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• Introduction. L'esthétique à l'heure de l'épistémologie
• Conceptions et reconceptions de l'esthétique
• Qu'est-ce qu'interpréter philosophiquement une oeuvre d'art ?
• Aesthetics and the Fact of Naturalization
• Une reconception vertueuse de l'esthétique philosophique
• Percevoir une oeuvre d'art : compétences et présupposés conceptuels
• The Epistemic Presuppositions of "Hearing Something as a Musical Work"
• Walton sur les catégories de la compréhension esthétique
• What is an artistic paradigm ?
• La valeur cognitive de l'art
• Fiction and Belief
• Un interprète peut-il connaître quoi que ce soit ?
• Understanding Understanding Art
• Perspectives d'application
• Ce que l'art conceptuel dit
• Quelques considérations épistémologiques préalables à une philosophie de l'architecture
• Fact, Fiction, and Virtual Worlds
• Le blues sans mélancolie? Contre les "histoires révisionnistes"
• Conclusion. Perspectives et incertitudes sur la "compréhension".

"Le terme "esthétique" désigne une discipline philosophique. Une épistémologie de l'esthétique est une enquête méthodologique sur cette discipline. Le terme "esthétique" qualifie aussi les notions d'expérience, de propriétés, de pensée. L'épistémologie de l'esthétique porte alors sur les opérations sensibles et cognitives caractérisant les expériences ou les modes de pensée esthétiques. La première partie, méta-esthétique, examine différentes façons de faire de l'esthétique (Pierre-Henry Frangne, Jacques Morizot, Roger Pouivet). La deuxième partie de l'ouvrage s'interroge sur les relations conceptuelles qui sous-tendent notre perception des oeuvres d'art (Alessandro Arbo, Guillaume Schuppert, Carole Talon-Hugon). La troisième partie porte sur la valeur cognitive des arts (Derek Matravers, Julia Beauquel, Catherine Elgin). La dernière partie explore certaines applications des questions épistémologiques en esthétique (Sandrine Darse' sur l'art conceptuel, Hervé Gaff sur l'architecture, Alexandre Declos sur les jeux vidéo, Vincent Granata sur le blues). On a pu parler d'un "tournant épistémologique en esthétique". Ce livre le prend délibérément."--Page 4 of cover.

This volume examines the great varieties of artistic experience from first hand phenomenological descriptions. It features detailed and concrete analyses which provides readers with in-depth insights into each specific domain of artistic experience. Coverage includes phenomenological elucidation of the aesthetic attitude, the power of imagination, and the logic of sensibility. The essays also detail concrete phenomenological analyses of aesthetic experiences in poetry, painting, photography, drama, architecture, and urban aesthetics. The book contains essays from "Logos and Aisthesis: Phenomenology and the Arts, " an international conference held at the Chinese University of Hong Kong. It brings together a team of top scholars from both the East and the West and offers readers a global perspective on this interesting topic. These innovative, yet accessible, essays, will benefit students and researchers in philosophy, aesthetics, the arts, and the humanities. They will also be of interest to specialists in phenomenology.
(source: Nielsen Book Data)

Color makes its way into natural science images as early as the research process. It serves for self-reflection and for communication within the scientific community. However, color does not follow a standard in the natural sciences: its meaning is contingent, even though culturally conditioned. Digital publishing enhances the use of color in scientific publications; at the same time, globalization promotes the idea of universal color symbolism. This book investigates the function of color in historical and current visualizations for scientific purposes, its epistemic role as a tool, and its long neglect due to symbolic and gender-specific connotations. The publication thus closes a research gap in the natural sciences and the humanities.
(source: Nielsen Book Data)

• Introduction: Ethical and Political Thinking after Literature
• (source: Nielsen Book Data)

How do we read after the so-called death of literature? If we are to attend to the proclamations that the representational apparatuses of literature and politics are dead, what aesthetic, ethical, and political possibilities remain for us today? Our critical moment, Graff Zivin argues, demands anarchaeological reading: reading for the blind spots, errors, points of opacity or untranslatability in works of philosophy and art. Rather than applying concepts from philosophy in order to understand or elucidate cultural works, the book exposes works of philosophy, literary theory, narrative, poetry, film, and performance art and activism to one another. Working specifically with art, film, and literature from Argentina (Jorge Luis Borges, Juan Jose Saer, Ricardo Piglia, Cesar Aira, Albertina Carri, the Internacional Errorista), Graff Zivin allows such thinkers as Levinas, Derrida, Badiou, and Ranciere to be inflected by Latin American cultural production. Through these acts of interdiscursive and interdisciplinary (or indisciplinary) exposure, such ethical and political concepts as identification and recognition, decision and event, sovereignty and will, are read as constitutively impossible, erroneous. Rather than weakening either ethics or politics, however, the anarchaeological reading these works stage and demand opens up and radicalizes the possibility of justice.
(source: Nielsen Book Data)

A new speculative ontology of aesthetics In Aesthesis and Perceptronium, Alexander Wilson presents a theory of materialist and posthumanist aesthetics founded on an original speculative ontology that addresses the interconnections of experience, cognition, organism, and matter. Entering the active fields of contemporary thought known as the new materialisms and realisms, Wilson argues for a rigorous redefining of the criteria that allow us to discriminate between those materials and objects where aesthesis (perception, cognition) takes place and those where it doesn't. Aesthesis and Perceptronium negotiates between indiscriminately pluralist views that attribute mentation to all things and eliminative views that deny the existence of mentation even in humans. By recasting aesthetic questions within the framework of "epistemaesthetics, " which considers cognition and aesthetics as belonging to a single category that can neither be fully disentangled nor fully reduced to either of its terms, Wilson forges a theory of nonhuman experience that avoids this untenable dilemma. Through a novel consideration of the evolutionary origins of cognition and its extension in technological developments, the investigation culminates in a rigorous reevaluation of the status of matter, information, computation, causality, and time in terms of their logical and causal engagement with the activities of human and nonhuman agents. .
(source: Nielsen Book Data)

• Devastation
• Anguish
• Irresolvability
• Luck
• Plant
• Home

A philosophical and cultural distillation of the bleak joys in today's ambivalent ecologies and patterns of life Bleak Joys develops an understanding of complex entities and processes-from plant roots to forests to ecological damage and its calculation-as aesthetic. It is also a book about "bad" things, such as anguish and devastation, which relate to the ecological and technical but are also constitutive of politics, the ethical, and the formation of subjects. Avidly interdisciplinary, Bleak Joys draws on scientific work in plant sciences, computing, and cybernetics, as well as mathematics, literature, and art in ways that are not merely illustrative of but foundational to our understanding of ecological aesthetics and the condition in which the posthumanities are being forged. It places the sensory world of plants next to the generalized and nonlinear infrastructure of irresolvability-the economics of indifference up against the question of how to make a home on Planet Earth in a condition of damaged ecologies. Crosscutting chapters on devastation, anguish, irresolvability, luck, plant, and home create a vivid and multifaceted approach that is as remarkable for its humor as for its scholarly complexity. Engaging with Deleuze, Guattari, and Bakhtin, among others, Bleak Joys captures the modes of crises that constitute our present ecological and political condition, and reckons with the means by which they are not simply aesthetically known but aesthetically manifest.
(source: Nielsen Book Data)

• Prologue, Natasha Lushetich Part I: Sedimentations: Race and Gender
• Chapter 1: What is the Aesthetics of Necropolitics?, Marina Grzinic
• Chapter 2: Get Out: From Atlantic Slavery to Black Lives Matter, Sarah Juliet Lauro
• Chapter 3: Aesthetic Autonomy at the Border: Notes on Necro-Art, Veronica Tello Part II: Abstractions: Technological, Financial, Cultural, Scientific
• Chapter 4: Inside the Corpse of Abstraction, Franco Berardi
• Chapter 5: Greenness: Sketching the Limits of a Normative Fetish, Jens Hauser
• Chapter 6: Desire, DNA, and Transgenetic Technology: Life After Necropolitics, Mi You Part III: Tactics: Detouring the Limits, Overbidding, Mourning
• Chapter 7: Necropolitics and the Dark Comedy of the Posthuman, Critical Art Ensemble
• Chapter 8: Dirty your Media: Artists' Experiments in Bio-Sovereignty, Tiffany Funk
• Chapter 9: Intimacy, Ignorance, and Mourning in Iowa Hog Confinement, Malin Palani Epilogue: Archipelagoes of the Unseen Islands of the Forgotten, May Joseph About the Contributors Index.
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Every politics is an aesthetic. If necropolitics is the (accelerated) politics of what is usually referred to as the 'apolitical age', what are its manoeuvres, temporalities, intensities, textures, and tipping points? Bypassing revelatory and reconstructionist approaches - the tendency of which is to show that a particular site or practice is necropolitical by bringing its genealogy into evidence - this collection of essays by artist-philosophers and theorist curators articulates the pre-perceptual working of necropolitics through a focus on the senses, assignments of energy, attitudes, cognitive processes, and discursive frameworks. Drawing on different yet complementary methodologies (visual, performance, affect, and network analysis; historiography and ethnography), the contributors analyse cultural fetishes, taboos, sensorial and relational processes anchored in everyday practices, or cued by specific artworks. By mapping the necropolitics' affective cartography, they expand the concept beyond its teleological, anthropocentric, and reductive horizon of 'making and letting die' to include posthuman and posthumous actants, effectively arguing for the necropolitics' transformatory, political potential.
(source: Nielsen Book Data)

• Sweet cross
• Butterfly dreams
• On luxury
• Satori
• Moral entertainment
• Healthy entertainment
• Being as passion
• A hunger artist
• Serenity before the world
• A meta-theory of entertainment.

A philosopher considers entertainment, in all its totalizing variety-infotainment, edutainment, servotainment-and traces the notion through Kant, Zen Buddhism, Heidegger, Kafka, and Rauschenberg. In Good Entertainment, Byung-Chul Han examines the notion of entertainment-its contemporary ubiquity, and its philosophical genealogy. Entertainment today, in all its totalizing variety, has an apparently infinite capacity for incorporation: infotainment, edutainment, servotainment, confrontainment. Entertainment is held up as a new paradigm, even a new credo for being-and yet, in the West, it has had inescapably negative connotations. Han traces Western ideas of entertainment, considering, among other things, the scandal that arose from the first performance of Bach's Saint Matthew's Passion (deemed too beautiful, not serious enough); Kant's idea of morality as duty and the entertainment value of moralistic literature; Heidegger's idea of the thinker as a man of pain; Kafka's hunger artist and the art of negativity, which takes pleasure in annihilation; and Robert Rauschenberg's refusal of the transcendent. The history of the West, Han tells us, is a passion narrative, and passion appears as a killjoy. Achievement is the new formula for passion, and play is subordinated to production, gamified. And yet, he argues, at their core, passion and entertainment are not entirely different. The pure meaninglessness of entertainment is adjacent to the pure meaning of passion. The fool's smile resembles the pain-racked visage of Homo doloris. In Good Entertainment, Han explores this paradox.
(source: Nielsen Book Data)