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Aesthetics --- -Beautiful, The --- Beauty --- Esthetics --- Taste (Aesthetics) --- Philosophy --- Art --- Criticism --- Literature --- Proportion --- Symmetry --- Addresses, essays, lectures --- Psychology --- -Addresses, essays, lectures --- Beautiful, The --- Radio broadcasting Aesthetics

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The first English translation of a classic text in aesthetics based on the precepts of German Idealism. Schelling systematically treats various forms of art-including music, painting, sculpture, narrative, and poetry-to present a philosophical disclosure of the idea or essence of art itself, an essence that transcends the actual work in history.

Art --- Philosophy. --- Philosophie --- Beautiful, The --- Beauty --- Aesthetics --- Art and philosophy --- Philosophy --- Analysis, interpretation, appreciation

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"What good is art? What is the point of a university education? Can philosophers contribute anything to social liberation? Such questions, both ancient and urgent, are the pulse of reformational philosophy. Inspired by the vision of the Dutch religious and political leader Abraham Kuyper, reformational philosophy pursues social transformation for the common good. In this companion volume to Religion, Truth, and Social Transformation, Lambert Zuidervaart presents a socially engaged philosophy of the arts and higher education. Interacting with the ideas of leading Kuyperian thinkers such as Calvin Seerveld and Nicholas Wolterstorff, Zuidervaart shows why renewal in the arts needs to coincide with political and economic transformation. He also calls for education and research that serve the common good. Deeply rooted in reformational philosophy, his book brings a fresh and inspiring voice to current discussions of religious aesthetics and Christian scholarship. Art, Education, and Cultural Renewal is a testament to the practical and intellectual richness of a unique religious tradition, compelling in its call for social solidarity and cultural critique."--

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The essence of art is to conceal art. A dancer or musician does not only need to perform with ability. There should also be a lack of visible effort that gives an impression of naturalness. To disguise technique and feign ease is to heighten beauty. To express this notion, Italian has a word with no exact equivalent in other languages, sprezzatura: a kind of unaffectedness or nonchalance.In this book, the first to consider sprezzatura in its own right, philosopher of art Paolo D'Angelo reconstructs the history of concealing art, from ancient rhetoric to our own times. The word sprezzatura was coined in 1528 by Baldassarre Castiglione in The Book of the Courtier to mean a kind of grace with a special essence: the ability to conceal art. But the idea reaches back to Aristotle and Cicero and forward to avant-garde works such as Duchamp's ready-mades, all of which share the suspicion of the overt display of skill. The precept that art must be hidden turns up in a number of fields, from cosmetics to interior design, politics to poetry, the English garden to shabby chic. Through exploring different articulations of this idea, D'Angelo shows the paradox of aesthetics: art hides that it is art, but in doing so it reveals itself to be art and becomes an assertion about art. When art is concealed, it appears as spontaneous as nature-yet, paradoxically, also reveals its indebtedness to technique. An erudite and surprising tour through aesthetics, philosophy, and art history, Sprezzatura presents a strikingly original argument with deceptive ease.

Sprezzatura (Aesthetics) --- Art --- Beautiful, The --- Beauty --- Aesthetics --- Art and philosophy --- Philosophy. --- Analysis, interpretation, appreciation

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Maps out the practice of fictioning as a new field of study for art and philosophyFictioning in art is an open-ended, experimental practice that involves performing, diagramming or assembling to create or anticipate new modes of existence. In this extensively illustrated book containing over 80 diagrams and images of artworks, David Burrows and Simon O’Sullivan explore the technics of fictioning through three focal points: mythopoesis, myth-science and mythotechnesis. These relate to three specific modes of fictioning: performance fictioning, science fictioning and machine fictioning. In this way, Burrows and O’Sullivan explore how fictioning can offer us alternatives to the dominant fictions that construct our reality in an age of ‘post-truth’ and ‘perception management’. Through fictioning, they look forward to the new kinds of human, part-human and non-human bodies and societies to come.Key FeaturesExplores the different ways that art practices deploy myth and fiction realityDraws on a rich constellation of recent philosophical perspectives – including those associated with the speculative and ontological turns, non-philosophy, residual and emergent cultures, decolonisation and the posthumanMoves through counter-cultures, performance studies, continental philosophy, anthropology, afrofuturisms, feminisms, science fiction, cybernetics, neuroscience, artificial intelligence research, electronic music and other digital practicesUltimately argues that fictioning is at its most radical and experimental in the expanded field of contemporary art practice"

Aesthetics --- Art --- philosophy of art --- Beautiful, The --- Beauty --- Art and philosophy --- Philosophy. --- Analysis, interpretation, appreciation