Aesthesis and Perceptronium


Book Description

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.




Aesthesis and Perceptronium


Book Description

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.




Everydayness. Contemporary Aesthetic Approaches


Book Description

The notion of everydayness is currently gaining momentum in scientific discourses, in both philosophical and applied aesthetics. This volume aims to shed light on some of the key issues that are involved in discussions about the aesthetics and the philosophy of everyday life, taking into account the field’s methodological background and intersections with cognate research areas, and providing examples of its contemporary application to specific case studies. The collection brings together twenty essays organised around four main thematic areas in the field of everyday aesthetics: (1) Environment, (2) The Body, (3) Art and Cultural Practices, and (4) Methodology. The covered topics include, but are not limited to, somaesthetics, aesthetic engagement, the performing arts, aesthetics of fashion and adornments, architecture, environmental and urban aesthetics. DOI: 10.13134/978-80-555-2778-9




Making Sense in Common


Book Description

A leading philosopher seeks to recover “common sense” as a meeting place to reconcile science and philosophy With her previous books on Alfred North Whitehead, Isabelle Stengers not only secured a reputation as one of the premier philosophers of our times but also inspired a rethinking of critical theory, political thought, and radical philosophy across a range of disciplines. Here, Stengers unveils what might well be seen as her definitive reading of Whitehead. Making Sense in Common will be greeted eagerly by the growing group of scholars who use Stengers’s work on Whitehead as a model for how to think with conceptual precision through diverse domains of inquiry: environmentalism and ecology, animal studies, media and technology studies, the history and philosophy of science, feminism, and capitalism. On the other hand, the significance of this new book extends beyond Whitehead. Instead, it lies in Stengers’s recovery of the idea of “common sense” as a meeting place—a commons—where opposed ideas of science and humanistic inquiry can engage one another and help to move society forward. Her reconciliation of science and philosophy is especially urgent today—when climate disaster looms all around us, when the values of what we thought of as civilization and modernity are discredited, and when expertise of any kind is under attack.




A Somaesthetics of Performative Beauty


Book Description

This book develops an original theory of performative beauty. Philosophical aesthetics has largely neglected one’s own actions as a potential experience of the beautiful. Throughout the book, the author uses his own experiences of Argentine tango as a case study; one important incentive for social dancing is to have pleasurable and beautiful experiences. This book begins by investigating the methodological causes for why beauty in modernity has been seen to result only from contemplating external objects. It then builds a theory of performative beauty that incorporates findings from new phenomenology, neuroaesthetics, enactivism, and somaesthetics and that reassesses existing inquiries of beauty. The result is an account that identifies kinaesthetic awareness as the point of emergence of both theory and practice, of creation (poiesis) and perception (aisthesis), and of moving (agency) and being moved (reception). Performative beauty is the pleasure of being moved by the dance where the dancer feels both as a creative improvisor and as an integrated part of the activity itself. A Somaesthetics of Performative Beauty—Tangoing Desire and Nostalgia will appeal to scholars and advanced students working in aesthetics, dance studies, performance studies, and related fields of artistic research. Chapter 6 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.




The Bloomsbury Handbook of Posthumanism


Book Description

As our ideas of the human have come under increasing challenges – from technological change, from medical advances, from the existential threat of climate crisis, from an ideological decentering of the human, amongst many other things – the 'posthuman' has become an increasingly central topic in the Humanities. Bringing together leading scholars from across the world and a wide range of disciplines, this is the most comprehensive available survey of cutting edge contemporary scholarship on posthumanism in literature, culture and theory. The Bloomsbury Handbook of Posthumanism explores: - Central critical concepts and approaches, including transhumanism, new materialism and the Anthropocene - Ethical perspectives on ecology, race, gender and disability - Technology, from data and artificial intelligence to medicine and genetics - A wide range of genres and forms, from literary and science fiction, through film, television and music, to comics, video games and social media.




Choreomata


Book Description

Is artificial intelligence (AI) becoming more and more expressive, or is human thought adopting more and more structures from computation? What does it mean to perform oneself through AI, or to construct one’s subjectivity through AI? How does AI continue to complicate what it means to have a body? Has the golden age of AI, especially with regards to creative applications, already ended? Choreomata: Performance and Performativity after AI is a book about performance and performativity, but more specifically, it is a book about the performance of artificiality and the performance of intelligence. Both humans and human-designed computational forces are thoroughly engaged in an entangled, mutual performance of AI. Choreomata spins up a latticework of interdisciplinary thought, pairing theoretical inquiry from philosophy, information theory, and computer science with practical case studies from visual art, dance, music, and social theory. Through cross-disciplinary proportions and a diverse roster of contributors, this book contains insights for computer scientists, social scientists, industry professionals, artists, and beyond.




Distributed Perception


Book Description

Who, what, and where perceives, and how? What are the sedimentations, inscriptions, and axiologies of animal, human, and machinic perception/s? What are their perceptibilities? Deleuze uses the word ‘visibilities’ to indicate that visual perception isn’t just a physiological given but cues operations productive of new assemblages. Perceptibilities are, by analogy, spatio-temporal, geolocative, kinaesthetic, audio-visual, and haptic operations that are always already memory. In the case of strong inscriptions, they are also epigenetic events. In physics, resonance is the tendency of a system to vibrate with increasing amplitudes at certain frequencies of excitation. In cybernetics and in theories of technology, it refers to systems’ feedback. In Native science, resonance denotes the axiology of positions and events. It’s a form of multi-species perception that emphasises emergent directionality and protean mnemonics. This transdisciplinary volume brings together key theorists and practitioners from media theory, Native science, bio-media and sound art, philosophy, art his- tory, and design informatics to examine: a) the becoming-technique of animal– human–machinic perceptibilities; and b) micro-perceptions that lie beneath the threshold of known perceptions yet create energetic vibrations. The volume shows distributed perception to be a key notion in addressing the emergence and peristence of plant, animal, human, and machine relations.




Our Grateful Dead


Book Description

An award-winning exploration of the presence of the dead in the lives of the living A common remedy after suffering the loss of a loved one is to progress through the “stages of grief,” with “acceptance” as the final stage in the process. But is it necessary to leave death behind, to stop dwelling on the dead, to get over the pain? Vinciane Despret thinks not. In her fascinating, elegantly translated book, this influential thinker argues that, in practice, people in all cultures continue to enjoy a lively, inventive, positive relationship with their dead. Through her unique storytelling woven from ethnographic sources and her own family history, Despret assembles accounts of those who have found ways to live their daily lives with their dead. She rejects the idea that one must either subscribe to “complete mourning” (in a sense, to get rid of the dead) or else fall into fantasy and superstition. She explores instead how the dead still play an active, tangible role through those who are living, who might assume their place in a family or in society; continue their labor or art; or thrive from a shared inheritance or an organ donation. This is supported by dreams and voices, novels, television and popular culture, the work of clairvoyants, and the everyday stories and activities of the living. For decades now, in the West, the dead have been discreet and invisible. Today, especially as a result of the Covid-19 pandemic, Despret suggests that perhaps we will be willing to engage with the dead in ways that bring us happiness despite our loss. Despret’s unique method of inquiry makes her book both entertaining and instructive. Our Grateful Dead offers a new, pragmatic approach to social and cultural research and may indeed provide compassionate therapy for those of us coping with death.




Bleak Joys


Book Description

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.