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Meaning in the visual arts centers on how the physical work makes its content or presence visible. The art object is fundamental. Indeed, the different object forms of each visual medium allows our experience of space-time, and our relations to other people, to be aesthetically embodied in unique ways. Through these embodiments, visual art compensates for what is otherwise existentially lost, and becomes part of what makes life worth living. The present book shows this by discussing a range of visual art forms, namely pictorial representation, abstraction, sculpture and assemblage works, land art, architecture, photography, and varieties of digital art.

Collecting is usually understood as an activity that bestows permanence, unity, and meaning on otherwise scattered and ephemeral objects. In The Redemption of Things , Samuel Frederick emphasizes that to collect things, however, always entails displacing, immobilizing, and potentially disfiguring them, too. He argues that the dispersal of objects, seemingly antithetical to the collector's task, is essential to the logic of gathering and preservation. Through analyses of collecting as a dialectical process of preservation and loss, The Redemption of Things illustrates this paradox by focusing on objects that challenge notions of collectability: ephemera, detritus, and trivialities such as moss, junk, paper scraps, dust, scent, and the transitory moment. In meticulous close readings of works by Gotthelf, Stifter, Keller, Rilke, Glauser, and Frisch, and by examining an experimental film by Oskar Fischinger, Frederick reveals how the difficulties posed by these fleeting, fragile, and forsaken objects help to reconceptualize collecting as a poetic activity that makes the world of scattered things uniquely palpable and knowable.

From prehistoric stone tools, to machines, to computers, things have traveled a long road along with human beings. Changing with the times, places, and methods of their production, emerging from diverse histories, and enveloped in multiple layers of meaning, things embody ideas, emotions, and symbols of which we are often unaware. The meaning of \"thing\" is richer than that of \"object,\" which is something that is manipulated with indifference or according to impersonal technical procedures. Things also differ from merchandise, objects that can be sold or exchanged or seen as status symbols. Things, in the philosophical sense, are nodes of relationships with the life of others, chains of continuity among generations, bridges that connect individual and collective histories, junctions between human civilizations and nature. Things incite us to listen to reality, to make them part of ourselves, giving fresh life to an otherwise suffocating interiority. Things also reveal the hidden aspect of a \"subject\" in its most secret and least explored side. Things are the repositories of ideas, emotions, and symbols whose meaning we often do not understand. In an unexpected but coherent journey that includes the visions of classic philosophers from Aristotle to Husserl and from Hegel to Heidegger, along with the analysis of works of art, Bodei addresses issues such as fetishism, the memory of things, the emergence of department stores, consumerism, nostalgia for the past, the self-portraits of Rembrandt and Dutch still-lifes of the seventeenth century. The more we are able to recover objects in their wealth of meanings and integrate them into our mental and emotional horizons, he argues, the broader and deeper our world becomes.

Scores of sociological studies have provided evidence for the association between broad cultural taste, or omnivorousness, and various status characteristics, such as education, occupation, and age. Nevertheless, the literature lacks a consistent theoretical foundation with which to understand and organize these empirical findings. In this article, we offer such a framework, suggesting that a mechanism-based approach is helpful for examination of the origins of the omnivore-univore taste pattern as well as its class-based distribution. We reground the discussion of this phenomenon in Distinction (Bourdieu 1984), conceptualizing omnivorous taste as a transposable form of the aesthetic disposition available most readily to individuals who convert early aesthetic training into high cultural capital occupational trajectories. After outlining the genetic mechanisms that link the aesthetic disposition to early socialization trajectories, we identify two relational mechanisms that modulate its manifestation (either enhancing or inhibiting it) after early socialization.

This wide-ranging, interdisciplinary collection explores different ways of visualising Greek and Roman epic from Homer to Statius, in both ancient and modern culture. The book presents new perspectives on Homer, Virgil, Ovid, Lucan, Valerius Flaccus and Statius, and covers the re-working of epic matter in tragedy, opera, film, late antique speeches of praise, story-boarding, sculpture and wall-painting. The chapters use a variety of methods to address the relationship between narrative and visuality, exploring how and why epic has inspired artists, authors and directors and offering fresh visual interpretations of epic texts. Themes and issues discussed include: intermediality, ekphrasis and panegyric, illusion and deception, imagery and deferral, alienation and involvement, the multiplicity of possible visual responses to texts, three-dimensionality, miniaturisation, epic as cultural capital, and the specificity of genres, both literary and visual.

Visual aesthetic perception (\"aesthetics\") or the capacity to visually perceive a particular attribute added to other features of objects, such as form, color, and movement, was fixed during human evolutionary lineage as a trait not shared with any great ape. Although prefrontal brain expansion is mentioned as responsible for the appearance of such human trait, no current knowledge exists on the role of prefrontal areas in the aesthetic perception. The visual brain consists of \"several parallel multistage processing systems, each specialized in a given task such as, color or motion\" [Bartels, A. & Zeki, S. (1999) Proc. R. Soc. London Ser. B 265, 2327-2332]. Here we report the results of an experiment carried out with magnetoencephalography which shows that the prefrontal area is selectively activated in humans during the preception of objects qualified as \"beautiful\" by the participants. Therefore, aesthetics can be hypothetically considered as an attribute perceived by means of a particular brain processing system, in which the prefrontal cortex seems to play a key role.

Testimony is an important source of knowledge. In many areas, a good deal of what an individual knows, she knows on the word of others. This holds even if people concentrate on pure cases of testimony--those in which the audience H learns that ρ on the basis that her informant T claims that A and independently of any evidence that T offers for that claim. Indeed, in general, where there is something to know, testimony provides a legitimate way to acquire that knowledge. Of course, one cannot believe just anybody. Gullibility is to be avoided, and informants who themselves lack knowledge cannot, perhaps, instill knowledge in their audience--even if what they say is true. But, provided one is suitably careful, on most issues taking the word of others is a legitimate way to come by belief. Here, Hopkins explores the forms that pessimism might take, and in particular the form that in some ways is most promising.

This article examines a notion of desire that, I claim, is implicit in Immanuel Kant's theorization of aesthetic judgment in the Critique of Judgment (1790). After first using Joyce's 1916 novel A Portrait of the Artist as a Young Man to bring the issue into focus, I turn in the second section of the article to Kant's third Critique, emphasizing Kant's relationship to the traditional notion of desire. In the third section, I focus on Kant's alternative—his aesthetic—conception of desire and on the role played by “life” in this conception. In the final section of the essay, I look briefly at the relevance of the aesthetic conception of desire to our contemporary understanding of the relationship between desire and pleasure.

In this article I discuss what I am calling \"ally aesthetics.\" I suggest a set of necessary, though not necessarily sufficient, considerations for the creation of successful instances of ally art. Focusing on three case studies, I propose some key characteristics of ally aesthetics, such as its contextual/temporal nature and how that relates to success and the importance of understanding the place of the ally aesthetic within the larger movements they are allying with.

This article calls for an examination of the spectral operations of the perceptual architecture of colonization in conjunction with the enactment of a decolonial feminism as proposed by María Lugones. The first section discusses both the notion of ghostly subjectivity from Lugones's early work as well as the echoes of this notion in her recent work on the coloniality of gender that emphasizes the gender/race/sex nexus. Subsequently, through a photographic example, the article presents an analysis of the perceptual operations of specter-making in practices of colonization in light of Lugones's understanding of the \"light\" and \"dark\" sides of the coloniality of gender. This analysis highlights not only the intricate nexus between racialization and gender and sex norms both in the past and in the present context, but it also points to the necessity for of a decolonial feminism attuned to perceptual practices or a decolonial aesthesis.