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Surveys the major aesthetic concepts within the writings of Fredric Jameson, especially Marxism and Form (1971), The Political Unconscious (1981), & Late Marxism: Adorno, or the Persistence of the Dialectic (1990). The influence of both Georg Lukacs & Theodor W. Adorno on Jameson's theoretical system is noted. Also examined are key philosophical assumptions as well as the historical context behind Jameson's suggestion that the aesthetic approaches of both Lukacs & Adorno may prove to be "two distinct & equally indispensable moments of the hermeneutic process itself.". 42 References. AA

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.

This Element argues that aesthetics broadly conceived plays a significant role in Wittgenstein's philosophy. It traces a continuous line of thought pertaining to a non-conceptual form of encounter with reality and contributes to Wittgenstein's understanding of language and the method of philosophy throughout his career.

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.

What is the relevance of organizing knowledge in distinct conceptual fields when everything has become cultural with no distinct areas anymore? Is, for example, Western traditional aesthetics as an autonomous cognitive discipline always relevant in the age of multiculturalism? This essay argues, albeit controversially, that the perspective of socalled cultural studies has opened new doors by adopting a more radically pluralistic and inclusive approach – one whereby aesthetic categories are thought in terms of cultural practices. Despite the many defects of such culture-related studies – such as their eclecticism, lack of scientific rigor, or methodological unreliability – the challenges of today's multicultural society demand that we pay more attention at all levels to the roles played by difference and dialogue with otherness. This includes overcoming any form of ethnocentricity in our cognitive cultural disciplines; incorporating new topical horizons, whether economic, political or social; and rethinking the very nature of value, meaning and way of life.

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?

Frontmatter -- Contents -- Acknowledgements -- 1 Politics and the Spatial Imagination -- 2 Politics of Aesthetics -- 3 Politics for Beginners -- 4 Politics in-Common -- 5 Politics for Equals -- 6 The Sublime Element in Politics -- Notes -- Bibliography -- Index

Given AI's growing importance, it has always been a hot topic in academic circles, with the main opposing views consisting of positive and negative sides. However, the debate on "unique human creativity," such as art, will be particularly heated. Some believe that AI will usher in a new art genre and a new way of creating, while others believe that AI's works of art will never be able to compete with those of humans. In this study, the artistic creation and evaluation of AI in computational aesthetics will be analyzed and discussed, but the discussion will not be limited to computational aesthetics alone. The creative creation analysis of AI can be traced back to the summit of beauty itself to express support for computational aesthetics and AI artistic creation.