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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.

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.

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.

Applied Theatre: Aesthetics re-examines how the idea of 'the aesthetic' is relevant to performance in social settings. The disinterestedness that traditional aesthetics claims as a key characteristic of art makes little sense when making performances with ordinary people, rooted in their lives and communities, and with personal and social change as its aim. Yet practitioners of applied arts know that their work is not reducible to social work, therapy or education. Reconciling the simultaneous autonomy and heteronomy of art is the problem of aesthetics in applied arts. Gareth White's introductory essay reviews the field, and proposes an interdisciplinary approach that builds on new developments in evolutionary, cognitive and neuro-aesthetics alongside the politics of art. It addresses the complexities of art and the aesthetic as everyday behaviours and responses. The second part of the book is made up of essays from leading experts and new voices in the practice and theory of applied performance, reflecting on the key problematics of applying performance with non-performers. New and innovative practice is described and interrogated, and fresh thinking is introduced in response to perennial problems. - See more at: http://www.bloomsbury.com/uk/applied-theatre-aesthetics-9781472513557/#sthash.bX5R1Tmy.dpuf

Art Style | Art & Culture International Magazine Abstract Staging processes and choreographies of contemporary dance and performance: do they have to be perceived as a mere passing of choreographic notations from a single choreographer to dancers who have to repeat them "mindlessly" (Laermans 2015, 196)? Or should these rather be discussed as a reciprocal situation providing aesthetic experiences for participants in a singular- plural mode? To put it differently: Might choreography have the capacity to create an environment for the refinement of a democratic grass-roots consciousness? In order to discuss these questions, I have adapted various scientific perspectives in my research (Julian, forthcoming, autumn 2021). The starting point of my studies lies in theatre studies based on comparative methods. Artistic practices are juxtaposed in order to highlight their specificity. In a second step––inspired by the discourse as developed in theatre studies (Tatari 2017; Ruhsam 2011) ––I discussed staging processes in conjunction with an ontological principle as conceptualised by the philosopher Jean-Luc Nancy (2000): the specificity of being-with makes it possible to theorise a range of infinite possibilities and differences that evolve by the mere execution of movement patterns. The third perspective is based on sociological methods that were adapted in order to embed the staging process in real-life conditions. My consideration here is that only by knowing imbalances that may exist in social life we understand the dynamics unfolding throughout a group that gathers in order to create a piece. The fourth perspective I apply in this article is based on a method called the aesthetic field as conceived by the philosopher Arnold Berleant (1970): having similarities to being-with makes it possible to cover not merely human interactions and social conditions but also interactions and permeations with a thing world, such as architectures, a stage design, costumes. Thus, the thing world can be seen as co-choreographing ...

"Property in Modern Aesthetics," grapples with how discourses of race, gender and class affected US literary and visual modernist forms. I examine art objects ranging from Marcel Duchamp's Fountain (1917) and Noah Purifoy's White/Colored (2001) to texts such as Susan Howe's My Emily Dickinson (1985) and Don Mee Choi's The Morning News Is Exciting (2010). Utilizing critical gender, race and legal scholarship, I trace how legal notions of exclusionary properties situate the politics of modern abstract forms. Modernist artistic and literary productions were the historical manifestations of US racial and gender formations, and I argue that the abstract forms of modernist art and literature were politically consistent with early 20th-century property laws. The modernist found-object form can be understood as the aestheticization of property. Inspecting the aestheticization of property as a formal imperative allows for analyses of historical and political strictures, and for the production of diverse cultural narratives to converge.In order to investigate visual and literary production that expounds colonial and legal understandings of property, I contrast canonical, modernist approaches with Black and Asian American cultural producers whose bodies of work interrogate the very premise of property, by re-imaging provenance beyond its current origin/financial narrative. In my project, Black and Asian American cultural producers, though marginalized by current canonical constructs, are poets and artists currently offering modes of expression outside systems of the colonial imaginary. I contextualize the interactions of individual poets and artistic movements with and against the social movements of their time, offering a broader view of US visual cultures and poetics.

Excerpt from the introduction by Peter McNeil: (pp. xxiv-xxv) The anthology concludes with a provocative essay by Daniel Koch, "Training the Aesthetics". Koch, who has written a masterful PhD analyzing the architectural space of Åhléns department store, Stockholm City, aims to investigate "the matter of consumption choices, and to raise the question of how expert judgement communicates with and within populist quality judgement". He argues that "one of the primary roles of retail architecture is that of performing aesthetic training, or perhaps education in taste". Using wide-ranging theory drawn from art theory, philosophy, spatial theory and literature, Koch argues that a series of profound staging effects are enacted in entering a department store. Fashion is interrogated as akin to representative art, a subject that requires "inherent rarity and value – suggesting taste". His is a useful corrective to the idea that fashion is democratic today. Not at all, suggests Koch. The perusal and acquisition of fashion still operates within a system not dissimilar to entering a gallery space. Although the "bazaar" still exists, much contemporary fashion gains its charge from being displayed in austere spaces in to which untrained consumers can enter but not engage. In an important link back to Ane Lynge-Jorlén's essay on niche magazine readership, Koch resists the cliché of shop as gallery or cathedral space. Rather, he focuses upon the products themselves: "it is figured first as a subject rather than a practice, and it is presented with a disinterest as to how the real clothes look, and especially how they would look in a "normal" situation. Presentation constantly takes forms reminiscent of both popular or high art practices". In a strong statement that brings together the many strands contained in this book, Koch's comment will conclude our anthology: "Meaning is relative to other spaces as well as other systems of meaning, such as the mediation of fashion through magazines, advertising, television and online ...

This paper proposes a radical re-examination of the foundations of modern aesthetics. It urges that we replace the tradition of eighteenth century aesthetics, with its insistence on disinterestedness and the separateness of the aesthetic, and its problematic oppositions, such as the separation of sense from cognition. In their place it appeals to a more process-oriented, pluralistic account, one that takes note of varying cultural traditions in aesthetics, that recognizes the aesthetic as a complex of many forces and factors, and that considers the aesthetic as part of a complexity of values, including moral, practical, social, and political ones. It urges, further, an aesthetic-based criticism, not only of the arts, but of culture and knowledge. Central to this account is the idea of aesthetic engagement, which not only recognizes and extends the many connections of and in aesthetic experience, but invites our total involvement as active participants. ; This paper proposes a radical re-examination of the foundations of modern aesthetics. It urges that we replace the tradition of eighteenth century aesthetics, with its insistence on disinterestedness and the separateness of the aesthetic, and its problematic oppositions, such as the separation of sense from cognition. In their place it appeals to a more process-oriented, pluralistic account, one that takes note of varying cultural traditions in aesthetics, that recognizes the aesthetic as a complex of many forces and factors, and that considers the aesthetic as part of a complexity of values, including moral, practical, social, and political ones. It urges, further, an aesthetic-based criticism, not only of the arts, but of culture and knowledge. Central to this account is the idea of aesthetic engagement, which not only recognizes and extends the many connections of and in aesthetic experience, but invites our total involvement as active participants.

In re-igniting a familiar debate about the balance between state security and individual privacy, the revelations of former NSA contractor Edward Snowden have have stalled on matters of regulation and reform, which treat secrecy, securitisation and surveillance largely in procedural terms. This article seeks to interrupt the containment strategies of communicative capitalism/democracy evident in these debates by configuring secrets as subject to and the subject of radical politics rather than regulation. Its premise is that we might be better able to form a radical political response to the 'Snowden event' by situating the secret within a distributive regime and imagining what collectivities and subjectivities the secret makes available. Through a consideration of artworks by Trevor Paglen and Jill Magid – which help us to stay with the secret as secret, rather than foregrounding the more individualistic notion of privacy or moving too quickly towards revelation and reform – the article turns from a hermeneutics of the secret towards an aesthetics of the secret. Considered as a Rancièrean 'distribution of the sensible', a delimitation of space, time, the visible, the sayable, the audible, and political experience, this aesthetics can help us to imagine a politics of the secret not bound to policy and legalities.

International audience ; The first part of this article outlines a dilemma in cultural studies and sociology of culture regarding the politics of aesthetics. This concerns whether discourse about the evaluation of symbolic forms serves to reinforce power relations and maintain divisions between people and communities, or whether evaluation can serve as a basis for greater commonality. One way of at least beginning to address this issue is to attend to the 'everyday aesthetics' of media audiences, exemplified here in the ordinary evaluative discourse of music users. The second part of the article reports on interview research about musical tastes and values. It analyses these interviews for evidence of the ways in which evaluative statements might involve making connections with others, or alternatively how they may act as barriers to social connectivity or community. How and to what extent might ordinary musical evaluation be thought of as part of potential aesthetic public spheres?

Recent decades have witnessed a dramatic broadening in the scope of aesthetic inquiry. No longer focused exclusively on the arts and natural beauty, the mainstream of aesthetics has entered a delta in which its flow has spread out into many channels before entering the ocean of civilization. Several decades ago, environmental aesthetics began to attract interest and has grown to be an important focus of present-day inquiry in aesthetics. Along with environmental ethics, it has become part of the broader scope of environmental studies and the environmental movement in general. This expansion has continued, interpreting environment not only as natural but also as social. Aesthetics has been applied to social relations and political uses, and now, most recently to the objects and situations of everyday life. Similarly, the course of the arts has displayed a succession of changes over the past century and a half, increasingly rejecting traditional paradigms of representation and incorporating into their subject-matter and practices the everyday world, along with active participation by their audience. It would seem that art has overstepped all boundaries, boundaries between art and non-art, between artist and perceiver, between art and life. Some might say that it has lost its identity entirely. ; Aesthetics of Everyday Life, East and West, ed. Liu Yuedi and Curtis L. Carter (Newcastle upon Tyne: Cambridge Scholars Publ., 2014), pp. 2-13.

International audience ; What is the status of "design" in nanotechnology? On the one hand, scientists doing nanotechnology refer to their activity as "design." On the other, the intervention of design researchers and practitioners remains confined to "the future" (i.e. societal applications and uses of nanotechnology). How are we to understand such a division of labour? To be sure it is not specific to nanotechnology but concerns the status of design in contemporary technoscience at large. However, the problem is more acute in the case of this "invisible" technology. Nanotechnology is supposed to be cut off from all sensible experience whereas design traditionally focuses on the shaping of the user's experience. After articulating the diagnosis and its implications, I question the status of a third player: "nano-art." I then draw on some resources of French philosophy of technology and aesthetics to prompt a new alliance between "technology" (the study of technics) and aesthetics (the study of sensation) resulting in a re-conceptualization of design as "techno-aesthetics." The chapter closes by highlighting the political significance of such techno-aesthetic design for nanotechnology and beyond, for our everyday live amidst technoscientific objects.

International audience ; What is the status of "design" in nanotechnology? On the one hand, scientists doing nanotechnology refer to their activity as "design." On the other, the intervention of design researchers and practitioners remains confined to "the future" (i.e. societal applications and uses of nanotechnology). How are we to understand such a division of labour? To be sure it is not specific to nanotechnology but concerns the status of design in contemporary technoscience at large. However, the problem is more acute in the case of this "invisible" technology. Nanotechnology is supposed to be cut off from all sensible experience whereas design traditionally focuses on the shaping of the user's experience. After articulating the diagnosis and its implications, I question the status of a third player: "nano-art." I then draw on some resources of French philosophy of technology and aesthetics to prompt a new alliance between "technology" (the study of technics) and aesthetics (the study of sensation) resulting in a re-conceptualization of design as "techno-aesthetics." The chapter closes by highlighting the political significance of such techno-aesthetic design for nanotechnology and beyond, for our everyday live amidst technoscientific objects.

International audience ; What is the status of "design" in nanotechnology? On the one hand, scientists doing nanotechnology refer to their activity as "design." On the other, the intervention of design researchers and practitioners remains confined to "the future" (i.e. societal applications and uses of nanotechnology). How are we to understand such a division of labour? To be sure it is not specific to nanotechnology but concerns the status of design in contemporary technoscience at large. However, the problem is more acute in the case of this "invisible" technology. Nanotechnology is supposed to be cut off from all sensible experience whereas design traditionally focuses on the shaping of the user's experience. After articulating the diagnosis and its implications, I question the status of a third player: "nano-art." I then draw on some resources of French philosophy of technology and aesthetics to prompt a new alliance between "technology" (the study of technics) and aesthetics (the study of sensation) resulting in a re-conceptualization of design as "techno-aesthetics." The chapter closes by highlighting the political significance of such techno-aesthetic design for nanotechnology and beyond, for our everyday live amidst technoscientific objects.