This book presents interdisciplinary research on the aesthetics of perfection and imperfection. Broadening this growing field, it connects the aesthetics of imperfection with issues in areas including philosophy, music, literature, urban environment, architecture, art theory, and cultural studies. -/- The contributors to this volume argue that imperfection has value in being open and inclusive. The aesthetics of imperfection is thus typified by organic, unpolished production and the avoidance of perfect finish, instead representing living and natural change, and opposing the consumerist (...) concern with the flawless and pristine. The chapters are divided into seven thematic sections. After the first section, on imperfection across the arts and culture, the next three parts are on imperfection in the arts of music, visual and theatrical arts, and literature. The second half of this book then switches focus to categories in everyday life, and branches this further into body, self, and the person, and urban environments. Together, the chapters promote a positive ethos of imperfection that furthers individual and social engagement and supports creativity over mere passivity. -/- Imperfectionist Aesthetics in Art and Everyday Life will appeal to a broad range of scholars and advanced students working in philosophical aesthetics, literature, music, urban environment, architecture, art theory, and cultural studies. (shrink)

Open Access: What if it doesn’t get better? Against more hopeful and optimistic views that it is not just ideal but possible to put an end to what John Rawls calls “the great evils of human history,” I aver that when it comes to evils caused by human beings, the situation is hopeless. We are better off with the heavy knowledge that evils recur than we are with idealizations of progress, perfection, and completeness; an appropriate ethic for living with such (...) heavy knowledge, which I call an ‘Imperfectionist Ethic,’ could include resisting evils, improving the lives of victims, and even enjoying ourselves. Better conceptions of the objects of hope, and the good life, inform a praxis-centered, nonideal ethic, supportive of sustained moral motivation, resilience, and even cheer. I connect elements of stoic and pessimistic philosophy in order to outline some normative recommendations for living with evils. A praxis-centered ethic would helpfully adjust our expectations from changing an uncontrollable future, to developing better skills for living in a world that exceeds our control. (shrink)

Recording has transformed the nature of music as an art by reconfiguring the opposition between the aesthetics of perfection and imperfection. A precursor article, ‘The Art of Improvisation and the Aesthetics of Imperfection’, contrasted the perfectionist aesthetic of the ‘work-concept’ with the imperfectionist aesthetic of improvisation. Imperfectionist approaches to recording are purist in wanting to maintain the diachronic and synchronic integrity of the performance, which perfectionist recording creatively subverts through mixing and editing. But a purist transparency thesis cannot (...) evade the fact that the recorded image is crafted; against creative editing, however, the imperfectionist ideal of the ‘complete take’ is humanistic and anti-mechanistic, and not mere Romantic illusion. The article concludes with a discussion of the question of the artistic status of recording, and contrasts the possibility of a non-acousmatic sound art with the essentially acousmatic art of music. (shrink)

Fat people are often depicted in popular media as imperfect, their whole characters riddled with negative features that can be attributed only to their non-idealized body. These representations imply not only that fatness itself is aesthetically and physically imperfect, but that fatness is caused by and causes more robust character imperfections. Using Hulu series Shrill as a model, I argue that in order to address our collective distaste for fat bodies (and, by extension, our shared anti-fat bias) we must create (...) and engage with humanizing representations that show fat people as imperfect without blaming those flaws on their weight. By creating more complex fat characters, we can learn to love and accept fat people without reinforcing harmful stereotypes about fatness. (shrink)

The culturally pervasive tendency to identify aspects of the body as aesthetically imperfect harms individuals and scaffolds injustice related to disability, race, gender, LGBTQ+ identities, and fatness. But abandoning the notion of imperfection may not respect people’s reasonable understandings of their own bodies. I examine the prospects for a practice of aesthetic assessment grounded in a notion of the body’s function. I argue that functional aesthetic assessment, to be respectful, requires understanding the body’s functions as complex, malleable, and determined by (...) the projects and interests of the person whose body it is. Aesthetically relevant functions, on this account, are determined neither by the body’s status as organism nor by cultural assumptions about how bodies should function or be used. (shrink)

Beauty has often been associated with perfection, but many philosophical accounts of beauty allow that, in some cases, an imperfection can make something more beautiful. Here I consider this idea in the context of beauty of character. I argue that certain character flaws can enhance our appraisal of a person’s beauty of character by revealing other important qualities that they also possess. In doing so, I also consider how we come to know what sort of character a given person has. (...) I also look to our experience of fiction for insights as to the appeal and importance of character imperfections. (shrink)