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Design permeates every dimension of our lifeworld, from the products we consume and the built environments in which we live to the adorned and stylized beings that we are and the natural preserves where we seek relief from the stressful bustle of urban life. Design is where contrasting values of functionality and aesthetic pleasure converge. At the core of design is the human soma, an active, perceptive subjectivity that creates and evaluates design but is also its cultivated product. This collection of thirteen essays explores the somaesthetics of design in multiple fields: from ritual, craft, and healthcare to architecture, urbanism, and the new media of extended realities.
Design permeates every dimension of our lifeworld, from the products we consume and the built environments in which we live to the adorned and stylized beings that we are and the natural preserves where we seek relief from the stressful bustle of urban life. Design is where contrasting values of functionality and aesthetic pleasure converge. At the core of design is the human soma, an active, perceptive subjectivity that creates and evaluates design but is also its cultivated product. This collection of thirteen essays explores the somaesthetics of design in multiple fields: from ritual, craft, and healthcare to architecture, urbanism, and the new media of extended realities.
Studies of Mimesis and Materials in Nature, Art and Science
Mimesis or imitation comes in many forms, from animal and plant mimicry to artistic copies ‘from life’. This book offers eighteen essays addressing mimesis from diverse perspectives. From the recreation of galaxies to Iron Age torcs, from counterfeit dragons to modern waxworks, each chapter explores facets of material mimesis from prehistory to the present day. The Matter of Mimesis invites readers to compare practices of imitating, faking, and synthesising materials and objects in nature, art and science, raising questions about skills, techniques and politics of making that transcend historical and disciplinary boundaries and inform both our past and future worlds.
Studies of Mimesis and Materials in Nature, Art and Science
Mimesis or imitation comes in many forms, from animal and plant mimicry to artistic copies ‘from life’. This book offers eighteen essays addressing mimesis from diverse perspectives. From the recreation of galaxies to Iron Age torcs, from counterfeit dragons to modern waxworks, each chapter explores facets of material mimesis from prehistory to the present day. The Matter of Mimesis invites readers to compare practices of imitating, faking, and synthesising materials and objects in nature, art and science, raising questions about skills, techniques and politics of making that transcend historical and disciplinary boundaries and inform both our past and future worlds.
Editor:
The series entitled Consciousness, Literature and the Arts is a scholarly line of books consisting of monographs (and thematic collections of articles), in the English language, dealing with a wide variety of areas, problems, and applications within the broad field of consciousness studies in relation to literature and the arts with all their sub-genres.
Ästhetik und Physiologie im 19. Jahrhundert
Im 19. Jahrhundert vollzieht sich in der französischen Kunst ein bemerkenswerter Wandel: Das Ideal ästhetischer Lebendigkeit weicht der Manifestation der künstlerischen Mittel, die das Dargestellte seines vitalen Illusionismus berauben und als materiell Gemachtes hervorkehren. Die Repräsentation des Menschen verliert ihre Rolle als dominantes Sujet und wird in ihrer ›Wahrhaftigkeit‹ hinterfragt. Das Buch beleuchtet diese Entwicklung aus medizingeschichtlicher Sicht. Die Physiologie entwirft ein materialistisches und deterministisches Menschen- und Körperbild, das in Konkurrenz zur anatomischen Lehre tritt und Fragen der Darstellbarkeit, aber auch Willensfreiheit und Handlungsmacht aufwirft. Werkbeispiele aus der Zeit zwischen 1800 und 1900 zeigen auf, wie unterschiedlich die Kunst auf diese Verwerfungen reagierte – und neue Körperbilder entstanden.
Ästhetik und Physiologie im 19. Jahrhundert
Im 19. Jahrhundert vollzieht sich in der französischen Kunst ein bemerkenswerter Wandel: Das Ideal ästhetischer Lebendigkeit weicht der Manifestation der künstlerischen Mittel, die das Dargestellte seines vitalen Illusionismus berauben und als materiell Gemachtes hervorkehren. Die Repräsentation des Menschen verliert ihre Rolle als dominantes Sujet und wird in ihrer ›Wahrhaftigkeit‹ hinterfragt. Das Buch beleuchtet diese Entwicklung aus medizingeschichtlicher Sicht. Die Physiologie entwirft ein materialistisches und deterministisches Menschen- und Körperbild, das in Konkurrenz zur anatomischen Lehre tritt und Fragen der Darstellbarkeit, aber auch Willensfreiheit und Handlungsmacht aufwirft. Werkbeispiele aus der Zeit zwischen 1800 und 1900 zeigen auf, wie unterschiedlich die Kunst auf diese Verwerfungen reagierte – und neue Körperbilder entstanden.
Editor:
Thamyris seeks to initiate alternative forms of criticism by analysing the ways in which cultural and theoretical discourses intervene in the contemporary world. This criticism should pursue a re-politicizing and remobilizing of theoretical perspectives and cultural practices, preferably through case studies. Thamyris hopes to contribute to the productive interaction between art, activism, and theory. We understand cultural practices to include those of literary, visual, digital, and performance arts, but also social practices related to gender, sexuality, and ethnicity. In short, Thamyris aims at exploring the ways in which varying cultural practices, separately or in interaction, can be effective as agents of social and cultural change.
When does eating become art? The Aesthetics of Taste answers this question by exploring the position of taste in contemporary culture and the manner in which taste meanders its way into the realm of art. The argument identifies aesthetic values not only in artistic practices, where they are naturally expected, but also in the spaces of everydayness that seem far removed from the domain of fine arts. As such, it seeks to grasp what artists – who offer aesthetic as well as culinary experiences – actually try to communicate, while also pondering whether a cook can be an artist.
When does eating become art? The Aesthetics of Taste answers this question by exploring the position of taste in contemporary culture and the manner in which taste meanders its way into the realm of art. The argument identifies aesthetic values not only in artistic practices, where they are naturally expected, but also in the spaces of everydayness that seem far removed from the domain of fine arts. As such, it seeks to grasp what artists – who offer aesthetic as well as culinary experiences – actually try to communicate, while also pondering whether a cook can be an artist.
This book addresses typology of Late Antique and Byzantine art and architecture in eight wide-ranging contributions from an international group of scholars. A dialogue between type and its ultimate source, archetype, surpasses issues of formalism and conventional chronological narratives to suggest a more nuanced approach to typology as a systematic and systemic classification of types in the visual landscape of the pagans, Jews, and Christians.
Set against the contemporaneous cultural context, select examples of Mediterranean material culture confirm the great importance of type-and-archetype constructs for theoretical discourse on architecture and visual arts. Contributors are Anna Adashinskaya, Jelena Anđelković Grašar, Jelena Bogdanović, Čedomila Marinković, Marina Mihaljević, Ljubomir Milanović, Cecilia Olovsdotter, and Ida Sinkević.
Set against the contemporaneous cultural context, select examples of Mediterranean material culture confirm the great importance of type-and-archetype constructs for theoretical discourse on architecture and visual arts. Contributors are Anna Adashinskaya, Jelena Anđelković Grašar, Jelena Bogdanović, Čedomila Marinković, Marina Mihaljević, Ljubomir Milanović, Cecilia Olovsdotter, and Ida Sinkević.
This book addresses typology of Late Antique and Byzantine art and architecture in eight wide-ranging contributions from an international group of scholars. A dialogue between type and its ultimate source, archetype, surpasses issues of formalism and conventional chronological narratives to suggest a more nuanced approach to typology as a systematic and systemic classification of types in the visual landscape of the pagans, Jews, and Christians.
Set against the contemporaneous cultural context, select examples of Mediterranean material culture confirm the great importance of type-and-archetype constructs for theoretical discourse on architecture and visual arts. Contributors are Anna Adashinskaya, Jelena Anđelković Grašar, Jelena Bogdanović, Čedomila Marinković, Marina Mihaljević, Ljubomir Milanović, Cecilia Olovsdotter, and Ida Sinkević.
Set against the contemporaneous cultural context, select examples of Mediterranean material culture confirm the great importance of type-and-archetype constructs for theoretical discourse on architecture and visual arts. Contributors are Anna Adashinskaya, Jelena Anđelković Grašar, Jelena Bogdanović, Čedomila Marinković, Marina Mihaljević, Ljubomir Milanović, Cecilia Olovsdotter, and Ida Sinkević.
Editor / Translator:
Contributor:
How is it possible that works of art exist? How do we become receptive aesthetic subjects? The Specificity of the Aesthetic extends these fundamental ontological and phenomenological questions around which Georg Lukács’s theory of art was organised. This late work of aesthetics seeks to solve a puzzle that neither philosophy nor socialist politics was able to: the fundamental ethical question of what individuals and humanity as a whole ought to do. Art offers Lukács the already-existing means through which the damaged edifice of Marxism might be reconstructed on a durable basis on which to rest the philosophy, politics, and ethics of a non-Soviet-style Marxism.
How is it possible that works of art exist? How do we become receptive aesthetic subjects? The Specificity of the Aesthetic extends these fundamental ontological and phenomenological questions around which Georg Lukács’s theory of art was organised. This late work of aesthetics seeks to solve a puzzle that neither philosophy nor socialist politics was able to: the fundamental ethical question of what individuals and humanity as a whole ought to do. Art offers Lukács the already-existing means through which the damaged edifice of Marxism might be reconstructed on a durable basis on which to rest the philosophy, politics, and ethics of a non-Soviet-style Marxism.
The Agency of Chance Collaborations
At the same time whimsical and thought-provoking, Fluxus explored everyday life as an object of art. Behind mundane materials and activities, we find a large network of Fluxus artists who worked together for decades to create and share their art. This publication builds on archival materials that expose the nature of the artists’ working relationships, and methods for collaboration and circulation of artworks. It traces both people and things, exploring how the network expanded and was made solid, from Fluxus’s conception in the 1960s, to the 1990s, when it had eventually left its stealth flight under art history’s radar.
The Agency of Chance Collaborations
At the same time whimsical and thought-provoking, Fluxus explored everyday life as an object of art. Behind mundane materials and activities, we find a large network of Fluxus artists who worked together for decades to create and share their art. This publication builds on archival materials that expose the nature of the artists’ working relationships, and methods for collaboration and circulation of artworks. It traces both people and things, exploring how the network expanded and was made solid, from Fluxus’s conception in the 1960s, to the 1990s, when it had eventually left its stealth flight under art history’s radar.
First English Translation, with Introduction and Commentary
Written by the poet-painter Karel van Mander, who finished it in June 1603, the Grondt der edel, vry schilderconst (Foundation of the Noble, Free Art of Painting) was the first systematic treatise on schilderconst (the art of painting / picturing) to be published in Dutch (Haarlem: Paschier van Wes[t]busch, 1604). This English-language edition of the Grondt, accompanied by an introductory monograph and a full critical apparatus, provides unprecedented access to Van Mander’s crucially important art treatise. The book sheds light on key terms and critical categories such as schilder, manier, uyt zijn selven doen, welstandt, leven and gheest, and wel schilderen, and both exemplifies and explicates the author’s distinctive views on the complementary forms and functions of history and landscape.
First English Translation, with Introduction and Commentary
Written by the poet-painter Karel van Mander, who finished it in June 1603, the Grondt der edel, vry schilderconst (Foundation of the Noble, Free Art of Painting) was the first systematic treatise on schilderconst (the art of painting / picturing) to be published in Dutch (Haarlem: Paschier van Wes[t]busch, 1604). This English-language edition of the Grondt, accompanied by an introductory monograph and a full critical apparatus, provides unprecedented access to Van Mander’s crucially important art treatise. The book sheds light on key terms and critical categories such as schilder, manier, uyt zijn selven doen, welstandt, leven and gheest, and wel schilderen, and both exemplifies and explicates the author’s distinctive views on the complementary forms and functions of history and landscape.