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"This book presents one of the first systematic assessments of aesthetic insights into world politics. It examines the nature of aesthetic approaches and outlines how they differ from traditional analysis of politics. The book explores the potential and limits of aesthetics through a series of case studies on language and poetics"--Provided by publisher

"Experimental philosophy has blossomed into a variety of philosophical fields including ethics, epistemology, metaphysics and philosophy of language. But there has been very little experimental philosophical research in the domain of philosophical aesthetics. Advances to Experimental Philosophy of Aesthetics introduces this burgeoning research field, presenting it both in its unity and diversity, and determining the nature and methods of an experimental philosophy of aesthetics. Addressing a wide variety of empirical claims that are of interest to philosophers and psychologists, a team of authors from different disciplines tackle traditional and new problems in aesthetics, including the nature of aesthetic properties and norms, the possibility of aesthetic testimony, the role of emotions and moral judgment in art appreciation, the link between art and language, and the role of intuitions in philosophical aesthetics. Interacting with other disciplines such as moral psychology and linguistics, it demonstrates how philosophical aesthetics can integrate empirical methods and discover new ways of approaching core problems. Advances to Experimental Philosophy of Aesthetics is an important contribution to understanding aesthetics in the 21st century"--

"Not since Thoreau has an American author displayed such a profound appreciation for the aesthetics of nature; but, unlike Thoreau, Berleant has designed a program for allowing others to join in on that appreciation." â€"E. F. Kaelin, Professor of Philosophy, Florida State UniversityEnvironmental aesthetics is an emerging discipline that explores the meaning and influence of environmental perception and experience on human life. Arguing for the idea that environment is not merely a setting for people but fully integrated and continuous with us, Arnold Berleant explores the aesthetic dim

The Anthropocene thesis contends that the earth has entered a new geological epoch, dominated by human action. This article examines the Anthropocene in relation to law and aesthetics, arguing that the concepts of law and the stories of law's origins that we mobilise in this context play a significant role in rendering us sensitive or insensitive to the multifarious challenges that the Anthropocene poses to social life. In arguing against aspects of Earth Jurisprudence scholarship, which has developed a novel understanding of the 'rights of nature', this article argues that it is through an attention to obligations, rather than rights, that a sensitivity to the forces and relations that define the Anthropocene might be fostered. The shift from rights to obligations entails a commensurate movement from aesthetics – where questions of form, integrity and harmony predominate – to aesthesis, the study of the somatic, sensory and affective dimensions of human experience. The article concludes by arguing that it is within the contemporary city, understood as a discrete form of human and infrastructural association, that an aesthesis of obligations in the context of the Anthropocene can be most acutely perceived.

"This edited volume deploys Deleuzian thinking to re-theorize fascism as a mutable problem in changing orders of power relations dependent on hitherto misunderstood social and political conditions of formation. It shifts the theory of fascism in International Relations from its prevailing macro-historical moorings to focus on what Deleuze called micro-fascism. It demonstrates the insufficiencies of both traditional and existing critical accounts of relations between fascism and modernity, contextualizing its own Deleuzian account in contrast with the development of historical, liberal, critical and post-structuralist theories of fascism developed to date. The book provides a theoretically distinct approach to the problem of fascism and its relations with liberalism and modernity in both historical and contemporary contexts. It serves as a seminal intervention into the debate over the causes and consequences of contemporary wars and global political conflicts as well as functioning as an accessible guide to the theoretical utilities of Deleuzian thought for IR in a manner that is very much lacking in current debates about International Relations. Recognising that Deleuze & Guttari's account of fascism aligns it with many of the concerns which continue to trouble International Relations theorists today, not least the global nature of war and the incessant desire for broader securitisation, so engaging with this aspect of their work is more pressing than ever. In light of this, this volume will draw upon their analysis to provide new critical commentaries into the phenomenon of fascism in the 21 Century. Covering a wide array of topics, all within the general remit of International Relations, this volume will provide a set of original contributions focussed in particular upon the contemporary nature of war; the increased priorities afforded to the security imperative; the changing designs of bio-political regimes, fascist aesthetics; nihilistic tendencies & the modernist logic of finitude; the politics of suicide; the specific desires upon which fascism draws and of course the recurring pursuit of power"--

"This edited volume deploys Deleuzian thinking to re-theorize fascism as a mutable problem in changing orders of power relations dependent on hitherto misunderstood social and political conditions of formation. It shifts the theory of fascism in International Relations from its prevailing macro-historical moorings to focus on what Deleuze called micro-fascism. It demonstrates the insufficiencies of both traditional and existing critical accounts of relations between fascism and modernity, contextualizing its own Deleuzian account in contrast with the development of historical, liberal, critical and post-structuralist theories of fascism developed to date. The book provides a theoretically distinct approach to the problem of fascism and its relations with liberalism and modernity in both historical and contemporary contexts. It serves as a seminal intervention into the debate over the causes and consequences of contemporary wars and global political conflicts as well as functioning as an accessible guide to the theoretical utilities of Deleuzian thought for IR in a manner that is very much lacking in current debates about International Relations. Recognising that Deleuze & Guttari's account of fascism aligns it with many of the concerns which continue to trouble International Relations theorists today, not least the global nature of war and the incessant desire for broader securitisation, so engaging with this aspect of their work is more pressing than ever. In light of this, this volume will draw upon their analysis to provide new critical commentaries into the phenomenon of fascism in the 21 Century. Covering a wide array of topics, all within the general remit of International Relations, this volume will provide a set of original contributions focussed in particular upon the contemporary nature of war; the increased priorities afforded to the security imperative; the changing designs of bio-political regimes, fascist aesthetics; nihilistic tendencies & the modernist logic of finitude; the politics of suicide; the specific desires upon which fascism draws and of course the recurring pursuit of power"--

Max Horkheimer & Theodor Adorno's presentation of an aesthetic understanding of truth is examined. Although Horkheimer & Adorno are deemed successful in offering a myth-based alternative to the alienation caused by modernity, it is contended that Adorno's later works fail to expand his critique of modernity. Adorno's theory of art, based on the contention that individuals must dominate nature, is compared to that offered by Friedrich Nietzsche. Moreover, Adorno's understanding of the sublime is contrasted to Immanuel Kant's notion of natural beauty. Although Adorno uses the concept of utopia, not religion, to achieve transcendence, it is stated that he fails to acknowledge the necessary role of the "divine" in creating the sublime. Adorno's differentiation of the structures of art & myth is questioned, since the authority of both concepts is dependent on mimesis. It is concluded that Adorno's notion of transcendence is ultimately flawed because of its tautological nature; nevertheless, his project of forging an aesthetic notion of truth is deemed a worthwhile pursuit for future scholars. J. W. Parker

Explores the fundamental & historical differences & similarities in the development, nature, & functions of law & art. Scholars typically focus on the separateness of law & art -- defining law as a tool of social control through which singular interpretations from the past are imposed on the present, constraining & demanding conformity of the society; & art as a vehicle of innovation, imagination, & plurality, free from the constraints & rules of the past. The law's connections with & willingness to consider aesthetics are examined with reference to specific cases & various cultures throughout history. 28 References. W. Mills