
day. To save ourselves and the teeming life of our planet, indeed to flourish,
we must liberate wonder from ideologies of enchantment and disenchantment,
understand its workings and their ethical ambivalence, and give it a clear language
Robert Kilroy, Marcel Duchamp’s Fountain (Palgrave Pivot, 2018), 168 pp.
marks the centenary of Marcel Duchamp’s
Fountain by critically
re-examining the established interpretation of the work. It introduces a new
methodological approach to art-historical practice rooted in a revised
understanding of Lacan, Freud and Slavoj Žižek. In weaving an alternative
narrative, Kilroy shows us that not only has Fountain been
fundamentally misunderstood but that this very misunderstanding is central to
the work’s significance. The author brings together Duchamp’s own statements to
argue Fountain’s verdict was strategically stage-managed by the
artist in order to expose the underlying logic of its reception, what he terms
‘The Creative Act.’
Aesthetics Between Art and Society: Perspectives of
Arnold Berleant’s Postkantian Aesthetics of Engagement. Espes
Vol 6, No 2 (2017), Aleksandra Lukaszewicz Alvarez, ed. http://www.casopisespes.sk or https://espes.ff.unipo.sk/.
A special issue of Espes, the journal of the
Society for Aesthetics in Slovakia, has just been published with an editorial
essay and seven papers commenting on Berleant's aesthetics. Contributors
include Aleksandra Lukaszewicz Alvarez, "Introduction to
Arnold Berleant's Perspective;" Arnold Berleant, "Objects into
Persons: The Way to Social Aesthetics; Yuriko Saito, "The Ethical
Dimensions of Aesthetic Engagement;" Cheng Xiangzhan, “Some Critical
Reflections on Berleantian Critique of Kantian Aesthetics from the Perspective
of Eco-aesthetics;" Mădălina Diaconu, "Engagement and Resonance: Two
Ways out from Disinterestedness and Alienation;" Katarzyna Nawrocka,
"Architecture of Movement;" Benno Hinkes, "Approaching
Aisthetics or Installation Art and Environmental Aesthetics as Investigative
Activity;" Thomas Leddy, "A Dialectical Approach to Berleant’s
Concept of Engagement." Espes is an open-access electronic journal
and is directly accessible online.
Giovanni Aloi, Sepeculative Taxidermy (New York:
Columbia University Press, 2018), 315 pp.
Taxidermy, once the province of natural history and
dedicated to the pursuit of lifelike realism, has recently resurfaced in the
world of contemporary art, culture, and interior design. In Speculative
Taxidermy, Giovanni Aloi offers a comprehensive mapping of the discourses
and practices that have enabled the emergence of taxidermy in contemporary art.
Drawing on the speculative turn in philosophy and recovering past alternative
histories of art and materiality from a biopolitical perspective, Aloi
theorizes speculative taxidermy: a powerful interface that unlocks new
ethical and political opportunities in human-animal relationships and speaks to
how animal representation conveys the urgency of climate change, capitalist
exploitation, and mass extinction.
A resolutely nonanthropocentric take on the materiality of
one of the most controversial mediums in art, this approach relentlessly questions
past and present ideas of human separation from the animal kingdom. It situates
taxidermy as a powerful interface between humans and animals, rooted in a
shared ontological and physical vulnerability. Carefully considering a select
number of key examples including the work of Nandipha Mntambo, Maria
Papadimitriou, Mark Dion, Berlinde De Bruyckere, Roni Horn, Oleg Kulik, Steve
Bishop, Snæbjörnsdóttir/Wilson, and Cole Swanson, Speculative Taxidermy contextualizes
the resilient presence of animal skin in the art gallery space as a productive
opportunity to rethink ethical and political stances in human-animal
New Essays in Japanese Aesthetics, edited by Minh Nguyen
(Rowman & Littlefield, 2017), 520 pp.
This collection presents twenty-seven new essays in Japanese
aesthetics with an extended forward by Stephen Addiss. The introduction surveys
the history of Japanese aesthetics and the ways in which it is similar to and
different from Western aesthetics. This work brings together a variety of
disciplinary perspectives, including those of philosophy, literature, and
cultural politics, to shed light on the artistic and aesthetic traditions of
Japan and the central themes in Japanese art and aesthetics. The contributors
write about Japanese-aesthetical concerns and their application to Japanese
arts (including literature, theater, film, drawing, painting, calligraphy,
ceramics, crafts, music, fashion, comics, cooking, packaging, gardening,
landscape architecture, flower arrangement, the martial arts, and the tea
ceremony). This collection moves from
the philosophical groundings of Japanese aesthetics and the Japanese aesthetics
of imperfection and insufficiency to the Japanese love of and respect for
nature and the paradoxical ability of Japanese art and culture to absorb
enormous amounts of foreign influence and yet maintain its own unique
identity. New Essays in Japanese
Aesthetics is intended as a resource for the classroom or anyone interested in
gaining a deeper understanding of Japanese aesthetics.
Aesthetics: A Reader in Philosophy of the Arts, fourth
edition, edited by David Goldblatt, Lee B. Brown, & Stephanie Patridge (New
York and London: Routledge, 2018), 541 pp.
Aesthetics: A Reader in Philosophy of the Arts, fourth
edition, contains a selection of ninety-six readings organized by individual
art forms as well as a final section of readings in philosophical aesthetics
that cover multiple art forms. Sections include essays on topics such as painting, photography and movies, architecture, music,
literature, and performance, as well as contemporary subjects such as mass art,
popular arts, the aesthetics of the everyday, and the natural environment. Readings
are brief, accessible for undergraduates, and conceptually focused, allowing
instructors many different syllabi possibilities using only this single volume. The fourth edition is expanded with nineteen new essays Nevertheless, this edition does not neglect
classic writers in traditional aesthetics: Plato, Aristotle, Hume, Kant, Hegel,
Heidegger, Collingwood, Bell, and writers of similar status in aesthetics.
Paul Christiansen, Orchestrating Public Opinion: How Music
Persuades in Television Political Ads for US Presidential Campaigns, 1952-2016
(Amsterdam University Press, 2017), 276 pp.
ISBN 978 94 6298 188 1
Orchestrating Public Opinion examines in detail music's
persuasive role in political ads for US presidential campaigns. Studies of
political ads tend to consider music something of an afterthought, innocuous
accompaniment for a narrator. In this book Christiansen takes an opposing view,
arguing that music is crucial to an ad's construction. In some cases, it is
even determinative: that is, all other elements - images, voiceover, sound
effects, written text, and so on, can be circumscribed by and interpreted in
relation to music. This book presents correspondence between campaign officials
and ad agencies, storyboards, and music scores related to ads such as
Eisenhower's "I Like Ike" or Reagan's "Morning in America."
Engaging music seriously through detailed musical analysis
as well as exploring music's relation to visual and textual elements in ads,
Orchestrating Public Opinion brings together disparate approaches toward understanding
the surreptitious rhetoric of music.
Pavle Levi, Jolted
Images: Unbound Analytic (Eastern European Screen Cultures) (Amsterdam
University Press, 2018),
Jolted Images brings together a large cast of
mainstream and avant-garde cineastes, artists, photographers, comics
creators, poets, and more to reflect on a wide range of phenomena from the
realms of cinema and visual culture in the Yugoslav region, Europe more broadly,
and North America. Far from a staid monograph, the book takes a cue from
filmmaker Dušan Makavejev, who once wrote that there are times when it is
necessary "to jolt art, no matter what the outcome." To that end, the book infuses its
analysis with a playful, creative
transfiguration of its material.
Constance Classen, The
Museum of the Senses: Experiencing Art and Collections (Bloomsbury, 2017),
Traditionally sight has been the only sense with
a ticket to enter the museum. The same is true of histories of art in which
artworks are often presented as purely visual objects. In The Museum of the
Senses, Constance Classen offers a new way of approaching the history of
art through the senses, revealing how people used to handle, smell, and even
taste collection pieces. Topics range from the tactile power of relics to the
sensuous allure of cabinets of curiosities, and from the feel of a Rembrandt to
the scent of Monet's garden. The book concludes with a discussion of how
contemporary museums are stimulating the senses through interactive and
Will Daddario, Barogue,
Venice, Theatre, Philosophy (Springer, 2017), 261 pp.
This book theorizes the baroque as neither a time period nor
an artistic style but as a collection of bodily practices developed from
clashes between governmental discipline and artistic excess, moving between the
dramaturgy of Jesuit spiritual exercises, the political theatre-making of
Angelo Beolco (aka Ruzzante), and the civic governance of the Venetian Republic
at a time of great tumult. The manuscript assembles plays seldom read or viewed
by English-speaking audiences, archival materials from three Venetian archives,
and several secondary sources on baroque, Renaissance, and early modern epistemology
in order to forward an argument for understanding the baroque as a gathering of
social practices. Such a rethinking of the baroque aims to complement the
already lively studies of neo-baroque aesthetics and ethics emerging in
contemporary scholarship on (for example) Latin American political art.
Aesthetic Practice of Cookery, eds. Nicolaj van der Meulen & Jӧrg
Wiesel (Germany: transcript, 2017), 324 pp.
Kitchen, cooking, nutrition, and eating have become omnipresent
cultural topics. They stand at the center of design, gastronomy, nutrition
science, and agriculture. Artists have appropriated cooking as an aesthetic
practice, and cooks, in turn, are adapting the staging practices that go with
an artistic self-image. This development is accompanied by a crisis of eating
behavior and a philosophy of cooking as a speculative cultural technique. The
volume investigates the dimensions of a new culinary
turn, combining contributions from the theory and practice of cooking.
Yuriko Saito, Aesthetics
of the Familiar: Everyday Life and World-Making (Oxford University Press,
2017), 246 pp.
Aesthetics of the
Familiar explores the nature and significance of the aesthetic dimensions
of people's everyday life. Everyday aesthetics has the recognized value of
enriching one's life experiences and sharpening one's attentiveness and
sensibility; however, Yuriko Saito draws out its broader importance for how we
make our worlds, as citizens and consumers. Saito urges that we have a social
responsibility to encourage cultivation of aesthetic literacy and vigilance
against aesthetic manipulation and argues that ultimately, everyday aesthetics
can be an effective instrument for directing humanity's collective and
cumulative world-making project for the betterment of all its inhabitants.
Everyday aesthetics has been seen as a challenge to
contemporary Anglo-American aesthetics discourse, which is dominated by the
discussion of art and beauty. Saito responds to controversies about the nature,
boundary, and status of everyday aesthetic and argues for its legitimacy. Aesthetics of the Familiar highlights
the multifaceted aesthetic dimensions of everyday life that are not fully
accounted for by the commonly held account of defamiliarizing the familiar.
Carsten Strathausen, Bioaesthetics:
Making Sense of Life in Science and the Arts (University of Minnesota
Press, 2017), 305 pp.
In recent years, bioaesthetics has used the latest
discoveries in evolutionary studies and neuroscience to provide new ways of
looking at both art and aesthetics. Carsten Strathausen's exploration of this
emerging field is a comprehensive account of its ideas, as well as a timely
critique of its limitations. Strathausen familiarizes readers with the basics
of bioaesthetics, grounding them in its philosophical underpinnings while
articulating its key components. He delves into the longstanding "two
cultures" problem that separates the arts and the sciences. Seeking to
make bioaesthetics a more robust way of thinking, Strathausen critiques it for
failing to account for science's historical and cultural assumptions. At a time
when humanities departments are shrinking and when STEM education is on the
rise, Bioaesthetics makes vital
points about the limitations of science while lodging a robust defense of the
importance of the humanities.