Applying Aesthetics to Everyday Life surveys current debates in the field of everyday aesthetics, examining its history, methodology and intersections with cognate research areas. Lisa Giombini and Adrián Kvokacka bring together an international team of renowned scholars who are shaping the present and future of the discipline. They demonstrate how the historical origins of everyday aesthetics emerges across the history of Western aesthetic thought, from Renaissance thinkers to the modern German philosophers Baumgarten, Kant and Heidegger. Chapters shed light (...) on the field's methodological underpinnings, tracing its theoretical foundations back to epistemology and ethics and assess the potential of everyday aesthetics as a theoretical tool. They reveal its interdisciplinary nature and how it assists various fields of inquiry, including environmental and urban aesthetics, conservation ethics and the philosophy of art. Through fresh explorations of its origins, background and contemporary developments, this collection advances a new definition of everyday aesthetics and provides a cutting edge reflection on the world we inhabit today. (shrink)

In this paper, I combine sources from environmental psychology with insights from the everyday aesthetics literature to explore the concept of ‘everyday heritage’, formerly introduced by Saruhan Mosler. Highlighting the potential of heritage in its everyday context shows that symbolic, aesthetic, and broadly conceived affective factors may be as important as architectural, historical, and artistic issues when it comes to conceiving of heritage value. Indeed, there seems to be more to a heritage site than its official inscription on the UNESCO (...) register. A place is included as part of our heritage primarily because it matters to us. People live in, form relationships with, and derive existential and affective meanings from it. Above and beyond its official significance, a heritage site is thus a living dimension that plays a vital role in the everyday life and social practices of people, who transform it into a place of human significance. (shrink)

In this short paper, I examine the notion of everyday heritage as developed by Lisa Giombini in her article Everyday Heritage and Place-Making. While I argue that the article’s main contribution is to combine the literature on place-making with current debates in everyday aesthetics, I also highlight some of the issues that I think should be addressed to further refine the notion of ‘everyday heritage’ and make it more resistant to criticism.

Rosemary Brown (1916-2001), a housewife from South-London, was one of the most famous mediums of her time. Throughout her lifetime, famous composers such as Liszt, Beethoven, Schubert, Debussy and Chopin sought her from the realm of the dead to dictate their posthumous compositions. Brown’s ‘received’ musical pieces became a case study for musicians and psychologists. None, however, ever came up with a convincing explanation for the pieces’ existence. Rather than being a story of sheer madness or clairvoyance, in this paper (...) I read Brown’s musical forgeries as a ‘testament’ to twentieth‐century Western culture’s fascination with originality and the cult of genius. Ideologies of authorship and authenticity shape our aesthetic appreciation, so that music’s essential value is for us more than just ‘sounding good’. Drawing on recent philosophical discussion in aesthetics, I question this cultural framework by scrutinizing the concept of artistic creativity. It is because art is a form of creative achievement that history and provenance count as central factors of our evaluation. This, in turn, may reveal us something about the value of musical forgeries. (shrink)

Over the past few decades debates in the field of conservation have called into question the suppositions underpinning contemporary restoration theory and practice. Restorers seem to base their choices on implicit ideas about the authenticity, identity and value of works of art, ideas that need to undergo a more systematic theoretical evaluation. I begin by focusing on the question of whether authenticity is fully established in the process of the creation of an artwork: namely, at its initial point of existence. (...) One’s interpretation of what makes an artwork authentic will indeed greatly influence how to go about preserving or restoring it. If the answer to the question is affirmative, one commits to the idea that authenticity is determined by the work’s creator; thus, it is considered a given, exempt from historical flux. If the answer is negative, one takes authenticity to be a combination of initial creation and temporal change; in this sense the work is considered a ‘historical being’. These two conceptions, in turn, come from opposite ontological perspectives on the identity of artworks. Neither of them, however, proves to be truly convincing. I argue that from the point of view of conservation theory we need to consider artworks neither like physical objects nor like living beings, but rather like social objects in Searle’s sense. To this extent, safeguarding authenticity in conservation goes hand in hand with preserving a work’s continuity through enhancing what I call its structural and aesthetic readability. Restoration is thus in its essence a critical act of interpretation which has more to do with the various meanings of an artwork than with its hypothetical original conditions. Rather than just being a win-or-lose affair, authenticity turns out to be the result of a complex set of mutually interacting variables. (shrink)

In this paper, I investigate one popular view in current methodological debate about musical ontology, namely, descriptivism. According to descriptivism, the task of musical ontology is to offer a description of the ‘structure of our thought’ about musical works, as it manifests itself in actual musical practices. In this regard, descriptivists often appeal to our pre-theoretical intuitions to ground ontological theories of musical works. This practice, however, is worrisome, as such intuitions are unstable and contradictory. For example, there is a (...) broad variety of intuitions in our musical practice concerning what counts as an authentic performance of a musical work. All such intuitions reflect at least a part of actual practice; however, they are in conflict with each other. This raises a problem, for how can they thus represent a reliable basis for our ontology? A further worry for descriptivism concerns the triviality of the knowledge it gives us access to. If, according to descriptivism, the task of musical ontologists is simply to codify the regularities found in our intuitive thought or discourse about practice, then how can the resulting theories be informative at all with regard to the object of their concern? (shrink)

In this paper, I investigate one popular view in current methodological debate about musical ontology, namely, descriptivism. According to descriptivism, the task of musical ontology is to offer a description of the ‘structure of our thought’ about musical works, as it manifests itself in actual musical practices. In this regard, descriptivists often appeal to our pre-theoretical intuitions to ground ontological theories of musical works. This practice, however, is worrisome, as such intuitions are unstable and contradictory. For example, there is a (...) broad variety of intuitions in our musical practice concerning what counts as an authentic performance of a musical work. All such intuitions reflect at least a part of actual practice; however, they are in conflict with each other. This raises a problem, for how can they thus represent a reliable basis for our ontology? A further worry for descriptivism concerns the triviality of the knowledge it gives us access to. If, according to descriptivism, the task of musical ontologists is simply to codify the regularities found in our intuitive thought or discourse about practice, then how can the resulting theories be informative at all with regard to the object of their concern? (shrink)

In this paper, I investigate one popular view in current methodological debate about musical ontology, namely, descriptivism. According to descriptivism, the task of musical ontology is to offer a description of the ‘structure of our thought’ about musical works, as it manifests itself in actual musical practices. In this regard, descriptivists often appeal to our pre-theoretical intuitions to ground ontological theories of musical works. This method, however, is worrisome, as such intuitions are unstable and contradictory. For example, there is a (...) broad variety of intuitions in our musical practice concerning what counts as an authentic performance of a musical work. All such intuitions reflect at least a part of actual practice; however, they are in conflict with each other. This raises a problem, for how can they thus represent a reliable basis for our ontology? A further worry for descriptivism concerns the triviality of the knowledge it gives us access to. If, according to descriptivism, the task of musical ontologists is simply to codify the regularities found in our intuitive thought or discourse about practice, then how can the resulting theories be informative at all with regard to the object of their concern? (shrink)

In this paper, I combine sources from environmental psychology with insights from the everyday aesthetics literature to explore the concept of ‘everyday heritage’, formerly introduced by Saruhan Mosler. Highlighting the potential of heritage in its everyday context shows that symbolic, aesthetic, and broadly conceived affective factors may be as important as architectural, historical, and artistic issues when it comes to conceiving of heritage value. Indeed, there seems to be more to a heritage site than its official inscription on the UNESCO (...) register. A place is included as part of our heritage primarily because it matters to us. People live in, form relationships with, and derive existential and affective meanings from it. Above and beyond its official significance, a heritage site is thus a living dimension that plays a vital role in the everyday life and social practices of people, who transform it into a place of human significance. (shrink)

What kind of art is performance art? In what sense – if any – can it be defined? This paper is an attempt to answer these questions by drawing on the category of ‘performative gesture’. One crucial manifestation of the character of performance art is the way it challenges our traditional ideas about what art is. A pivotal point is that performance art does not hold up to the traditional notion of artistic creativity as either a process of ‘production’ or (...) ‘reproduction’. It is rather committed to putting the focus of artistic creativity on a special kind of gestures, differing from both the gestures of traditional art and from the gestures of theater. Performative gestures do not ‘bring anything into being’; analogously, they do not ‘mimic’ nor ‘represent’. Instead, they suggest the worrying idea that everything and anything can be considered art: not only every object, but even every ordinary act in everyday life. In this sense, performance art attempts at blurring the boundaries between art and life. (shrink)

This chapter addresses fictional narratives as a specific kind of fiction capable of eliciting particular effects on their recipients. The first section of the chapter considers the status of climate fiction (cli-fi) as a literary genre, and identifies a set of standard properties that qualify most works in the category. The second section addresses the specific fictional engagement prompted by cli-fi and discusses its relationship with thought experiments. The third section examines, from a psychological angle, whether and how climate narratives (...) can induce changes in the recipients’ beliefs and attitudes toward environmental issues. The chapter closes by listing some of the research questions raised by cli-fi that still await exploration. In the conclusion, it is tentatively suggested that, although the experience of consuming cli-fi will not change the planet, it might nonetheless heighten recipients’ concerns and willingness to take action against climate change. (shrink)

Jerrold Levinson’s Contemplating Art provides the readers with a variety of heterogeneous topics and issues. The discussants who took part in the Forum about Levinson’s book chose four different “tracks” dealt with, offering four different reflections. The main topics of the debate are: music, historicity, aesthetic properties and aesthetic contextualism. Starting on the fact that music is one of the main fields of Contamplating Art Alessandro Bertinetto focus his paper on the ‘musical’ chapters of the book that 1) defend the (...) theory of musical expressivity presented by Levinson in his previous books ; 2. articulate it in reference to particular aspects of musical experience, and 3. examine its contribution for the understanding of the narrative and dramatic dimension of music as well as 4., in general, for its artistic value. Michele Di Monte’s aim is to focus on the questions raised by the alleged essential historicality of the concept of art and the formal definition of the concept itself. He discusses, in particular, the epistemic basis and status of what Levinson calls ‘our present concept of art’, the logical outcomes of its role in defining and identifying the art of the past and the problematic relationship between a universality requirement and the theory’s pretension to historicality. Filippo Focosi discusses in the first place the passages of Levinson’s book where his paradigmatic aesthetic principle explicitly occurs; secondly, he shows how such a principle, as is there articulated, can disclose interest perspectives on other aspects of Levinson’s theories about art and aesthetic properties. The paper by Lisa Giombini focuses on on the role of context in Levinson’s definition of art.Afterdefining Levinson’s version of aesthetic contextualism, Giombiniunderlines how Levinson’s intentional-historical definition may provide fertile ground for a peculiar form of contextualism where the relevant context is constituted by the history of art and the practice of art alone. Finally she inquires whether Levinson’s identifying works of art with wholly relational intentionally-historically defined concepts may interfere with his adhesion to aesthetic realism. (shrink)

Book review: Lisa Giombini, Adrián Kvokačka (eds.), Everydayness. Contemporary Aesthetic Approaches. Roma Tre-Press, 2022, 287 s.

In this short paper, I examine the notion of everyday heritage as developed by Lisa Giombini in her article Everyday Heritage and Place-Making. While I argue that the article’s main contribution is to combine the literature on place-making with current debates in everyday aesthetics, I also highlight some of the issues that I think should be addressed to further refine the notion of ‘everyday heritage’ and make it more resistant to criticism.

In this short paper, I examine the notion of everyday heritage as developed by Lisa Giombini in her article Everyday Heritage and Place-Making. While I argue that the article’s main contribution is to combine the literature on place-making with current debates in everyday aesthetics, I also highlight some of the issues that I think should be addressed to further refine the notion of ‘everyday heritage’ and make it more resistant to criticism.

Delusions are a common symptom of schizophrenia and dementia. Though most English dictionaries define a delusion as a false opinion or belief, there is currently a lively debate about whether delusions are really beliefs and indeed, whether they are even irrational. The book is an interdisciplinary exploration of the nature of delusions. It brings together the psychological literature on the aetiology and the behavioural manifestations of delusions, and the philosophical literature on belief ascription and rationality. The thesis of the book (...) is that delusions are continuous with ordinary beliefs, a thesis that could have important theoretical and practical implications for psychiatric classification and the clinical treatment of subjects with delusions. By bringing together recent work in philosophy of mind, cognitive psychology and psychiatry, the book offers a comprehensive review of the philosophical issues raised by the psychology of normal and abnormal cognition, defends the doxastic conception of delusions, and develops a theory about the role of judgements of rationality and of attributions of self-knowledge in belief ascription. Presenting a highly original analysis of the debate on the nature of delusions, this book will interest philosophers of mind, epistemologists, philosophers of science, cognitive scientists, psychiatrists, and mental health professionals. (shrink)

A new theory of how the brain constructs emotions that could revolutionize psychology, health care, law enforcement, and our understanding of the human mind Emotions feel automatic, like uncontrollable reactions to things we think and experience. Scientists have long supported this assumption by claiming that emotions are hardwired in the body or the brain. Today, however, the science of emotion is in the midst of a revolution on par with the discovery of relativity in physics and natural selection in biology--and (...) this paradigm shift has far-reaching implications for us all. Leading the charge is psychologist and neuroscientist Lisa Feldman Barrett, whose theory of emotion is driving a deeper understanding of the mind and brain, and shedding new light on what it means to be human. Her research overturns the widely held belief that emotions are housed in different parts of the brain and are universally expressed and recognized. Instead, she has shown that emotion is constructed in the moment, by core systems that interact across the whole brain, aided by a lifetime of learning. This new theory means that you play a much greater role in your emotional life than you ever thought. Its repercussions are already shaking the foundations not only of psychology but also of medicine, the legal system, child-rearing, meditation, and even airport security. Why do emotions feel automatic? Does rational thought really control emotion? How does emotion affect disease? How can you make your children more emotionally intelligent? How Emotions Are Made answers these questions and many more, revealing the latest research and intriguing practical applications of the new science of emotion, mind, and brain. (shrink)

Stanford Encyclopedia Entry on Delusions.

What is it to base a belief on reasons? Existing attempts to give an account of the basing relation encounter a dilemma: either one appeals to some kind of neutral process that does not adequately reflect the way basing is a content-sensitive first-personal activity, or one appeals to linking or bridge principles that over-intellectualize and threaten regress. We explain why this dilemma arises, and diagnose the commitments that are key obstacles to providing a satisfactory account. We explain why they should (...) be rejected anyway, and then offer a new, knowledge-first virtue epistemological theory of the basing relation that shows how we can substantially theorize about mental processes without these commitments. The resulting view plausibly captures the way in which basing is an inherently mental and content-sensitive process. (shrink)

The thesis of Weak Unrestricted Composition says that every pair of objects has a fusion. This thesis has been argued by Contessa and Smith to be compatible with the world being junky and hence to evade an argument against the necessity of Strong Unrestricted Composition proposed by Bohn. However, neither Weak Unrestricted Composition alone nor the different variants of it that have been proposed in the literature can provide us with a satisfying answer to the special composition question, or so (...) we will argue. We will then go on to explore an alternative family of purely mereological rules in the vicinity of Weak Unrestricted Composition, Cardinal Composition: A plurality of pairwise non-overlapping objects composes an object iff the objects in the plurality are of cardinality smaller than $$\kappa $$ κ. As we will show, all the instances for infinite $$\kappa $$ κ s determine fusion and are compatible with junk, and every instance for a $$\kappa > \aleph _0$$ κ > ℵ 0 is furthermore compatible with gunk and dense chains of parthood. (shrink)

What about Confucian bioethics should compel our interest? Apart from the fact that Confucianism grounds the belief system of a great number of people, a Confucian bioethics poses a profound challe...

The Oxford Handbook of Feminist Theory provides an overview of the analytical frameworks and theoretical concepts feminist theorists have developed to challenge established knowledge. Leading feminist theorists, from around the globe, provide in-depth explorations of a diverse array of subject areas, capturing a plurality of approaches. The Handbook raises new questions, brings new evidence, and poses significant challenges across the spectrum of academic disciplines, demonstrating the interdisciplinary nature of feminist theory.

Im Zeitalter des sogenannten »Anthropozäns« werden wir Zeugen einer ontologischen Verschiebung: Die modernen Grenzziehungen zwischen Kultur und Natur, Subjekt und Objekt sowie die Vorstellung einer Welt, die aus unabhängigen Entitäten besteht, werden in der aktuellen Umbruchskonfiguration weitreichend destabilisiert. So ist die »Krise« der Moderne auch als eine »Krise« des Seins zu lesen, die die Möglichkeit eines (Anders-)Werdens relationaler Welt/en eröffnen könnte. Aus einer medienphilosophischen Perspektive fragt Lisa Handel danach, wie dieses Aufsprengen der Seinsontologie von der Frage der Medialität her (...) zu denken und situieren ist. Ontomedialität ist »Kartenkunde und Reisebericht« einer Welt, in der Medialität und Ontologie je schon implodiert und ununterscheidbar geworden sind. (shrink)

Dr Jardine finds a unifying principle in Bacon's preoccupation with 'method', the evaluation and organisation of information as a procedure of investigation or ...

This paper argues that the diversity of conflicting comprehensive doctrines in liberal pluralist societies raises a problem of estrangement between citizens and the basic structure of society that Rawls' version of political liberalism does not successfully solve. 'Political estrangement' occurs when someone refuses to accept a political outcome that favors a comprehensive doctrine she rejects, based on what she imagines, correctly or incorrectly, to be true of her fellow citizens' comprehensive doctrines and their effect on political outcomes. Rawls argues that (...) the political conception of justice and the use of public reason ensure the incompatibility of our comprehensive doctrines will not undermine our willingness to to accept political decisions contrary to our own values. However, public reason does not guarantee this result. Imagination can allow us to see that the influence of some reasonable comprehensive doctrines can lead to oppressive political outcomes and public reason restricts us from addressing this fact. Yet, widening public reason to account for this problem is likely to increase the conditions that cause estrangement. The paper concludes that the political conception of justice and public reason may sometimes fail to adequately justify political outcomes in the sense Rawls hopes. (shrink)

Environmentalism has relentlessly warned about the dire consequences of abusing and exploiting the planet's natural resources, imagining future wastelands of ecological depletion and social chaos. But it has also generated rich new ideas about how humans might live better with nature. Green Utopias explores these ideas of environmental hope in the post-war period, from the environmental crisis to the end of nature. Using a broad definition of Utopia as it exists in Western policy, theory and literature, Lisa Garforth explains (...) how its developing entanglement with popular culture and mainstream politics has shaped successive green future visions and initiatives. In the face of apocalyptic, despairing or indifferent responses to contemporary ecological dilemmas, utopias and the utopian method seem more necessary than ever. This distinctive reading of green political thought and culture will appeal across the social sciences and humanities to all interested in why green utopias continue to matter in the cultivation of ecological values and the emergence of new forms of human and non-human well-being. (shrink)

ABSTRACTHilary Putnam provides an anti-skeptical argument motivated by semantic externalism. He argues that our best theorizing about what it takes to experience, think, and so on, entails that the world is much as we take it to be. This fact eliminates the possibility of radical skeptical scenarios, where from our perspective everything seems as it does in the actual case, but we are widely and systematically mistaken. I think that this approach is generally correct, and that it is the most (...) promising strategy for undermining radical skepticism. There are, however, well-discussed difficulties with Putnam's way of pursuing this strategy. I argue that in order to avoid these objections we will have to be more radical externalists than Putnam proposed; in particular, we will have to beperspectival externalists. According to perspectival externalism, a subject's reliable relations to her environment play a crucial role in determining not only the contents of her mental events, but also what it is like for her to grasp those contents. While semantic externalism is widely accepted in epistemology, perspectival externalism is not. I argue that perspectival externalism is independently more plausible than mere semantic externalism, and that such an account can enable us to better pursue Putnam's anti-skeptical strategy. (shrink)

In philosophy, psychiatry, and cognitive science, definitions of clinical delusions are not based on the mechanisms responsible for the formation of delusions, since there is no consensus yet on what causes delusions. Some of the defining features of delusions are epistemic and focus on whether delusions are true, justified, or rational, as in the definition of delusions as fixed beliefs that are badly supported by evidence. Other defining features of delusions are psychological and focus on whether delusions are harmful, as (...) in the definition of delusions as beliefs that disrupt good functioning. Even if the epistemic features go some way towards capturing what otherwise different instances of clinical delusions have in common, they do not succeed in distinguishing delusions as a clinical phenomenon from everyday irrational beliefs. Focusing on the psychological features is a more promising way to mark the difference between clinical and non-clinical irrational beliefs, but there is wide variability in the extent to which delusions are psychologically harmful, and some everyday irrational beliefs can affect functioning in similarly negative ways. In this chapter we consider three types of belief that share similar epistemic features and exhibit variation with respect to how psychologically harmful they are: (1) delusions of thought insertion, (2) alien abduction beliefs, and (3) self-enhancing beliefs. In the light of the similarities and differences among these cases, we highlight the difficulty in providing an answer to what makes an irrational belief delusional. (shrink)

Good epistemic practices are essential to the well-functioning of organizations. Epistemic practices are adopted norms, policies, procedures, and general methodologies that further our epistemic aims or realize our epistemic values. This chapter argues for the importance of organizational good epistemic practices through an analysis of the failures of risk management implicated in JPMorgan’s notorious ‘London Whale’ trading losses, which roiled the financial markets in 2012. A number of these failures of risk management exemplified ways in which we, as fallible reasoners, (...) may be prone to error individually and collectively. Good epistemic practices inter alia anticipate and endeavor to correct for erroneous patterns of reasoning. They help guard against future epistemic failings, and they support good reasoning within and on the part of organizations. In so doing, they constitute some of the key structural elements of organizational epistemic virtues. (shrink)

Das Bose ist die zentrale Herausforderung fur das Denken der Freiheit. Die vorliegende Studie rekonstruiert historisch versiert den Problemzusammenhang von Freiheit und Notwendigkeit im Deutschen Idealismus und prazisiert den systematischen Losungsansatz Schellings um das Jahr 1809. Diese Neuinterpretation der Freiheitsschrift berucksichtigt auch die theologischen Fragen und die im Hintergrund wirksame Tradition des (Neu-)Platonismus.

Der Band untersucht rhetorische Strategien der emotionalen Kommunikation in Partnerwerbungsgesprächen. Ausgehend von der Annahme, dass eine bewusste Steuerung emotionaler Gesprächsprozesse durch einen strategischen Kommunikator die Erreichung des angestrebten Ziels wahrscheinlicher macht, geht er der Frage nach, welche Möglichkeiten sich in solchen Gesprächen bieten, mit Hilfe sprachlich-textlicher Mittel emotional zu überzeugen. Dabei konzentriert er sich - in Abgrenzung zu Studien emotionaler Körpersprache - ganz auf die verbale Seite der Kommunikation. Als Datenbasis dienen die Transkripte eines Korpus aus Face-to-Face-Gesprächen. Basierend auf einem (...) methodisch innovativen Ansatz zur Untersuchung des Verhältnisses von Sprache und Emotion, liefert der Band zahlreiche neue Erkenntnisse für die Rhetorik-, Emotions- und Gesprächsforschung. Dr. Lisa Becker promovierte im Fach Allgemeine Rhetorik an der Universität Tübingen. (shrink)

Drawing on her 35-year plus experience in the classroom, Lisa Lee has transformed her extensive and authentic teaching experience into a contagious passion and energy with a specialization in Gifted and Talented programs and a focus on the students who don't always fit in a box. The Heart of Teaching is a book about her experience as a teacher, and the students she both taught and learned from, and the lessons she garnered as someone who always taught from the (...) heart. (shrink)

This chapter provides an introduction to the emerging field of the philosophy of money and finance. The field addresses philosophical issues about the nature of money and the normative foundations of financial systems. Although philosophical theorizing about money and finance dates back to Antiquity, the topic has only recently emerged as a central research focus. The chapter also introduces the present anthology and locates its parts and chapters in the broader field. More specifically, the anthology is divided into four main (...) parts: Metaphysics, Epistemology, Ethics, and Political Philosophy. Each part contains four chapters on different but interrelated topics, which are all introduced here. (shrink)

In this article, I discuss how the space of the classroom is a contested object that is constituted by historical, cultural, political, social, psychological, and discursive practices (Lefebvre in The production of space, Blackwell, Oxford, UK, 1991). I then employ Deleuze and Guattari’s notion of “assemblage” to characterize the ways in which educational spaces cohere “content and affect” quoted in Puar (Terrorist assemblages: Homonationalism in queer times, Duke University Press, Durham, 2007, 193) into discursive figures of the heteronormative and racialized (...) national “family.” Finally, I argue that in order to advance contemporary theorizing on safe space we might consider shifting the metaphor of the classroom (and/or schooling) as a situation of home (in loco parentis) to that of a metaphor of camp. As a discursive practice, “camp” is like “home” in that it has multiple associations of past histories. However, the advantage of the metaphor of classroom as camp allows for a more capacious range of past histories of association, from recreation to temporary inhabitation to forced relocation, thus foregrounding the innate political implications of theorizing space. Moreover, the metaphor of camp implies transience (whether real or imaginary) while keeping in mind the partial and situated nature of particular places and spaces. Foregrounding the transient component/feature of safe space allows us to make visible and explore the possibilities and limitations of conceptualizing relations of power as circuitous, contested and performative through competing claims to particular places as objects of safety. (shrink)

This book is available as open access through the Bloomsbury Open Access programme and is available on www.bloomsburycollections.com. Digital technology has transformed the way that we visualise the natural world, the art we create and the stories we tell about our environments. Exploring contemporary digital art and literature through an ecocritical lens, Digital Vision and the Ecological Aesthetic (1968-2018) demonstrates the many ways in which critical ideas of the sublime, the pastoral and the picturesque have been renewed and shaped in (...) digital media, from electronic literature to music and the visual arts. The book goes on to explore the ecological implications of these new forms of cultural representation in the digital age and in so doing makes a profound contribution to our understanding of digital art practice in the 21st century. (shrink)

This book presents the relation between the subject and the other in the work of Jacques Derrida as one of 'surviving translating'. It demonstrates the key role of translation in thinking difference rather than identity, beginning with the work of Martin Heidegger and Emmanuel Levinas. It describes how translation, and its ethical demands, acts as a leitmotif throughout Derrida's writing; from his early work on Edmund Husserl to his last texts on politics and hospitality. While for both Heidegger and Levinas (...) translation is always possible, Derrida's account is marked by the challenge of impossibility. Expanding translation beyond a merely linguistic operation, Foran explores Derrida's accounts of mourning, death and 'survival' to offer a new perspective on the ethics of subjectivity"--Back cover. (shrink)