In The Anti-Aesthetic, preeminent critics such as Jean Baudrillard, Rosalind Krauss, Fredric Jameson, and Edward Said consider the full range of postmodern cultural production, from the writing of John Cage, to Cindy Sherman's film stills, to Barbara Kruger's collages. With a redesigned cover and a new afterword that situates the book in relation to contemporary criticism, The Anti-Aesthetic provides a strong introduction for newcomers and a point of reference for those already engaged in discussions of postmodern art, culture, and criticism. Includes a new afterword by Hal Foster and 12 black and white photographs.

    Hebdige [...] is concerned with the UK's postwar, music-centred, white working-class subcultures, from teddy boys to mods and rockers to skinheads and punks.' - Rolling StoneWith enviable precision and wit Hebdige has addressed himself to a complex topic - the meanings behind the fashionable exteriors of working-class youth subcultures - approaching them with a sophisticated theoretical apparatus that combines semiotics, the sociology of devience and Marxism and come up with a very stimulating short book - Time OutThis book is an attempt to subject the various youth-protest movements of Britain in the last 15 years to the sort of Marxist, structuralist, semiotic analytical techniques propagated by, above all, Roland Barthes. The book is recommended whole-heartedly to anyone who would like fresh ideas about some of the most stimulating music of the rock era - The New York Times

    Human tastes in the arts, Dutton argues, are evolutionary traits, shaped by Darwinian selection. They are not, as the past century of art criticism and academic theory would have it, just "socially constructed."Our love of beauty is inborn, and many aesthetic tastes are shared across remote cultures—just one example is the widespread preference for landscapes with water and distant trees, like the savannas where we evolved. Using forceful logic and hard evidence, Dutton shows that we must premise art criticism on an understanding of evolution, not on abstract "theory." He restores the place of beauty, pleasure, and skill as artistic values.Sure to provoke discussion in scientific circles and uproar in the art world, The Art Instinct offers radical new insights into both the nature of art and the workings of the human mind.

    

    First published in 1972, it was based on the BBC television series about which the (London) Sunday Times critic commented: "This is an eye-opener in more ways than one: by concentrating on how we look at paintings . . . he will almost certainly change the way you look at pictures." By now he has."Berger has the ability to cut right through the mystification of the professional art critics . . . He is a liberator of images: and once we have allowed the paintings to work on us directly, we are in a much better position to make a meaningful evaluation" —Peter Fuller, Arts Review"The influence of the series and the book . . . was enormous . . . It opened up for general attention to areas of cultural study that are now commonplace" —Geoff Dyer in Ways of TellingWinner of the 1972 Booker Prize for his novel, G., John Peter Berger (born November 5th, 1926) is an art critic, painter and author of many novels including A Painter of Our Time, From A to X and Bento’s Sketchbook.

    This provocative book tackles some of the enduring 'sacred truths' surrounding the high cultural status of the live event.

    Among the ironies and entanglements resulting from this goal are the sale of nature in our malls through the Nature Company, and the disputes between working people and environmentalists over spotted owls and other objects of species preservation.The problem is that we haven't learned to live responsibly in nature. The environmentalist aim of legislating humans out of the wilderness is no solution. People, Cronon argues, are inextricably tied to nature, whether they live in cities or countryside. Rather than attempt to exclude humans, environmental advocates should help us learn to live in some sustainable relationship with nature. It is our home.

    The basic assumption is that vision depends on the eye which is connected to the brain. The author suggests that natural vision depends on the eyes in the head on a body supported by the ground, the brain being only the central organ of a complete visual system. When no constraints are put on the visual system, people look around, walk up to something interesting and move around it so as to see it from all sides, and go from one vista to another. That is natural vision -- and what this book is about.

    Sontag develops further the concept of 'transparency'. When anything can be photographed and photography has destroyed the boundaries and definitions of art, a viewer can approach a photograph freely with no expectations of discovering what it means. This collection of six lucid and invigorating essays, the most famous being "In Plato's Cave", make up a deep exploration of how the image has affected society.

    In this volume, Karen Barad, theoretical physicist and feminist theorist, elaborates her theory of agential realism. Offering an account of the world as a whole rather than as composed of separate natural and social realms, agential realism is at once a new epistemology, ontology, and ethics. The starting point for Barad’s analysis is the philosophical framework of quantum physicist Niels Bohr. Barad extends and partially revises Bohr’s philosophical views in light of current scholarship in physics, science studies, and the philosophy of science as well as feminist, poststructuralist, and other critical social theories. In the process, she significantly reworks understandings of space, time, matter, causality, agency, subjectivity, and objectivity.In an agential realist account, the world is made of entanglements of “social” and “natural” agencies, where the distinction between the two emerges out of specific intra-actions. Intra-activity is an inexhaustible dynamism that configures and reconfigures relations of space-time-matter. In explaining intra-activity, Barad reveals questions about how nature and culture interact and change over time to be fundamentally misguided. And she reframes understanding of the nature of scientific and political practices and their “interrelationship.” Thus she pays particular attention to the responsible practice of science, and she emphasizes changes in the understanding of political practices, critically reworking Judith Butler’s influential theory of performativity. Finally, Barad uses agential realism to produce a new interpretation of quantum physics, demonstrating that agential realism is more than a means of reflecting on science; it can be used to actually do science.

    What is beauty? Umberto Eco, among Italy’s finest and most important contemporary thinkers, explores the nature, the meaning, and the very history of the idea of beauty in Western culture. The profound and subtle text is lavishly illustrated with abundant examples of sublime painting and sculpture and lengthy quotations from writers and philosophers. This is the first paperback edition of History of Beauty, making this intellectual and philosophical journey with one of the world’s most acclaimed thinkers available in a more compact and affordable format.From the Trade Paperback edition

    The Dialogic Imagination presents, in superb English translation, four selections from Voprosy literatury i estetiki (Problems of literature and esthetics), published in Moscow in 1975. The volume also contains a lengthy introduction to Bakhtin and his thought and a glossary of terminology.Bakhtin uses the category "novel" in a highly idiosyncratic way, claiming for it vastly larger territory than has been traditionally accepted. For him, the novel is not so much a genre as it is a force, "novelness," which he discusses in "From the Prehistory of Novelistic Discourse." Two essays, "Epic and Novel" and "Forms of Time and of the Chronotope in the Novel," deal with literary history in Bakhtin's own unorthodox way. In the final essay, he discusses literature and language in general, which he sees as stratified, constantly changing systems of subgenres, dialects, and fragmented "languages" in battle with one another.

    In this translation of his influential 1990 book Le Contrat Naturel, Serres calls for a natural contract to be negotiated between Earth and its inhabitants.World history is often referred to as the story of human conflict. Those struggles that are seen as our history must now include the uncontrolled violence that humanity perpetrates upon the earth, and the uncontrollable menace to human life posed by the earth in reaction to this violence. Just as a social contract once brought order to human relations, Serres believes that we must now sign a "natural contract" with the earth to bring balance and reciprocity to our relations with the planet that gives us life. Our survival depends on the extent to which humans join together and act globally, on an earth now conceived as an entity. Tracing the ancient beginnings of modernity, Serres examines the origins and possibilities of a natural contract through an extended meditation on the contractual foundations of law and science. By invoking a nonhuman, physical world, Serres asserts, science frees us from the oppressive confines of a purely social existence, but threatens to become a totalitarian order in its own right. The new legislator of the natural contract must bring science and law into balance.Serres ends his meditation by retelling the story of the natural contract as a series of parables. He sees humanity as a spacecraft that with the help of science and technology has cast off from familiar moorings. In place of the ties that modernity and analytic reason have severed, we find a network of relations both stranger and stronger than any we once knew, binding us to one another and to the world. The philosopher's harrowing and joyous task, Serres tells us, is that of comprehending and experiencing the bonds of violence and love that unite us in our spacewalk to the spaceship Mother Earth. "Wise, rich and poetic . . . not simply a philosophical study of the Environment, or an ecological questioning of Philosophy . . . Nature is acknowledged as an inside force which breaks [the philosopher's] discourse, and opens it up to a vigilant poetic meditation."--Substance: A Review of Theory and Literary Criticism

    In Staying Alive she defines the links between ecological crises, colonialism, and the oppression of women. It is a scholarly and polemical plea for the rediscovery of the ‘feminine principle’ in human interaction with the natural world, not as a gender-based quality, rather an organizing principle, a way of seeing the world.” —the Guardian In this pioneering work, Vandana Shiva looks at the history of development and progress, stripping away the neutral language of science to reveal third-world development policy as the global twin of the industrial revolution. As Shiva makes clear, the way this development paradigm is being implemented—through violence against nature and women—threatens survival itself. She focuses on how rural Indian women experience and perceive the causes and effects of ecological destruction, and how they conceive of and initiate processes to stop the destruction and begin regeneration. As the world continues to follow destructive paths of development, Shiva’s Staying Alive is a fiercely relevant book that positions women not solely as survivors of the crisis, but as the source of crucial insights and visions to guide our struggle. Vandana Shiva is the author of many books, including Staying Alive, Earth Democracy, and Soil Not Oil. She is a leader in the International Forum on Globalization (IFG) and the Slow Food movement.

    Based on four years of fieldwork among the Runa of Ecuador’s Upper Amazon, Eduardo Kohn draws on his rich ethnography to explore how Amazonians interact with the many creatures that inhabit one of the world’s most complex ecosystems. Whether or not we recognize it, our anthropological tools hinge on those capacities that make us distinctly human. However, when we turn our ethnographic attention to how we relate to other kinds of beings, these tools (which have the effect of divorcing us from the rest of the world) break down. How Forests Think seizes on this breakdown as an opportunity. Avoiding reductionistic solutions, and without losing sight of how our lives and those of others are caught up in the moral webs we humans spin, this book skillfully fashions new kinds of conceptual tools from the strange and unexpected properties of the living world itself. In this groundbreaking work, Kohn takes anthropology in a new and exciting direction–one that offers a more capacious way to think about the world we share with other kinds of beings.