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If, following Rancière, politics revolves around who has power to articulate 'the sensible', then designers, as aesthetic practitioners, must be caught up in questions of politics. This is particularly so when design practice becomes part of the way public sector actors negotiate, envision and catalyse change in relation to public 'problems'. However, this is also typically a form of design practice that eschews any talk of aesthetics — presenting as de-skilled, democratic and 'de-aestheticised', in a sense. By analysing and re-describing such design practice in aesthetic terms here — illustrated with an example from practice — we provide an alternative characterisation to the more instrumental account of design as a reliable route to innovation for public sector managers. This opens up a different perspective on what such practices function to achieve, and what is at stake: an effacing of the political nature of design decisions, and an obscuring of the real work of change by the seductive techniques of simulation.

Since John Street's article on celebrity politics in 2004, the integral role of celebrities in contemporary humanitarian politics has been increasingly acknowledged in the study of international relations. However, as argued in this article, this research has been limited to analysing appearances rather than examining the aesthetics of celebrity representations and their 'thought worlds' that contribute also to the structures, relations and processes of world politics. This article addresses this dearth of critical attention and proposes an approach to engage with celebrity humanitarian imaginaries politically by turning to critical humanitarianism and cultural and post-colonial studies. It concludes that by failing to acknowledge the historicity, conditions and effects of celebrity humanitarian intelligibilities and imaginaries in a globalised world, research in this area is in danger of missing the very location of politics. What is called for is future research that broadens the understanding of this activity in world politics without closing the question of the political. Adapted from the source document.

Cover -- Contents -- Introduction -- PART I: Ethics -- Introductory Discussion Questions -- What Is Ethics? -- Metaethics -- Noncognitivism: Prescriptivism and Emotivism -- David Hume -- Cognitivism -- Plato -- Normative Ethics -- Virtue Theory -- Divine Command Ethics -- Utilitarian Theory -- Duty Theory (Deontology) -- Formalism and Social Contract Theory -- Feminist Ethics -- Applied Ethics -- Applied Ethics: Business Ethics and Media Ethics -- Concluding Discussion Questions -- Further Reading -- Glossary -- Key People -- PART II: Political Philosophy -- Introductory Discussion Questions -- What Is Political Philosophy? -- Normative Disciplines and Politics -- Classical Greeks: Plato and Aristotle -- Divine Right: Thomas More -- Social Contract: Hobbes, Locke, and Rousseau -- The Nineteenth Century: Socialism -- The Nineteenth Century: Utilitarianism -- Inequality, Justice, and Liberty -- Concluding Thoughts -- Concluding Discussion Questions -- Further Reading -- Glossary -- Key People -- PART III: Philosophy of Art -- Introductory Discussion Questions -- Aesthetics: Philosophy of the Arts -- Plato -- Aristotle -- The Emergence of Modern Aesthetic Theory -- Kant and Schiller -- Romanticism -- Expressivism and Definability -- Challenges in the Twentieth Century -- Art and Society -- Concluding Discussion Questions -- Further Reading -- Glossary -- Key People -- Index.

In the last two decades, specially when Medan City has got involved in the urban developmentalism, through the modernization and capital globalization, many historical buildings are destructed in order to build shopping centres, through hegemony and/or demolition by neglection. Using their hegemonic discourses, the local government supports controversially the destruction although the Perda was already issued. The most important discourse is the promise that the shopping centres will create employment for the local people as well as generate revenues for the government. To resist the destruction, counter-hegemonic ones are built by the society supported by critical groups, such as non-governmental organizations called Badan Warisan Sumatra (Sumatra Heritage Trust (BWS/SHT) with the central figure Hasti Tarekat as well as intellectuals, and mass media. Such a destruction does not only omit history and identity of the city but also neglect the tourism development based on the aesthetics of the heritages, which is potential to emansipatory praxis of the society.

This article begins with some intellectual-historical reflections on the aesthetic turn in IR theory, the concept of the sublime in aesthetics, & the confluence of these two streams in the context of ongoing developments in world politics. With particular reference to the cinematic tributary of the aesthetic turn, it is argued that aesthetic IR's self-presentation as 'critical' leads to a dilemma: either works of art are irrelevant to IR, or aesthetic IR fails to make good its claim to offer a specific & original contribution. Aesthetic IR has still not satisfactorily confronted the implications of its move beyond the traditional disciplinary boundaries of IR. The incorporation of the sublime may have the potential to broaden the range of aesthetic IR, but it does not offer a way forward as long as no sustained attempt has been made to address the fundamental problem of how to specify the claims being made by the field. Adapted from the source document.

Realism, in the romantic universe, can be compared to a drama of marveled theater pushing the spectator outside of his being by transforming him into a creature full of unexpected gestures. This realism which reflects in the mirror the existence of man in society never ceases to launch universal calls by informing sapiens-beings to analyze, criticize and, if necessary, to rebuild their society, even the values and the cosmic practices immanent in their landscape over time and history. Realism, which henceforth, in this company, can also be designated as "Approxism" is "a force that goes", if you will, a force in movement. It is an aquilon that awakens man in the midst of his deep sleep, warning him to react against all the negations in the itinerary of his existence in the society in which he is an integral part. In this case, the man who exists must face upsetting novelties in the society where he exists. It is such a position that characterizes "socio-existential approxism" in African literature. This work allows us to make a critical and revolutionary investigation in the contemporary African novel.

This paper discusses the study of Chartist and working-class literatures, noting that the pronounced development of aesthetic criticism in these areas uncomfortably corresponds with the rejection of &ldquo ; aesthetics&rdquo ; in other fields. Chartist, working-class, and laboring-class scholars have broken free from monolithically sociological or political readings that only a generation ago too often dismissed artistic endeavors as, at best, merely a re-accenting of the mainstream. Current studies focus on the aesthetic innovations that emerged out of working-class entanglements with mainstream counterparts. The paper argues that the rejection of &ldquo ; aesthetics&rdquo ; generally fails to recognize marginalized and group aesthetics (including the critical work done on marginalized and group aesthetics) and specifically what it meant for a political cohort&mdash ; the Chartists are my example&mdash ; to think aesthetically.

This study aims to discuss Seno Gumira Ajidarma's political and aesthetic disensus efforts towards the representative regime of the Utan Kayu Community and the Soeharto ethical regime through the short story "Saksi Mata". Seno's census efforts were displayed through the short story "Saksi Mata" seen from class migration and author's ideology, socio-political conditions, and narrative aesthetics at the time so as to destabilize the police hierarchy and establishment of the regime. Departing from this, how "Saksi Mata" offers an aesthetic form through the census of political and aesthetic structures, with the migration of its authors to shake the power of both regimes. This research uses the census theory of Jacques Rancière. Data collection is done by referring and dialectically. The results showed that, first, "Saksi Mata" responded to the New Order's authoritarian political structure that mobilized censorship, confining the freedom of opinion and work. Second, Seno's aesthetic movement also undermines the conventions of ethical regimes and representative regimes. From there the census of the Seno movement with "Saksi Mata" which offered aesthetics that were not trapped in communal imagination. ; Abstrak: Tulisan ini menelusuri upaya Seno Gumira Ajidarma dalam cerpen Saksi Mata untuk terlepas dari rezim representatif Komunitas Utan Kayu dan rezim etis Soeharto. Pisau analisis yang digunakan dalam penelitian ini adalah gagasan Jacques Rancière tentang disensus yang secara khusus pada migrasi yang mengasumsikan bahwa pengarang yang sadar kesetaraannya di dalam lingkup hierarki police bergerak dari satu kelas ke kelas lain, dari ideologi ke ideologi lain, dan dari tekstual ke tekstual lainnya. Rancière melihat karya sastra juga bersikap politis tepat di dalam interpretasi ruang publik yang begitu beragam yang akhirnya mengubah perspektif publik. Berangkat dari hal ini, bagaimana Saksi Mata menawarkan bentuk estetika melalui disensus terhadap struktur politik maupun estetik, dengan migrasinya guna mengguncang kekuasaan kedua rezim? Hasil penelitian menunjukkan bahwa, pertama, Saksi Mata merespon struktur politik otoriter Orde Baru yang memobilisasi sensor, mengungkung kebebasan berpendapat dan berkarya melalui jalan migrasi Seno dari ideologi Jakarta Jakarta yang pro-orba ke ideologi oposisional Harian Pembaruan dan juga migrasi Seno dari jurnalis, pengangangguran lalu ke sastrawan. Kedua, pergerakan estetika Seno juga merongrong konvensi estetis dari rezim representatif Komunitas Utan Kayu dan Bengkel Teater Rendra dan sekaligus rezim etis orba, perpanjangan tangan Manikebu yang melihat sastra untuk sastra. Dari sana disensus pergerakan Seno untuk menampilkan pula suara part-of-no-part kembali ke dalam politik sehingga perbincangan soal itu dapat diambil alih oleh publik sendiri. Dari sanalah Saksi Mata menawarkan estetika yang tidak terjebak pada imajinasi komunal.Kata kunci: Disensus, Migrasi, Politik, Estetik, Seno

Across philosophical traditions the question of taste has – at least paradigmatically since Kant's third critique – been one of the most, perhaps the most central question within the discipline of aesthetics. The present issue of NJA explores ways in which this question can be addressed today; politically, analytically, historically, disciplinarily. The articles all stem from the inaugural conference of the research network Aesthetics Unlimited, which was held at Roskilde University, Denmark on 4–5 May 2017. Collaborating with Séminaire d'Esthétique Européen this new international research network for aesthetic studies is funded by the Danish Council for Independent Research and is led by Anne Elisabeth Sejten, Professor of Aesthetics at Roskilde University. ; Across philosophical traditions the question of taste has – at least paradigmatically since Kant's third critique – been one of the most, perhaps the most central question within the discipline of aesthetics. The present issue of NJA explores ways in which this question can be addressed today; politically, analytically, historically, disciplinarily. The articles all stem from the inaugural conference of the research network Aesthetics Unlimited, which was held at Roskilde University, Denmark on 4–5 May 2017. Collaborating with Séminaire d'Esthétique Européen this new international research network for aesthetic studies is funded by the Danish Council for Independent Research and is led by Anne Elisabeth Sejten, Professor of Aesthetics at Roskilde University.

Frontmatter -- Contents -- Series Editors' Preface -- Acknowledgements -- Abbreviations -- Introduction: Beyond the Postmodern? The Inhuman Condition -- 1. The End of Time: Evolution, Extinction, and the Fate of Meaning -- 2. Information and Event: Lyotard's Philosophy of Information -- 3. Economy, Ecology, Organology: On Technics and Desire -- 4. Nihilism and the Sublime: The Crisis of Perception -- 5. Aesthēsis and Technē: New Technologies and Lyotard's Aesthetics -- 6. Immaterial Matter: Yves Klein and the Aesthetics of the Sensible -- 7. Inhuman Arts: From Cubism to New Media -- Conclusion: The Judgement of the Inhuman -- Bibliography -- Index

Abstract
In The Necessity of Art Ernst Fischer develops a Marxist aesthetics in the humanist tradition, arguing art's necessity as both a vehicle of social criticism and as an essential element of humanity. These twin themes place Fischer's work, then, at the centre of issues in Marxist aesthetics that have traditionally proved contentious: firstly, about the function of art, both under capitalism and universally; and about the relationship – causal or otherwise – between economic conditions and art. Fischer's aesthetics overemphasises the humanising possibilities of great works of art to the neglect of an everyday aesthetics that argues the possibilities for aesthetic lives based on good work under communism. But he provides a theoretic start to effectively countering structuralist Marxism, and he was in his lifetime – as John Berger's Introduction movingly conveys – a powerful opponent of the bureaucratisation of art under Zhdanov's Socialist-Realist creed.