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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.
Is the Sublime Sustainable? introduces the key points of debate around the sublime while opening new avenues for future inquiry, especially through its comparative aesthetics approach. In it, you will discover how thinking on the sublime emerged historically and then engage with the recent critical scholarship on the topic, including from the fields of theology, philosophy, and literature. The critiques of the sublime are then expanded in dialogue with perspectives from Japanese aesthetics and art, shaping the argument that what is needed today is a sublime that enriches human lives by cultivating profound, participative relationships.
Is the Sublime Sustainable? introduces the key points of debate around the sublime while opening new avenues for future inquiry, especially through its comparative aesthetics approach. In it, you will discover how thinking on the sublime emerged historically and then engage with the recent critical scholarship on the topic, including from the fields of theology, philosophy, and literature. The critiques of the sublime are then expanded in dialogue with perspectives from Japanese aesthetics and art, shaping the argument that what is needed today is a sublime that enriches human lives by cultivating profound, participative relationships.
Editor:
This new book series investigates innovative ways to think about and design our built environment. The premise of Architectural Intelligences is that theories of design can generate innovative design methods and novel design projects. Architectural Intelligences seeks synthesis, hybridity, or tensions between architectural theory with other knowledge disciplines, to produce new insights, new speculations, and new design protocols. Architectural thought and production becomes thereby active and uniquely transformative. Books in this series will unfold new forms of order, organization, innovation, and experimentation that can shape and redirect current architectural thought, in dialogue with other disciplines, as game-changers.
Prospective authors in the disciplines of architecture, interiors, and urban spaces are encouraged to submit truly trans-disciplinary proposals (for single authored, co-authored, or edited volumes). Brill welcomes scholarly works that examine the area of applied architectural theory, drawing expertise in another knowledge discipline, such as:
• Architecture + Game Theory
• Architecture + Hypermodernity
• Architecture + New Ecologies
• Architecture + New Materiality
• Architecture + New Forms of Pleasure
• Architecture + Media-Philosophy
• Architecture + New Subjectivities
• Architecture + New Networks
• Architecture + Posthumanism
Authors are cordially invited to submit proposals and/or full manuscripts to the publisher at BRILL, Christa Stevens.
Prospective authors in the disciplines of architecture, interiors, and urban spaces are encouraged to submit truly trans-disciplinary proposals (for single authored, co-authored, or edited volumes). Brill welcomes scholarly works that examine the area of applied architectural theory, drawing expertise in another knowledge discipline, such as:
• Architecture + Game Theory
• Architecture + Hypermodernity
• Architecture + New Ecologies
• Architecture + New Materiality
• Architecture + New Forms of Pleasure
• Architecture + Media-Philosophy
• Architecture + New Subjectivities
• Architecture + New Networks
• Architecture + Posthumanism
Authors are cordially invited to submit proposals and/or full manuscripts to the publisher at BRILL, Christa Stevens.
Encounters across Arts, Sciences and Humanities
Experimental Practices seeks to develop the status of science, art, and literature as truly experimental practices and forms of knowledge production – each borrowing from the other in order to further its drive to invention and innovation.
In times of environmental, political, and technological transformation and crisis, the urge to forge new alliances between the humanities, arts, and sciences has given rise to disciplinary hybrids, such as the environmental humanities, the medical humanities, artistic research, or the neurohumanities – all of which signal a turn towards ecological, more-than-human and posthumanist approaches in resonance with a broad array of worldly concerns. In this context, Experimental Practices is a platform for experimental forms of research at the intersections of the humanities, sciences, as well as activists outside academia around issues that shape contemporary and future cultures.
Taking “experimentation” as the practice, topic, and aim of the series, the editors welcome monographs or collected volumes around a specific concept or theme that contribute and enact a practice-based as well as theory-driven poetics of knowledge.
The series is committed to continue a fruitful collaboration with the international SLSA (Society for the Study of Literature, Science, and the Arts), including its independent European branch SLSAeu.
Authors are cordially invited to submit proposals and/or full manuscripts to the publisher at BRILL, Christa Stevens.
In times of environmental, political, and technological transformation and crisis, the urge to forge new alliances between the humanities, arts, and sciences has given rise to disciplinary hybrids, such as the environmental humanities, the medical humanities, artistic research, or the neurohumanities – all of which signal a turn towards ecological, more-than-human and posthumanist approaches in resonance with a broad array of worldly concerns. In this context, Experimental Practices is a platform for experimental forms of research at the intersections of the humanities, sciences, as well as activists outside academia around issues that shape contemporary and future cultures.
Taking “experimentation” as the practice, topic, and aim of the series, the editors welcome monographs or collected volumes around a specific concept or theme that contribute and enact a practice-based as well as theory-driven poetics of knowledge.
The series is committed to continue a fruitful collaboration with the international SLSA (Society for the Study of Literature, Science, and the Arts), including its independent European branch SLSAeu.
Authors are cordially invited to submit proposals and/or full manuscripts to the publisher at BRILL, Christa Stevens.
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.
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.
Ein Grundlagentext zur Praxis und Ästhetik des japanischen Nō-Theaters. Zweisprachige Ausgabe. Übersetzt, philosophisch erläutert und herausgegeben von Ryōsuke Ōhashi, Rolf Elberfeld und Leon Krings
Series:
Ästhetische Praxis, Volume: 1
Das Buch bietet eine philosophisch kommentierte Übersetzung des altjapanischen Textes von Zeami zur Praxis und Ästhetik des Nō-Theaters.
Zeami beschreibt nicht nur die Praxis des Schauspielers in verschiedenen Aspekten, sondern entwickelt auch zentrale ästhetische Kategorien für die Rezeption des Nō-Theaters. Die Übersetzung wird ergänzt durch interpretierende Aufsätze zu Themen wie der Maske im Nō-Theater, dem Gebrauch des Körpers und einer Ästhetik des Atmens. Der Band liefert somit eine solide Grundlage für eine philosophisch-ästhetische Auseinandersetzung mit einer alten japanischen Schauspieltradition.
Zeami beschreibt nicht nur die Praxis des Schauspielers in verschiedenen Aspekten, sondern entwickelt auch zentrale ästhetische Kategorien für die Rezeption des Nō-Theaters. Die Übersetzung wird ergänzt durch interpretierende Aufsätze zu Themen wie der Maske im Nō-Theater, dem Gebrauch des Körpers und einer Ästhetik des Atmens. Der Band liefert somit eine solide Grundlage für eine philosophisch-ästhetische Auseinandersetzung mit einer alten japanischen Schauspieltradition.
Ein Grundlagentext zur Praxis und Ästhetik des japanischen Nō-Theaters. Zweisprachige Ausgabe. Übersetzt, philosophisch erläutert und herausgegeben von Ryōsuke Ōhashi, Rolf Elberfeld und Leon Krings
Series:
Ästhetische Praxis, Volume: 1
Das Buch bietet eine philosophisch kommentierte Übersetzung des altjapanischen Textes von Zeami zur Praxis und Ästhetik des Nō-Theaters.
Zeami beschreibt nicht nur die Praxis des Schauspielers in verschiedenen Aspekten, sondern entwickelt auch zentrale ästhetische Kategorien für die Rezeption des Nō-Theaters. Die Übersetzung wird ergänzt durch interpretierende Aufsätze zu Themen wie der Maske im Nō-Theater, dem Gebrauch des Körpers und einer Ästhetik des Atmens. Der Band liefert somit eine solide Grundlage für eine philosophisch-ästhetische Auseinandersetzung mit einer alten japanischen Schauspieltradition.
Zeami beschreibt nicht nur die Praxis des Schauspielers in verschiedenen Aspekten, sondern entwickelt auch zentrale ästhetische Kategorien für die Rezeption des Nō-Theaters. Die Übersetzung wird ergänzt durch interpretierende Aufsätze zu Themen wie der Maske im Nō-Theater, dem Gebrauch des Körpers und einer Ästhetik des Atmens. Der Band liefert somit eine solide Grundlage für eine philosophisch-ästhetische Auseinandersetzung mit einer alten japanischen Schauspieltradition.
Volume Editor:
Somaesthetics and Sport brings together a diverse set of explorations into the embodied experience of watching and playing sport. Sport can at once be a source of sensual beauty and pleasure, and also of pain and anguish; spectators can both celebrate and glorify athletes, but also expect certain forms of behaviour, and intentionally or otherwise police the movements of their bodies; sport and physical exercise can improve our health and increase the self-awareness of our abilities and limitations, but they also help us to shape our sense of what it means to live a good life.
Volume Editor:
Somaesthetics and Sport brings together a diverse set of explorations into the embodied experience of watching and playing sport. Sport can at once be a source of sensual beauty and pleasure, and also of pain and anguish; spectators can both celebrate and glorify athletes, but also expect certain forms of behaviour, and intentionally or otherwise police the movements of their bodies; sport and physical exercise can improve our health and increase the self-awareness of our abilities and limitations, but they also help us to shape our sense of what it means to live a good life.
Abhinavagupta on Dance and Dramatic Acting
What is Dance? What is Theatre? What is the boundary between enacting a character and narrating a story? When does movement become tinted with meaning? And when does beauty shine alone as if with no object? These universal aesthetic questions find a theoretically vibrant and historically informed set of replies in the oeuvre of the eleventh-century Kashmirian author Abhinavagupta. The present book offers the first critical edition, translation, and study of a crucial and lesser known passage of his commentary on the Nāṭyaśāstra, the seminal work of Sanskrit dramaturgy. The nature of dramatic acting and the mimetic power of dance, emotions, and beauty all play a role in Abhinavagupta’s thorough investigation of performance aesthetics, now presented to the modern reader.
Abhinavagupta on Dance and Dramatic Acting
What is Dance? What is Theatre? What is the boundary between enacting a character and narrating a story? When does movement become tinted with meaning? And when does beauty shine alone as if with no object? These universal aesthetic questions find a theoretically vibrant and historically informed set of replies in the oeuvre of the eleventh-century Kashmirian author Abhinavagupta. The present book offers the first critical edition, translation, and study of a crucial and lesser known passage of his commentary on the Nāṭyaśāstra, the seminal work of Sanskrit dramaturgy. The nature of dramatic acting and the mimetic power of dance, emotions, and beauty all play a role in Abhinavagupta’s thorough investigation of performance aesthetics, now presented to the modern reader.
Fred Orton’s teaching and writing has always combined theoretical and formal – which is to say structural - analysis with historical research and reflection. This collection of essays – rewritten studies of Paul Cézanne, Jasper Johns, the American cultural critic Harold Rosenberg and a new essay on Marx and Engels’ notion of ideology – brings together some of his most decisive contributions to thinking about fine art practice and rethinking the theory and methods of the social history of art. More than an anthology, it offers a vivid demonstration of how theory can work to generate new interpretations and unsettle old ones.
Fred Orton’s teaching and writing has always combined theoretical and formal – which is to say structural - analysis with historical research and reflection. This collection of essays – rewritten studies of Paul Cézanne, Jasper Johns, the American cultural critic Harold Rosenberg and a new essay on Marx and Engels’ notion of ideology – brings together some of his most decisive contributions to thinking about fine art practice and rethinking the theory and methods of the social history of art. More than an anthology, it offers a vivid demonstration of how theory can work to generate new interpretations and unsettle old ones.