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Abstract
An excerpt from an experimental series, "Grief Aesthetics" is a lyrical essay on intimacy and writing. The essay participates in the double black study of eroding and composing a new sentence, a new sentence sounded in refusal (of the social pact of writing, of grammar), a new sentence forged in friendship (of thinking with, of writing with). On one level, "Grief Aesthetics" is concerned with inherited grief, the remains of stolen life, the residual desire for romance in contemporary black art. The essay considers the loss of romantic love in conversation with Terence Nance's feature and short films An Oversimplification of Her Beauty and Swimming in Your Skin Again, in conversation with a single recurring line from a poem in Taylor Johnson's Inheritance. At another level, "Grief Aesthetics" is a sort of ars poetica on the process of writing and at this level is preoccupied with the poetic line, the sentence (thinking about sentences), the space in writing, the mundane moments in between the emergence of a line or series of lines and declension as it occurs in the gaps. At every turn "Grief Aesthetics" practices creating in "commonsense" (a shared feeling, a shared aesthetics) among contemporary artists whose works evoke a sense of grief, (dis)placement, loss, loneliness, homelessness, desire, tenderness, friendship, bliss.

Comintern Aesthetics shows how the cultural and political networks emerging from the Comintern have continued, even after its demise in 1943.

This article focuses on the aesthetics of William Wordsworth, particularly his early poetry. The implications of this investigation are far-reaching. To learn about Wordsworth's aesthetics is to learn about Romanticism, specifically radical Romanticism and the intricate relation it forges between aesthetics and democracy. I begin the article with a general account of radical aesthetics, addressing its nature, scope, and its relation to the normative, the political, and the everyday. Next, I turn to the radical aesthetics of Wordsworth. I then compare radical aesthetics to more traditional accounts of aesthetics, concluding by connecting radical Romantic aesthetics to practical power.

In this interview, Kalle Lasn, founder and editor-in-chief of Adbusters magazine, discusses his magazine and the future of the Occupy movement.

This article focuses on the aesthetics of William Wordsworth's work, particularly his early poetry. The implications of this investigation are far-reaching. To learn about Wordsworth's aesthetics is to learn about Romanticism, specifically what I call radical Romanticism and the intricate relation it forges between aesthetics and democracy. I begin the article with a general account of radical aesthetics, addressing its nature, scope, and its relation to the normative, the political, and the everyday. Next, I turn to the radical aesthetics of Words-worth. I then compare radical aesthetics to more traditional accounts of aesthetics, and I conclude by connecting radical Romantic aesthetics to practical power.

This book investigates the aesthetic nature and purposes of computer culture in the contemporary world. It casts a cool eye on the claims of cybertopians, tracing the globalization of the new medium and enquiring into its effects on subjectivity and sociality

Contemporary socio-economic reality is like a robbery, where the wealthy people have all the money, and the workers live from hand to mouth. These systematic inequalities are happening through capitalist consumerism and creating a growing economic contrast globally. Rather than considering imitative freedom promoted by the mainstream media that drives us to power, greed, or ego-centric mentality, I believe human rights can direct us to real freedom. In current society, basic rights are being taken away from many, while a great number of us are trapped in our utopian reality without recognizing the truth. We are stimulated by our socio-economic status; without questioning it. These defective conditions are aware of the errors in the system but do not certainly clarify the reasons behind them. From our collective experience, we understand that a larger population around us and the world is suffering, and the reasons are merely economics, besides any other factor. From there we can connect the web that takes us to power and politics. In the current global economy, we see an extreme division, where 80% of the wealth is reserved by a small circle of people. Through my work, I am confronting this situation to address that. Our focus on this contemporary crisis is too narrow; where I am exploring the consequences of these issues to gain a new perspective on our shared situation.