Theory of art Books
Cambridge University Press The Cambridge Handbook of the Psychology of Aesthetics and the Arts
Book SynopsisThe psychology of aesthetics and the arts is dedicated to the study of our experiences of the visual arts, music, literature, film, performances, architecture and design; our experiences of beauty and ugliness; our preferences and dislikes; and our everyday perceptions of things in our world. The Cambridge Handbook of the Psychology of Aesthetics and the Arts is a foundational volume presenting an overview of the key concepts and theories of the discipline where readers can learn about the questions that are being asked and become acquainted with the perspectives and methodologies used to address them. The psychology of aesthetics and the arts is one of the oldest areas of psychology but it is also one of the fastest growing and most exciting areas. This is a comprehensive and authoritative handbook featuring essays from some of the most respected scholars in the field.Trade Review'This book is a significant contribution to furthering our understanding about the importance and value of aesthetics within different art forms and contexts. It has cross-disciplinary appeal and helps to promote both theoretical development and applied research, while opening the study of aesthetics to a broader audience.' Paul M. Camic, Salomons Centre for Applied Psychology, Canterbury Christ Church University, Kent'This volume is impressive in both its breadth and depth. I work in this area, yet I learned something from each and every chapter about the psychology of aesthetics and art, and - perhaps more importantly - how aesthetics and art contribute to the human condition. This book will be kept on my desk so I can have easy access to it!' Jonathan Plucker, Raymond Neag Professor of Education, University of Connecticut'This volume brings together important scholarship and groundbreaking methodological approaches for understanding the fundamental question of how and why art moves us. Although an individual's experience of art is inherently subjective, these collected essays draw on research in psychology and aesthetics to bring new insights to a topic that historically many scholars in the field had considered too indefinable to analyze or quantify.' Kathryn Potts, Helena Rubinstein Chair of Education, Whitney Museum of American ArtTable of ContentsPart I. Concepts, Theories and Methods: 1. Introduction by the editors Jeffrey K. Smith and Pablo P. L. Tinio; 2. Empirical aesthetics: hindsight and foresight Oshin Vartanian; 3. Philosophy of art and empirical aesthetics: resistance and rapprochement William P. Seeley; 4. Theoretical foundations for an empirical aesthetics Gerald C. Cupchik; 5. Aesthetics assessment Aaron Kozbelt and James C. Kaufman; Part II. Perspectives and Approaches to Art and Aesthetics: 6. Beyond perception: information processing approaches to art appreciation Helmut Leder; 7. Psychodynamics and the arts Pavel Machotka; 8. Evolutionary approaches to art and aesthetics Marcos Nadal and Gerardo Gómez-Puerto; 9. The walls do speak: psychological aesthetics and the museum experience Pablo P. L. Tinio, Jeffrey K. Smith and Lisa F. Smith; Part III. Objects and Media: 10. Empirical investigation of the elements of composition in paintings: a painting as stimulus Paul J. Locher; 11. 'Mute, motionless, variegated rectangles': aesthetics and photography I. C. McManus and Katharina Stöver; 12. Aesthetic responses to design: a battle of impulses Paul Hekkert; 13. From music perception to an integrative framework for the psychology of aesthetics Stefan Koelsch; 14. Theater and dance: another pathway to understanding human nature Thalia R. Goldstein and Rebecca Yasskin; 15. Arts education, academic achievement and cognitive ability Swathi Swaminathan and E. Glenn Schellenberg; 16. Aesthetics and the built environment: no painting or musical piece can compare Andréa Livi Smith; 17. Mirror, mirror on the wall, who's the fairest one of all? Influencing factors and effects of facial attractiveness Gernot Gerger and Helmut Leder; 18. An aesthetics of literary fiction David Carr; Part IV. Contemporary Issues and Debates: 19. Neuroaesthetics: descriptive and experimental approaches Anjan Chatterjee; 20. How emotions shape aesthetic experiences Stefano Mastandrea; 21. Unusual aesthetic states Emily C. Nusbaum and Paul J. Silvia; 22. Personality and aesthetic experiences Viren Swami and Adrian Furnham; 23. Hokusai and Fuji: cognition, convention and pictorial invention in Japanese pictorial arts David Bell; Part V. Pulling it All Together: 24. And all that jazz: rigour and relevance in the psychology of aesthetics and the arts Pablo P. L. Tinio and Jeffrey K. Smith.
£173.85
Cambridge University Press Performing Endurance
Book SynopsisOffers a formal account and theory of endurance as a practice in performance art and protest. Discusses influential performances by Marina Abramović, Chris Burden, Tehching Hsieh, Yoko Ono, and others, as well as 1960s lunch counter sit-ins and twenty-first-century protest camps. Essential reading in performance theory, art history, and political activism.Trade Review'Lara Shalson's Performing Endurance is an original, bold, and impeccably lucid encounter with endurance art. Shalson's writing carries a deep and abiding sympathy for what it means to endure, to survive the situation in which one finds oneself: say, in art, in life, in conflict, or in love. This book will make an urgent and compelling contribution to theatre and performance studies now, and to broader political considerations of how and with what means one may endure, together and apart, in difficult or uncertain times.' Dominic Johnson, Queen Mary, University of London'In this excellent, elegantly written, and tautly argued book, Lara Shalson offers nothing less than a profound rethinking of key works and concepts in performance art practice and theory … the distinctive contribution this book makes to performance art discourse will endure.' Heike Roms, Contemporary Theatre Review'Shalson's theorisation of endurance, and its delineation as performance structure, is taut and precise, enabling generative readings of performance events as ambivalent, discomforting and yet deeply ethical in the way that they force artists and spectators alike to negotiate interpersonal relations and politically charged power structures … her argument is elegant and far-reaching.' Roberta Mock, Times Higher Education'Performing Endurance is a valuable resource for scholars toiling to spotlight the rich and varied mechanisms at work in performance art. Shalson's study will undoubtedly serve as a springboard for researchers looking to extend discussions on crucial aesthetic investments in endurance and as a model for scholars invested in parsing the urgent affinities between performance structures and protest tactics.' Raegan Truax, Modern Drama'Through Performing Endurance, well-known works of art are returned to and seen in a rigorously new and resolutely political light … Shalson's book will sit alongside works by Peggy Phelan and Rebecca Schneider with Amelia Jones not too far away … Her writing equals publications by these thinkers in significance and rigor …' Nik Wakefield, The Drama ReviewTable of ContentsList of figures; Acknowledgements; Introduction; 1. Enduring objecthood; 2. Enduring protests; 3. Enduring life; 4. Enduring documents; Epilogue; Notes; Bibliography; Index.
£85.50
Nova Science Publishers Inc Visual Artists & Resale Royalties:
Book SynopsisArtists Rights Society (ARS) is an organisation that represents the intellectual property rights, including the copyrights, of more than 50,000 visual artists world-wide. It has an American repertory, which includes Mark Rothko, Willem de Kooning, Andy Warhol, Georgia O''Keeffe, and Jacob Lawrence, to name some of the prominent members. However, the overwhelming majority of ARS'' members are lesser known artists who have nevertheless devoted their lives to this profession. This book provides an updated report examining the issues surrounding visual artists and resale royalties in the United States, and also is an adjunct to the Office''s 1992 report, Droit de Suite: The Artist''s Resale Royalty, and takes into account changes in law and practice over the past two decades. The book provides further detail on resale royalties, the Visual Arts and Galleries Association (VAGA), and the Equity for Visual Artists Act of 2011.
£189.74
University of Huddersfield Shibusa: Extracting Beauty
Book SynopsisThis book celebrates a number of artistic endeavours: music, painting and the skill of making in general with particular reflection upon Japanese aesthetics. Composer, Monty Adkins and visual artist, Pip Dickens (through a Leverhulme Trust Award collaboration) investigate commonality and difference between the visual arts and music exploring aspects of rhythm, pattern, colour and vibration as well as outlining processes utilised to evolve new works within these practices. The hand-cut paper Katagami stencil: a beautiful utilitarian object once used to apply decoration on to Japanese kimonos, is used as a poignant symbol the hand-made machine - by Adkins and Dickens both within the production of paintings and sound compositions and as a thematic link throughout the book. The book reviews examples of a number of contemporary artists and craftspeople and their individual approaches to making things well. It explores the balance between hand skills and technology within a works production with particular reference to Richard Sennetts review of material culture in The Craftsman. Shibusa includes contributing essays by arts writer, Roy Exley, who examines convergence and crossover within the arts and an in-depth history, and review, of the kimono making industry by Kyoto designer, Makoto Mori.Table of ContentsExploding stillness; The katagami stencil: handmade machine; Pattern, rhythm, vibration and colour; Low tech and high tech: the tail should not wag the dog; Smashed pianos and dysfunctional brushes; Sharing of textures: crossovers in contemporary art; The craftsmen of Kyoto; History and techniques of the kimono.
£27.00
MACK Between
Book SynopsisFirst published in 1986 and long out of print, Between charts Burgin’s passage from early conceptual art, via appropriationist works and critiques of mass media imagery to a series of photo-texts informed by psychoanalysis, semiotics, cinema studies and feminism. Photographer, critic and curator David Campany writes: “Between was first published into a time when the art markets came to dominate and dictate as never before. Art was no longer that stubborn space of resistance and reflection; it was to be part of the spectacle of neoliberal capitalism in which image is all. Self-congratulatory art fairs, artists as media celebrities, bloated auction prices, and the reduction of criticality to recognizable and increasingly empty gestures. … Burgin makes photographic work like no other artist, but his themes and motifs are drawn from experiences common to us all – the modern city, the structures of family, language as something that forms and reforms us, the power of images, principles of government, memory and history. And yet, encouraged by the media to look to art for quick messages, some audiences and critics have found his work ‘inaccessible’. Actually Burgin’s work is among the most accessible I know, if by that we mean ‘easy to get into’. It’s the getting out that’s tricky.” Interweaving Burgin’s visual work with fragments from interviews, talks and letters, Between offers insights into the relation of ‘theory’ to ‘practice’ in a form of art which has undermined the basis of this distinction. This MACK facsimile makes Burgin’s historic and groundbreaking book available for the first time in over three decades.
£30.00
MACK Blind Folly or How Tacita Dean Draws
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£18.00
Monash University Publishing Variations: A More Diverse Picture of
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£39.94
Monash University Publishing What Artists See
£17.99
Otago University Press Landfall 246: Spring 2023
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£15.20
Lars Muller Publishers Phenotypes / Limited Forms
Book SynopsisThis book is an extension of the interactive installation Phenotypes/Limited Forms. The installation encourages visitors to pick their favorite subjects out of a total of several hundreds of displayed photographs, rearrange them, name their sequences, and print them in the form of a fanfold. The publication analyzes the 30 000 sequences selected by the public. A detailed demonstration of the applied algorithms helps us to understand the connection between the photographs, the number of times they were chosen by an individual visitor, and how the visitors named their personal selection of images. The book traces the creative processes and the interaction of the visitors with the material of the installation as a work of art highly dependent on the involvement of the audience. Essays by curators and art historians discuss the subject on a theoretical level while examining the aspects of participation and emancipation as well as the question of the autonomy of images.
£29.75
Bohlau Verlag Academic Showcases: The Collections at the
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£34.19
Hatje Cantz ESCH 2022 Ars Electronica: IN TRANSFER: A New
Book SynopsisFocussing on the potentials of creative and artistic thinking in scientific research as well as industrial production, the exhibition shows how collaborations between art and science can substantially support the creation of innovative, sustainable and ethical solutions to the struggles and issues of contemporary societies. Conceived in collaboration with Ars Electronica, international platform and eponymous festival pioneering in the development of strategies and competencies for the Digital Transformation, the exhibition is curated by Martin Honzik, chief curator at Ars Electronica and Laura Welzenbach, Head of Ars Electronica Export.
£22.40
Transcript Verlag Common Image: Towards a Larger Than Human
Book SynopsisWestern humanism has established a reifying and predatory relation to the world. While its collateral visual regime, the perspectival image, is still saturating our screens, this relation has reached a dead end. Rather than desperately turning towards transhumanism and geoengineering, we need to readjust our position within community Earth. Facing this predicament, Ingrid Hoelzl and Rémi Marie develop the notion of the common image - understood as a multisensory perception across species; and common ethics - a comportment that transcends species-bound ways of living. Highlighting the notion of the common as opposed to the immune, the authors ultimately advocate otherness as a common ground for a larger than human communism.Table of ContentsIntroduction; Stone; Magic; Matter; Ocean; Points of View; The Time of the Myth; From Myth to Poetry; Windjarrameru, The Stealing C*nt$; Travelling to the Warlpiri Country; Appendix; List of Illustrations; Bibliography; Detailed Table of Contents.
£28.04
Transcript Verlag Transitional Territories: Confluence of Art and
Book SynopsisAyse Güngör investigates art practices between art and anthropology in Turkey, as well as the implications of contemporary art for those disciplines. She discusses various approaches based on anthropological theories on the forms of relation and theories of artistic practices on socio-political issues. Based on long-term research with contemporary artists such as Nil Yalter, Gülsün Karamustafa, Esra Ersen, Kutlug Ataman, Tayfun Serttas, Köken Ergun, Dilek Winchester and Artikisler Collective, this book analyzes the objectives of art and anthropology in order to determine new possibilities and divergences arising from this interdisciplinary confluence.Table of ContentsIntroduction; On the Relation Between Art and Anthropology; An Anthropological Approach to Contemporary Art; The Emergence of Contemporary Art in Turkey; Anthropological Practices of Contemporary Artists from Turkey; Conclusion; Acknowledgments; Bibliography.
£40.00
Transcript Verlag Imaging the Scenes of War: Aesthetic Crossovers
Book SynopsisIn American visual culture, the 1930s and 1940s were a key transitional period shaped by the era of modernism and the global confrontation of World War II. Christof Decker demonstrates that the war and its iconography of destruction challenged visual artists to find new ways of representing its consequences. Dealing with trauma and war crimes led to the emergence of complex aesthetic forms and media crossovers. Decker shows that the 1940s were a pivotal period for the creation of horrific yet also innovative representations that boosted American visual modernism and set the stage for debates about the ethics of visual culture in the post-9/11 era.Table of ContentsIntroduction; Trauma Narratives, Mixed Media, and the Meditation on the Invisible; Imaging Axis Terror: War Propaganda and the 1943 The Nature of the Enemy Exhibition at Rockefeller Center; In Search of a Common Vision: Ben Shahn, Photography, and The Family of Man Exhibition in 1955; Transnational Romance: Love and Politics in the Cinema of the 1930s and 1940s; Poetry and Film, Film as Poetry: Notes on a History of Creative Interactions; Screening Holocaust: American Television and the Discourse on 'Victim Cultures' in West Germany; Index.
£34.39
Transcript Verlag Sound Formations: Towards a Sociological
Book SynopsisIs it possible to work with sound in sociology rather than being about sound? Can there be a "sonic sociology"? Rémy Bocquillon reflects on the process-oriented character of sociology as an experimental science by including aesthetic practices of sounding and listening as constitutive for the making of sociological theory. Following new materialist and speculative philosophies, this study is thus a combination of sociological theory, philosophical thought and aesthetic practices, not understood as discrete fields of inquiry, but co-constituting each other. It also features an audio chapter, "feeding-back" the sonic experimentations at the core of the research in new and engaging ways.
£35.19
mdwPress The Social Organization of Arts
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£33.59
transcript Verlag Audiovisual Disruption
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£43.19
Transcript Verlag Machines as Agency – Artistic Perspectives
Book SynopsisThis book supports and deepens the existing interfaces between art, science, and technology - transgressing traditional principles and styles of research, and selectively overcoming the side-by-side coexistence in favour of an integrated "laboratory of the future". Instead of relying on traditional dualisms like nature-culture, subject-object, as well as man and machine, heterogeneous networks with humans and non-humans (Latour) are opened in shared contexts of agency. New momentary propositions are developed, meeting the complexity of discovering, exploring, and inventing - things: things which do not exist just as given beings. The artists and theoreticians can pursue using the tools and techniques of science actively - not only to comment them but also to fathom their possibilities, and employ them in their artistic and scientific projects. Machines as Agency is an artistic perspective.
£24.64
Distanz Publishing Tumbling Ruins
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£18.58
Motilal Banarsidass, The Mystery of Art
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£8.99
Museu D'Art Contemporani de Barcelona (MACBA) Appearances: 2022
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£28.80
IF I CAN'T DANCE 18 Pictures and 18 Stories - Bulegoa Z/B with
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£20.25
APE Hou Chien Cheng - Brown
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£10.42
£18.95
Aman iman Remi Coignet - Conversations 3 ENG
£17.10
Penguin Books Ltd Ways of Seeing Based on the Television Series
Book Synopsis“The relation between what we see and what we know is never settled” -- so opens John Berger’s revolutionary million-copy bestseller on how to look at artJohn Berger's Ways of Seeing is one of the most stimulating and the most influential books on art in any language. First published in 1972, it was based on the BBC television series about which the Sunday Times critic commented: This is an eye-opener in more ways than one: by concentrating on how we look at paintings . . . he will almost certainly change the way you look at pictures. By now he has.Trade Review"It’s a book about art history and the media, but it’s also a magic trick." -- The New Republic "Berger fulfils the roles of a philosopher, listener, and somewhat of a magician as he makes tantalising worlds appear, and illusions vanish." -- Pratibha Rai, Oxford Culture Review"The influence of the series and the book . . . was enormous . . . It opened up for general attention to areas of cultural study that are now commonplace." —Geoff Dyer"...perhaps the most bold, clear, and widely renowned explanation of art’s entanglement with capitalism." -- The Paris Review"Berger has the ability to cut right through the mystification of the professional art critics . . . He is a liberator of images: and once we have allowed the paintings to work on us directly, we are in a much better position to make a meaningful evaluation." —Peter Fuller, Arts Review"Over the past sixty years, the great John Berger — art critic, essayist, screenwriter, novelist, poet, and artist — has made immeasurable contributions to our understanding of culture and politics, never more potently than in Ways of Seeing." -The Village VoiceOn John Berger: “In contemporary English letters he seems to me peerless.” -- Susan Sontag“We learned from him to see that basic assumptions about everything—work, play, art, commerce—are hidden in the surrounding culture of images.” -- Jane Gaines
£15.10
Oxford University Press Inc Experiencing Art In the Brain of the Beholder
a huge range and FREE tracked UK delivery on ALL orders.
£44.17
Oxford University Press The Philosophy of Creativity
a huge range and FREE tracked UK delivery on ALL orders.
£40.84
Oxford University Press, USA A Theory of Art
Book SynopsisAddressed to anyone with a serious interest in the arts, this philosophical theory of art has three main objectives: to shift the focus of aesthetics from the question "What is art?"; to describe the social and historical situation of art today; and to combine aesthetics with poetics and hermeneutics.Trade Review"Berger's goal in this book is to explain how art functions, and what is its purpose. By doing so, he hopes to provide a framework in which political debates (as well as philosophical ones) about the meaning and importance of art can become more fruitful....The book reveals an author of formidable intellectual power and erudition."--he Trenton Times"Berger provides his 21st-century readers with an articulate and accessible restatement of 19th-century aesthetic propositions....General readers."--Choice"Here, musicologist Berger does nothing less than pull back the reins of postmodernism in favor of what could be called a balanced modernism."--Library Journal"This book is an intellectual feast. Berger argues with such clarity that even when one disagrees one learns. He's playing in the same league as the authors he cites: Hegel, Kant, Schopenhauer, and especially Aristotle. He deserves their company."--Richard Taruskin, Class of 1955 Professor of Music, University of California, Berkeley"Berger's A Theory of Art is a tour de force of breadth, comprehension, and coverage. Its argumentative style is eminently lucid, accessible, and honest."--Lydia Goehr, Professor of Philosophy, Columbia University"Not content simply to repeat or reformulate what others have said before him, Berger aims to show us how we can view art in a new way. Berger writes with great elegance, and has the uncanny ability to spin an elaborate web of ideas from the most basic premises. His concern with the function of art makes his book particularly relevant in light of current debates about public funding for the arts and about the place of art in our school curricula. Berger's A Theory of Art is a convincingly argued, richly textured, and timely book that will speak powerfully not only to academics in the various humanistic disciplines, but to anyone seriously interested in the arts."--John Daverio, Professor of Music, Boston University"This is an excellent and well-reasoned book which wades into the current debate about the relationship between aesthetics and ethics...Referencing Ricoeur, MacIntyre, and Gadamer, Berger perceives art as an invitation to new ways of being human as one enters a world which is embodied in stone, pigment, and sound...Berger concludes that art teaches us how to listen to and come into conversation with others in a way that encourages discernment and judgement of taste; it is a way of seeing through the pluralism of the postmodern world to a place worth bringing into being."--Religious Studies ReviewTable of ContentsAESTHETICS: THE END OF ARTWORKS; POETICS AND HERMENEUTICS: THE CONTENTS AND INTERPRETATION OF ARTWORKS
£43.69
Clarendon Press Aesthetics Volume 1
Book SynopsisIn his Aesthetics Hegel gives full expression to his seminal theory of art. He surveys the history of art from ancient India, Egypt, and Greece through to the Romantic movement of his own time, criticizes major works, and probes their meaning and significance; his rich array of examples gives broad scope for his judgement and makes vivid his exposition of his theory.The substantial Introduction is Hegel''s best exposition of his general philosophy of art, and provides the ideal way into his Aesthetics. In Part I he considers the general nature of art: he distinguishes art, as a spiritual experience, from religion and philosophy; he discusses the beauty of art and differentiates it from the beauty of nature; and he examines artistic genius and originality. Part II provides a sort of history of art, divded into three periods called Symbolic (India, Persia, Egypt), Classical (Greece), and Romantic (medieval and post-medieval up to the end of the eighteenth century). Part III deals individTable of ContentsVOLUME I: TRANSLATOR'S PREFACE; INTRODUCTION; PART I: THE IDEA OF ARTISTIC BEAUTY, OR THE IDEAL; PART II: DEVELOPMENT OF THE IDEAL INTO THE PARTICULAR FORMS OF ART; SECTION I: THE SYMBOLIC FORM OF ART; SECTION II: THE CLASSICAL FORM OF ART; SECTION III: THE ROMANTIC FORM OF ART
£54.00
Clarendon Press Aesthetics
Book SynopsisIn his Aesthetics Hegel gives full expression to his seminal theory of art. He surveys the history of art from ancient India, Egypt, and Greece through to the Romantic movement of his own time, criticizes major works, and probes their meaning and significance; his rich array of examples gives broad scope for his judgement and makes vivid his exposition of his theory.The substantial Introduction is Hegel''s best exposition of his general philosophy of art, and provides the ideal way into his Aesthetics. In Part I he considers the general nature of art: he distinguishes art, as a spiritual experience, from religion and philosophy; he discusses the beauty of art and differentiates it from the beauty of nature; and he examines artistic genius and originality. Part II provides a sort of history of art, divded into three periods called Symbolic (India, Persia, Egypt), Classical (Greece), and Romantic (medieval and post-medieval up to the end of the eighteenth century). Part III deals individTable of ContentsVOLUME II. PART III: THE SYSTEM OF THE INDIVIDUAL ARTS; SECTION I: ARCHITECTURE; SECTION II: SCULPTURE; SECTION III: THE ROMANTIC ARTS; INDEX
£51.30
Oxford University Press Intersections of Value
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£69.50
Oxford University Press Everyday Aesthetics
Book SynopsisEveryday aesthetic experiences and concerns occupy a large part of our aesthetic life. However, because of their prevalence and mundane nature, we tend not to pay much attention to them, let alone examine their significance. Western aesthetic theories of the past few centuries also neglect everyday aesthetics because of their almost exclusive emphasis on art. In a ground-breaking new study, Yuriko Saito provides a detailed investigation into our everyday aesthetic experiences, and reveals how our everyday aesthetic tastes and judgments can exert a powerful influence on the state of the world and our quality of life.By analysing a wide range of examples from our aesthetic interactions with nature, the environment, everyday objects, and Japanese culture, Saito illustrates the complex nature of seemingly simple and innocuous aesthetic responses. She discusses the inadequacy of art-centered aesthetics, the aesthetic appreciation of the distinctive characters of objects or phenomena, responTrade ReviewYurkio Saito's Everyday Aesthetics is an excellent introduction to what is perhaps analytic aesthetics' newist topic: the aesthetics of everyday life. It is also the most important contribution to this topic to date... a volume that presents an array of powerful new ideas, employs a remarkable range of sources, and is illustrated by a stunning variety of examples... [it] will inform and enrich both professional aestheticians and anyone else fortunate enough to read it. * Allen Carlson, MIND *Everyday Aesthetics is a well-argued and ground-breaking piece of philosophy which has much to say about issues in contemporary philosophy of art and design theory while also helping to form a new sub-discipline within aesthetics. It also has the advantage of being immensely readable. * Tom Leddy, Notre Dame Philosophical Reviews *a welcome book: Saito has given serious attention to an area of the human aesthetic response that has been sadly neglected in the West. * Robert Wilkinson, British Journal of Aesthetics *The first explicit aim of Saito's book is, in effect, a reply to those who neglect or scoff at the aesthetics of mundane things and activities - an attempt to establish the credentials of 'everyday aesthetics' by showing that it renders aesthetic discourse more truthful and faithful to the richness of aesthetic experience. It is only various pre judices, she argues, that can explain the neglect of the everyday in Western aesthetic tradition. * David E. Cooper, Times Literary Supplement *Table of ContentsIntroduction ; I. The Neglect of Everyday Aesthetics ; II. The Significance of Everyday Aesthetics ; III. Aesthetics of Distinctive Characteristics and Ambience ; IV. Everyday Aesthetic Qualities and Transience ; V. Moral-Aesthetic Judgments of Artifacts ; Conclusion ; Bibliography
£99.75
OUP Oxford The Oxford Handbook of Aesthetics
Book SynopsisThe Oxford Handbooks series is a major new initiative in academic publishing. Each volume offers an authoritative and up-to-date survey of original research in a particular subject area. Specially commissioned essays from leading figures in the discipline give critical examinations of the progress and direction of debates. Oxford Handbooks provide scholars and graduate students with compelling new perspectives upon a wide range of subjects in the humanities and social sciences. The Oxford Handbook of Aesthetics brings the authority, liveliness, and multi-disciplinary scope of the Handbook series to the area where philosophy meets the arts. Jerrold Levinson has assembled a hugely impressive range of talent to contribute 48 brand-new essays, making this the most comprehensive guide available to the theory, application, history, and future of the field. This Handbook will be invaluable to academics and students across philosophy and all branches of the arts, both as the reference work of Trade Reviewthe philosophy of emotion as a whole is considerably richer as a result of this comprehensive, skilfully edited collection of high-quality philosophical work ... essential reading for those with an interest in the emotions * Michael Brady, British Journal of Aesthetics *This Handbook is a timely response to a growing interest in aesthetics ... it covers a good deal of ground, provides much interesting information and abounds in interesting quotations. * Peter Rickman, Philosophy Now *Levinson has achieved his intention to provide a collection from which both the professional philosopher and the enthusiastic non-professional can derive instruction and pleasure. . . . he has brought together many of the key practitioners in the field of philosophical aesthetics and this is reflected in the depth of subjects and the lucid quality of the writing. * British Journal of Aesthetics *Table of ContentsPreface ; 1. Philosophical Aesthetics: an Overview ; 2. History of Modern Aesthetics ; 3. Aesthetic Realism 1 ; 4. Aesthetic Realism 2 ; 5. Aesthetic Experience ; 6. Beauty ; 7. Aesthetics of Nature ; 8. Definition of Art ; 9. Ontology of Art ; 10. Medium in Art ; 11. Representation in Art ; 12. Expression in Art ; 13. Style in Art ; 14. Creativity in Art ; 15. Authenticity in Art ; 16. Intention in Art ; 17. Interpretation in Art ; 18. Value in Art ; 19. Humour ; 20. Metaphor ; 21. Fiction ; 22. Narrative ; 23. Tragedy ; 24. Art and Emotion ; 25. Art and Knowledge ; 26. Art and Morality ; 27. Art and Politics ; 28. Music ; 29. Painting ; 30. Literature ; 31. Architecture ; 32. Sculpture ; 33. Dance ; 34. Theatre ; 35. Poetry ; 36. Photography ; 37. Film ; 38. Feminist Aesthetics ; 39. Environmental Aesthetics ; 40. Comparative Aesthetics ; 41. Aesthetics and Evolutionary Psychology ; 42. Aesthetics and Cognitive Science ; 43. Aesthetics and Ethics ; 44. Aesthetics of Popular Art ; 45. Aesthetics of the Avant-Garde ; 46. Aesthetics of the Everyday ; 47. Aesthetics and Postmodernism ; 48. Aesthetics and Cultural Studies
£49.49
Oxford University Press, USA On Images Their Structure and Content
Book SynopsisWhy do pictures seem so immediate? What makes a picture realistic or not? John Kulvicki claims that what makes pictures special is not how we perceive them, but how they relate to one another. This not only provides some new answers to old questions, but it shows that there are many more kinds of pictures out there than many have thought.Trade ReviewReview from previous edition On Images is an important book on the topic of pictorial representation that will, no doubt, contribute significantly to our understanding of many aspects of this phenomenon, even some of the most perplexing ones...one of the most valuable and important contributions to the topic. * Mind *Innovative and well-written . . . a great contribution to one of the most popular topics in aesthetics . .. I strongly recommend this book . . . one of the best on the topic. * British Journal of Aesthetics *From start to finish, it is original, beautifully argued, and just brimming with useful ideas. It is written in clear, crisp prose and unfolds in a logical manner. I learned something from almost every sentence in this book. I predict that it will enter the ranks of the classics in the philosophy of pictures. * Dominic McIver Lopes, University of British Columbia *Table of ContentsPART ONE: IMAGE STRUCTURE; PART TWO: IMAGE CONTENT; PART THREE: REALISM AND VARIETY
£43.22
Oxford University Press Aesthetic Essays
Book SynopsisThe book brings together a selection of Malcolm Budd''s essays in aesthetics. A number of the essays are aimed at the abstract heart of aesthetics, attempting to solve a cluster of the most important issues in aesthetics which are not specific to particular art forms. These include the nature and proper scope of the aesthetic, the intersubjective validity of aesthetic judgements, the correct understanding of aesthetic judgements expressed through metaphors, aesthetic realism versus anti-realism, the character of aesthetic pleasure and aesthetic value, the aim of art and the artistic expression of emotion. Other essays are focussed on central issues in the aesthetics of particular art forms: two engage with the most fundamental issue in the aesthetics of music, the question of the correct conception of the phenomenology of the experience of listening to music with understanding; and two consider the nature of pictorial representation, one examining certain well-known views, the other arTrade ReviewAll topics addressed in the collection are dealt with with unmitigated rigour, and every scholar writing on them should take good note of what Budd has to say. * Paloma Atencia-Linares, Mind *This important collection by the prominent aesthetician Malcolm Budd brings together fourteen papers on the nature of aesthetics judgement and value, expression and movement in music, and depiction. In addition, there is a masterly analysis of and exposition of Kant's account of the pure judgement of taste and another of Wittgenstein's view of aesthetics ... Related chapters complement each other nicely without excessive overlap ... Philosophers of art will admire the unfussy care and insight with which Budd probes these intriguing topics, many of which lie at the 'abstract heart of aesthetics', as he rightly observes. I strongly recommend his book. * Stephen Davies, Notre Dame Philosophical Reviews *Table of ContentsIntroduction ; 1. Aesthetic Judgements, Aesthetic Principles and Aesthetic Properties ; 2. Aesthetic Essence ; 3. The Acquaintance Principle ; 4. The Intersubjective Validity of Aesthetic Judgements ; 5. The Pure Judgement of Taste as an Aesthetic Reflective Judgement ; 6. Understanding Music ; 7. The Characterization of Aesthetic Qualities by Essential Metaphors and Quasi-Metaphors ; 8. Musical Movement and Aesthetic Metaphors ; 9. Aesthetic Realism and Emotional Qualities of Music ; 10. On Looking at a Picture ; 11. The Look of a Picture ; 12. Wollheim on Correspondence, Projective Properties and Expressive Perception ; 13. Wittgenstein on Aesthetics ; Index
£39.42
Oxford University Press (UK) Music Art and Metaphysics Essays in Philosophica Aesthetics
Book SynopsisThis is a long-awaited reissue of Jerrold Levinson's 1990 book which gathers together the writings that made him a leading figure in contemporary aesthetics. These highly influential essays are essential reading for debates on the definition of art, the ontology of art, emotional response to art, expression in art, and the nature of art forms.Table of ContentsIntroduction ; PART ONE: ART AND HISTORY ; 1. Defining Art Historically ; 2. Hybrid Art Forms ; 3. Refining Art Historically ; PART TWO: METAPHYSICS OF ART ; 4. What a Musical Work Is ; 5. Autographic and Allographic Art ; 6. Aesthetic Uniqueness ; 7. Aesthetic Supervenience ; 8. Titles ; 9. Artworks and the Future ; 10. What a Musical Work Is, Again ; PART THREE: MUSICAL MATTERS ; 11. The Concept of Music ; 12. Truth in Music ; 13. Music and Negative Emotion ; 14. Hope in The Hebrides ; 15. Evaluating Musical Performance
£42.27
Oxford University Press, USA Aesthetic Creation
Book SynopsisWhat is the purpose of art? What drives us to make it? Why do we value it? Nick Zangwill argues that the function of art is to have certain aesthetic properties in virtue of its non-aesthetic properties, and this function arises because of the artist's insight into the nature of these dependence relations and her intention to bring them about.Trade ReviewReview from previous edition Aesthetic Creation is full of interesting distinctions, bold claims and challenging arguments ... an essential study for anyone who is interested in fundamental issues concerning the nature of art. * British Journal of Aesthetics *a classic modern aesthetics * Times Literary Supplement *Table of ContentsPreface ; Introduction ; Summary of Chapters ; 1. Groundrules in the Philosophy of Art ; 2. The Aesthetic Creation of Art ; 3. Are there Counterexamples to Aesthetic Theories of Art? ; 4. Art Essence, Identity and Survival ; 5. Aesthetic Functionalism ; 6. Art and Audience ; Appendix: On Dickie ; 7. Against the Sociology of Art ; 8. Places of publication and Acknowledgements ; Bibliography ; Subject Index ; Author Index
£37.99
Oxford University Press Diotimas Children
Book SynopsisDiotima's Children is the first comprehensive re-examination of the rationalist tradition of aesthetics as it prevailed in Germany in the late seventeenth and early eighteenth centuries. This tradition is of the greatest historical importance because it gave birth to modern aesthetics, art criticism, and art history.Trade ReviewThis book represents a revolution in the historiography of German aesthetics and philosophy, shaped and canonized since Kant and Hegel. However, its provocative statements are simply the result of carefully rereading the long-dismissed pre-Kantian thinkers and of trying to understand them from the perspective of the questions which originally motivated their thinking. The result is the most informative and comprehensive presentation of German aesthetics and philosophy from Leibniz to Kant available today, one that can finally replace Beck's Kant and his Predecessors. * Ursula Goldenbaum, Journal of the History of Philosophy *Table of ContentsIntroduction: Reappraising Aesthetic Rationalism ; 1. Leibniz and the Roots of Aesthetic Rationalism ; 2. Wolff and the Birth of Aesthetic Rationalism ; 3. Gottsched and the Highnoon of Rationalism ; 4. The Poets' War ; 5. Baumgarten's Science of Aesthetics ; 6. Winckelmann & Neo-Classicism ; 7. Mendelssohn's Defense of Reason ; 8. Lessing and Aesthetic Rationalism ; Bibliography
£37.99
Oxford University Press Inc Roald Hoffmann on the Philosophy Art and Science of Chemistry
Book SynopsisNobel laureate Roald Hoffmann''s contributions to chemistry are well known. Less well known, however, is that over a career that spans nearly fifty years, Hoffmann has thought and written extensively about a wide variety of other topics, such as chemistry''s relationship to philosophy, literature, and the arts, including the nature of chemical reasoning, the role of symbolism and writing in science, and the relationship between art and craft and science. In Roald Hoffmann on the Philosophy, Art, and Science of Chemistry, Jeffrey Kovac and Michael Weisberg bring together twenty-eight of Hoffmann''s most important essays. Gathered here are Hoffmann''s most philosophically significant and interesting essays and lectures, many of which are not widely accessible. In essays such as Why Buy That Theory, Nearly Circular Reasoning, How Should Chemists Think, The Metaphor, Unchained, Art in Science, and Molecular Beauty, we find the mature reflections of one of America''s leading scientists. OrgTrade ReviewEach of the 28 chapters brings new arguments and should provoke thoughtful self-examination. * Phillip Broadwith, Chemistry World *Table of ContentsPreface ; Acknowledgments ; Introduction, by Michael Weisberg and Jeffrey Kovac. ; 1 Trying to Understand, Making Bonds, by Roald Hoffmann ; Part 1: Chemical Reasoning and Explanation ; 2. Why Buy That Theory?, by Roald Hoffmann. ; 3. What Might Philosophy of Science Look Like If Chemists Built It?, by Roald Hoffmann ; 4. Unstable, by Roald Hoffmann ; 5. Nearly Circular Reasoning, by Roald Hoffmann ; 6. Ockham's Razor and Chemistry, by Roald Hoffmann, Vladimir I. Minkin, and Barry K. Carpenter ; 7. Qualitative Thinking in the Age of Modern Computational Chemistry, or What Lionel Salem Knows, by Roald Hoffmann ; 8. Narrative, by Roald Hoffmann ; 9. Learning from Molecules in Distress, by Roald Hoffmann and Henning Hopf ; 10. Why Think Up New Molecules? by Roald Hoffmann ; 11. Protean, by Roald Hoffmann and Pierre Laszlo ; 12. How Should Chemists Think? by Roald Hoffmann ; Part 2: Writing and Communicating in Chemistry ; 13. Under the Surface of the Chemical Article, by Roald Hoffmann ; 14. Representation in Chemistry, by Roald Hoffmann and Pierre Laszlo ; 15.. The Say of Things, by Roald Hoffmann and Pierre Laszlo ; 16. How Symbolic and Iconic Languages Bridge the Two Worlds of the Chemist: A Case Study from Contemporary Bioorganic Chemistry, by Emily R. Grosholz and Roald Hoffmann ; 17 How Nice to Be an Outsider, by Roald Hoffmann ; 18. The Metaphor, Unchained, by Roald Hoffmann, ; Part 3: Art and Science ; 19. Art in Science? by Roald Hoffmann ; 20. Science and Crafts by Roald Hoffmann ; 21. Molecular Beauty, by Roald Hoffmann ; Part 4 Chemical Education ; 22. Teach to Search by Roald Hoffmann ; 23. Some Heretical Thoughts on What Our Students Are Telling Us, by Roald Hoffmann and Brian P. Coppola ; 24 Very Specific Teaching Strategies, and Why They Work, by Roald Hoffmann and Saundra Y. McGuire ; Part 5 Ethics in Science ; 25. Mind the Shade, by Roald Hoffmann ; 26. Science and Ethics: A Marriage of Necessity and Choice for this Millennium,>" by Roald Hoffmann ; 27. Honesty to the Singular Object, by Roald Hoffmann ; 28. The Material and Spiritual Rationales Are Inseparable, by Roald Hoffmann ; Index
£45.59
Oxford University Press Savoring Disgust
Book SynopsisDisgust is among the strongest of aversions, characterized by involuntary physical recoil and even nausea. Yet paradoxically, disgusting objects can sometimes exert a grisly allure, and this emotion can constitute a positive, appreciative aesthetic response when exploited by works of art -- a phenomenon labelled here aesthetic disgust. While the reactive, visceral quality of disgust contributes to its misleading reputation as a relatively primitive response mechanism, it is this feature that also gives it a particular aesthetic power when manifest in art. Most treatments of disgust mistakenly interpret it as only an extreme response, thereby neglecting the many subtle ways that it operates aesthetically. This study calls attention to the diversity and depth of its uses, analyzing the emotion in detail and considering the enormous variety of aesthetic forms it can assume in works of art and --unexpectedly-- even in foods. In the process of articulating a positive role for disgust, thisTable of ContentsChapter 1 What Is Disgust? ; Chapter 2 Attractive Aversions ; Chapter 3 Delightful, Delicious, Disgusting ; Chapter 4 Varieties of Aesthetic Disgust ; Chapter 5 The Magnetism of Disgust ; Chapter 6 Hearts ; Chapter 7 The Foul and the Fair ; Bibliography
£42.74
MIT Press Ltd Windows and Mirrors
£38.78
MIT Press Ltd Semblance and Event
£31.17
MIT Press Techniques of the Observer
Book SynopsisJonathan Crary's Techniques of the Observer provides a dramatically new perspective on the visual culture of the nineteenth century, reassessing problems of both visual modernism and social modernity. This analysis of the historical formation of the observer is a compelling account of the prehistory of the society of the spectacle.In Techniques of the Observer Jonathan Crary provides a dramatically new perspective on the visual culture of the nineteenth century, reassessing problems of both visual modernism and social modernity.Inverting conventional approaches, Crary considers the problem of visuality not through the study of art works and images, but by analyzing the historical construction of the observer. He insists that the problems of vision are inseparable from the operation of social power and examines how, beginning in the 1820s, the observer became the site of new discourses and practices that situated vision within the body as a physiological e
£36.00
MIT Press Ltd Under Blue Cup
a huge range and FREE tracked UK delivery on ALL orders.
£30.03
MIT Press The Return of the Real Art and Theory at the End of the Century October Books
Book SynopsisIn The Return of the Real Hal Foster discusses the development of art and theory since 1960, and reorders the relation between prewar and postwar avant-gardes. Opposed to the assumption that contemporary art is somehow belated, he argues that the avant-garde returns to us from the future, repositioned by innovative practice in the present. And he poses this retroactive model of art and theory against the reactionary undoing of progressive culture that is pervasive today.After the models of art-as-text in the 1970s and art-as-simulacrum in the 1980s, Foster suggests that we are now witness to a return to the real—to art and theory grounded in the materiality of actual bodies and social sites. If The Return of the Real begins with a new narrative of the historical avant-gard, it concludes with an original reading of this contemporary situation—and what it portends for future practices of art and theory, culture and politics.
£36.00
Penguin Random House LLC Prints and Visual Communication
£38.78
