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Books on the topic 'Aesthetic Light'

Author: Grafiati
Published: 4 June 2021
Last updated: 9 February 2022

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1

Monica, Elman, Ullmann Yehuda, and SpringerLink (Online service), eds. Aesthetic Applications of Intense Pulsed Light. London: Springer-Verlag London Limited, 2011.

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2

Fodor, Lucian, Yehuda Ullman, and Monica Elman. Aesthetic Applications of Intense Pulsed Light. London: Springer London, 2011. http://dx.doi.org/10.1007/978-1-84996-456-2.

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3

Fodor, Lucian, and Yehuda Ullmann, eds. Aesthetic Applications of Intense Pulsed Light. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-22829-3.

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4

Fleming, Bruce E. Disappointment or the light of common day. Lanham, Md: University Press of America, 2006.

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5

Sedlmayr, Hans. La luce nelle sue manifestazioni artistiche. [Palermo]: Centro internazionale studi di estetica, 1985.

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6

Skweres, Artur. McLuhan’s Galaxies: Science Fiction Film Aesthetics in Light of Marshall McLuhan’s Thought. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-04104-5.

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7

Disappointment, or, The light of common day. Lanham, MD: University Press of America, 2006.

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8

Light moving in time: Studies in the visual aesthetics of avant-garde film. Berkeley: University of California Press, 1992.

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9

M, Jacobs James. A piercing light: Beauty, faith, and human transcendence. Washington, DC: American Maritain Association, 2015.

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10

"A certain slant of light": Aesthetics of first-person narration in Gide and Cather. New York: Garland, 1985.

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11

Thomson, Alexander. The light of truth and beauty: The lectures of Alexander 'Greek' Thomson, architect, 1817-1875. Glasgow: Alexander Thomson Society, 1999.

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12

From light to byte: Toward an ethics of digital cinema. Minneapolis: University of Minnesota Press, 2012.

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13

Guérard, Carlos Kjell. Beethoven and the archetypal light: A unique multidisciplinary insight into the composer's process. [Raleigh, N. C: Lulu], 2007.

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14

Arnheim, Rudolf. Parables of sun light: Observations on psychology, the arts, and the rest. Berkeley: University of California Press, 1989.

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15

D'Aloia, Adriano. Neurofilmology of the Moving Image. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463725255.

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A walk suspended in mid-air, a fall at breakneck speed towards a fatal impact with the ground, an upside-down flip into space, the drift of an astronaut in the void… Analysing a wide range of films, this book brings to light a series of recurrent aesthetic motifs through which contemporary cinema destabilizes and then restores the spectator’s sense of equilibrium. The ‘tensive motifs’ of acrobatics, fall, impact, overturning, and drift reflect our fears and dreams, and offer imaginary forms of transcendence of the limits of our human condition, along with an awareness of their insurmountable nature. Adopting the approach of ‘Neurofilmology’—an interdisciplinary method that puts filmology, perceptual psychology, philosophy of mind, and cognitive neuroscience into dialogue—, this book implements the paradigm of embodied cognition in a new ecological epistemology of the moving-image experience.
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16

Dasgupta, Subhoranjan. Dialects and Dreams: An evaluation of Bishnu Dey's poetry in the light of neo-Marxian aesthetics. Wiesbaden: Steiner, 1987.

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17

Dasgupta, Subhoranjan. Dialectics and dream: An evaluation of Bishnu Dey's poetry in the light of neo-Marxian aesthetics. Stuttgart: Steiner Verlag Wiesbaden, 1987.

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18

Green light: Toward an art of evolution. Cambridge, Mass: MIT Press, 2010.

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19

Hebdige, Dick. Hiding in the light: On images and things. London: Methuen, 1988.

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20

Hiding in the light: On images and things. London: Routledge, 1988.

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21

Hiding in the light: On images and things. London: Comedia, 1987.

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22

On the origin of beauty: Ecophilosophy in the light of traditional wisdom. Bloomington, Ind: World Wisom, 2011.

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23

Michael, Mayer. Altes Licht und die Krankheit der Bilder: Versuche zur Techno-Logik des Imaginären. Essen: Verlag Die Blaue Eule, 1990.

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24

Erfurt, Kunsthalle, ed. KunstLichtSpiele: Lichtästhetik der klassischen Avantgarde. Bielefeld: Kerber, 2009.

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25

Sass, Louis Arnorsson. Madness and modernism: Insanity in the light of modern art, literature, and thought. Cambridge, Mass: Harvard University Press, 1994.

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26

Fodor, Lucian, Monica Elman, and Yehuda Ullmann. Aesthetic Applications of Intense Pulsed Light. Springer, 2011.

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27

Fodor, Lucian, and Yehuda Ullmann. Aesthetic Applications of Intense Pulsed Light. Springer, 2019.

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28

Fodor, Lucian, Monica Elman, and Yehuda Ullmann. Aesthetic Applications of Intense Pulsed Light. Springer, 2016.

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29

Tapestry of Light: Aesthetic Afterlives of the Cultural Revolution. BRILL, 2014.

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30

Seizing the Light: A Social and Aesthetic History of Photography. Taylor & Francis Group, 2017.

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31

Seizing the Light: A Social and Aesthetic History of Photography. Taylor & Francis Group, 2017.

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32

Shine: The Visual Economy of Light in African Diasporic Aesthetic Practice. Duke University Press Books, 2015.

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33

Thompson, Krista A. Shine: The Visual Economy of Light in African Diasporic Aesthetic Practice. Duke University Press, 2015.

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34

Shine: The Visual Economy of Light in African Diasporic Aesthetic Practice. Duke University Press Books, 2015.

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35

Whitesell, Lloyd. Tricks of the Light. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190843816.003.0008.

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This chapter turns to the other side of the coin—the failure of magical belief. Glamour conjures up a transfigured counter-reality and acts as a bridge to that imagined existence. But the entire symbolic edifice is built on fancy and prone to collapse, with reality reasserting itself and dragging us back from our projection into the dreamworld. Many film musicals warn against glamour as mystification or deceit. Four types of examples are discussed, each skeptical in a different way (joking, haunted, wishful, manipulative). Concluding discussion shows how the musical genre has affinities with the hybrid aesthetic of “magical realism.” The incorporation of a realistic dimension into the discourse of musical fantasy preserves an external vantage point for critical reflection—a demystifying impulse in tension with glamour’s mystique.
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36

Saito, Yuriko. The Power of Everyday Aesthetics in World-Making. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199672103.003.0007.

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This chapter argues for the importance of cultivating aesthetic literacy and vigilance, as well as practicing aesthetic expressions of moral virtues. In light of the considerable power of the aesthetic to affect, sometimes determine, people’s choices, decisions, and actions in daily life, everyday aesthetics discourse has a social responsibility to guide its power toward enriching personal life, facilitating respectful and satisfying interpersonal relationships, creating a civil and humane society, and ensuring the sustainable future. As an aesthetics discourse, its distinct domain unencumbered by these life concerns needs to be protected. At the same time, denying or ignoring the connection with them decontextualizes and marginalizes aesthetics. Aesthetics is an indispensable instrument for assessing and improving the quality of life and the state of the world, and it behooves everyday aesthetics discourse to reclaim its rightful place and to actively engage with the world-making project.
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37

Saito, Yuriko. Aesthetics of the Familiar. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199672103.001.0001.

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Everyday aesthetics was recently proposed as a challenge to the contemporary Anglo-American aesthetics discourse dominated by the discussion of art and beauty. This book responds to the subsequent controversies regarding the nature, boundary, and status of everyday aesthetics and argues for its legitimacy. Specifically, its discussion highlights the multifaceted aesthetic dimensions of everyday life that are not fully accounted for by the commonly held account of defamiliarizing the familiar. Instead, the appreciation of the familiar as familiar, negative aesthetics, and the experience of doing things are all included as being worthy of investigation. These diverse ways in which aesthetics is involved in everyday life are explored through conceptual analysis as well as by application of specific examples from art, environment, and household chores. The significance of everyday aesthetics is also multi-layered. This book emphasizes the consequences of everyday aesthetics beyond the generally recognized value of enriching one’s life experiences and sharpening one’s attentiveness and sensibility. Many examples, ranging from consumer aesthetics and nationalist aesthetics to environmental aesthetics and cultivation of moral virtues, demonstrate that the power of aesthetics in everyday life is considerable, affecting and ultimately determining the quality of life and the state of the world, for better or worse. In light of this power of the aesthetic, everyday aesthetics has a social responsibility to encourage cultivation of aesthetic literacy and vigilance against aesthetic manipulation. Ultimately, everyday aesthetics can be an effective instrument for directing humanity’s collective and cumulative world-making project for the betterment of all its inhabitants.
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38

Saito, Yuriko. Conclusion. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199672103.003.0008.

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One mission of everyday aesthetics is to unearth hidden potentials behind the façade of ordinariness that makes up our daily lives. The art of living includes cultivating a capacity and sensibility to shed light on the all-too-familiar and to be able to derive a fresh aesthetic experience. Enriching individual lives in this way is one important role of everyday aesthetics....
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39

Leslie, Thomas. Steel, Light, and Style: The Concealed Frame, 1905–1918. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037542.003.0007.

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This chapter describes major structures built from 1905 to 1918, many of which used more solid curtain walls that reflected the ability of electric lighting and mechanical ventilation to replace thermally inefficient (and increasingly expensive) plate glass windows. Tenants gradually abandoned older buildings with slower elevators, smaller offices, and darker corridors for newer, more efficient buildings. “Old Chicago is being torn down,” one journalist reported in 1910, “and new Chicago erected in its place.” The Calumet, first Insurance Exchange (at LaSalle and Adams), Rand–McNally, and the Opera House—all major achievements in the 1880s—were demolished between 1910 and 1913. They were replaced by buildings aimed at tenants seeking greater efficiency, comfort, and pretense. The combined push of material conditions and pull of aesthetic desire influenced the symmetrical compositions, massive solid appearances, and antique ornamental choices for buildings, eventually precipitating a dominant design formula that would inform skyscrapers for a generation.
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40

Lopes, Dominic McIver. Being for Beauty. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198827214.001.0001.

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One question that leads us into aesthetics is: why does beauty matter? Or, what do aesthetic goods bring to my life, to make it a life that goes well? Or, how does beauty deserve the place we have evidently made for it in our lives? A theory of aesthetic value states what beauty is so as to equip us to answer this question. According to aesthetic hedonism, aesthetic values are properties of items that stand in constitutive relation to pleasure. Contemporary versions of aesthetic hedonism don’t explain what makes aesthetic values aesthetic, but they do explain what makes them normative, stating what makes it the case that aesthetic value facts lend weight to what an agent should do, for the fact that acting yields pleasure is always a reason to act. This book introduces and defends an alternative to aesthetic hedonism. According to the network theory, aesthetic value facts lend weight to its being an achievement for an agent to act. Since agents achieve by acting in coordination with one another, the theory takes seriously the sociality of aesthetic activity. The main argument for the network theory is that it better explains six facts about aesthetic activity than does aesthetic hedonism. The book also discusses the relationship between aesthetic value and pleasure, the point and distinctive character of aesthetic discourse, and the metaphysics of aesthetic value. Two final chapters use the network theory to shed light on how aesthetic value matters to us as individuals and as members of collectives.
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41

Lopes, Dominic McIver. Aesthetics on the Edge. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198796657.001.0001.

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Recent years have seen an explosion of research on the biological, neural, and psychological foundations of artistic and aesthetic phenomena, which had previously been the province of the social sciences and the humanities. Meanwhile, it is a boom time for meta-philosophy, many new methods have been adopted in aesthetics, and philosophers are tackling the relationship between empirical and theoretical approaches to aesthetics. These eleven essays propose a methodology especially suited to aesthetics, where problems in philosophy are addressed principally by examining how aesthetic phenomena are understood in the human sciences. Since the human sciences include much of the humanities as well as the social, behavioural, and brain sciences, the methodology promises to integrate arts research across the academy. The volume opens with four essays outlining the methodology and its potential. Subsequent essays put the methodology to work, shedding light on the perceptual and social-pragmatic capacities that are implicated in responding to works of art, especially images, but also music, literature, and conceptual art.
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42

Hogh-Olesen, Henrik. Opening the Doors of Aesthetics. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190927929.003.0011.

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Chapter 10 concludes with showing the strength and limitations of the approach presented in this book, in a discussion that highlights the differences between a classic humanistic approach and an evolutionary, behavioral approach. The aim is not to move aesthetics from the humanities and into behavioral psychology and other sciences. On the contrary, the aesthetic field is a house with many doors, and you will need several keys to open them. However, aesthetics and art are also behavior. They are something our species does, and that is why behavioral sciences were prioritized. Furthermore, with behavioral and evolutionary psychology as tools, we can really shine an extensive and important light on the big Why of art and aesthetics.
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43

Aesthetics of Atmospheres. Taylor & Francis Group, 2016.

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44

Seitler, Dana. Reading Sideways. Fordham University Press, 2019. http://dx.doi.org/10.5422/fordham/9780823282623.001.0001.

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This book explores the pivotal role that various art forms played in American literary fiction in direct relation to the politics of gender and sexuality at the turn of the twentieth century. It tracks the transverse circulation of aesthetic ideas in fiction and argues that at stake in fin-de-siècle American writers’ aesthetic turn was not only the theorization of aesthetic experience, but also a fashioning forth of an understanding of aesthetic form in relation to political arguments and debates about available modes of sociability and cultural expression. To track these practices it performs an interpretive method Seitler calls “lateral reading,” a mode of interpretation that moves horizontally through various historical entanglements and across the fields of the arts to make sense of, and see in a new light, their connections, challenges, and productive frictions.
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45

Jarjour, Tala. Ḥasho. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190635251.003.0008.

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THIS CHAPTER begins by explaining the emotion of huzn, sadness, as a religious aesthetic, then presents ḥasho within canonical liturgical practice. It also explains ḥasho as an emotion to which aesthetic value is inherent, and that understanding it as such sheds light on its conception as a musical mode. The aim is to inform a thinking in which music modality might better be understood through the aesthetic indexing of emotional value. Through a combined musical and ethnographic analysis of music theory on ḥasho and of its employment in the commemoration of the crucifixion, ḥasho emerges as more than a mode or a time; it is a social emotion that marks a spiritual space. Building on previous chapters, this final chapter demonstrates the intricate connections between music modality and modes of emotionality. In ḥasho, the two meet, intersecting through the aesthetic, in an experiential conception of modality that negotiates the complexities of feeling and judging, of sensing and sense making.
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46

Kinderman, William. Aesthetics of Integration in Mahler’s Fifth Symphony. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037160.003.0004.

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This chapter examines the intermovement connections of the final two movements in Mahler's Fifth Symphony—the Adagietto and the Rondo-Finale. It shows how the questions of aesthetic meaning and biographical context raised by the Adagietto are complicated by the fact that the finale of the Fifth Symphony has generated its own share of controversy since the appearance in 1960 of Theodor Adorno's classic study Mahler: Eine musikalische Physiognomik. The chapter studies these paired final movements of the Fifth Symphony and explores the nature of their interrelationship. It then assesses Mahler's techniques of integration in light of the influence on his style of Bach and Wagner as well as his interest in the aesthetics of polarity as articulated by one of his favorite writers, Jean Paul. In this context, the chapter returns to Adorno's conviction that “brokenness” is the key to Mahler's music.
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47

Lavery, Grace E. Quaint, Exquisite. Princeton University Press, 2019. http://dx.doi.org/10.23943/princeton/9780691183626.001.0001.

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From the opening of trade with Britain in the 1850s, Japan occupied a unique and contradictory place in the Victorian imagination, regarded as both a rival empire and a cradle of exquisite beauty. This book explores the enduring impact of this dramatic encounter, showing how the rise of Japan led to a major transformation of Western aesthetics at the dawn of globalization. The book provides a radical new genealogy of aesthetic experience in modernity. It argues that the global popularity of Japanese art in the late nineteenth century reflected an imagined universal standard of taste that Kant described as the “subjective universal” condition of aesthetic judgment. It features illuminating cultural histories of Gilbert and Sullivan's Mikado, English derivations of the haiku, and retellings of the Madame Butterfly story, and sheds critical light on lesser-known figures such as Winnifred Eaton, an Anglo-Chinese novelist who wrote under the Japanese pseudonym Onoto Watanna, and Mikimoto Ryuzo, a Japanese enthusiast of the Victorian art critic John Ruskin. It also explains the importance and symbolic power of such material objects as W. B. Yeats's prized katana sword and the “Japanese vellum” luxury editions of Oscar Wilde. The book provides essential insights into the modern understanding of beauty as a vehicle for both intimacy and violence, and the lasting influence of Japanese forms today on writers and artists such as Quentin Tarantino.
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48

Galvin, Rachel. Flesh Made Word. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190623920.003.0002.

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This chapter argues that César Vallejo’s engagement with journalism is crucial for comprehending the aesthetics and politics of his Spanish Civil War poetry, although this connection is often overlooked. Reading across genres brings to light Vallejo’s commitment to self-questioning as an ethical gesture in his war poems. It illuminates the idiosyncratic, dialectical poetics he developed to unite Catholicism and Marxism, lyric and epic, and poetry and news. Beyond his poetry’s political exhortation, which has received emphasis from scholars, its graphic portrayals of the relation between war death and the production of literature dramatizes the ethical and aesthetic problems inherent in transforming soldiers’ experiences into poetic material. This chapter contends that España, aparta de mí este cáliz is a meta-rhetorical reflection on its own conditions of articulation. This chapter sets the stage for those to follow, delineating issues that also motivate other civilian poets to employ meta-rhetoric in their war writing.
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49

Jarjour, Tala. Eight Old Syriac Modes. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190635251.003.0003.

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This chapter scrutinizes conceptions of modality in relation to emotionality and aesthetics by addressing written forms of knowledge on the eight ecclesiastical modes in Syriac chant. It begins by presenting basic terms in existing discourses on the subject, then it examines a number of written sources (touching on issues relevant to orientalism and European musicology). The chapter develops a critical narrative on the concept of mode in three ways. First, it extracts from written tracts on the subject information that corresponds with the author’s ethnographic observation of living practice. Second, it dissects the concept of mode in Syriac music scholarship by tracking its sources and employment. Third, it brings to light the significance of perception and experience as they coincide in inherited knowledge in this aural tradition. In showing at once the presence and the absence of physical and metaphysical thinking in these writings, the chapter brings the notion of spirituality to the study of emotion and the aesthetic.
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50

Günther, Christoph, and Simone Pfeifer, eds. Jihadi Audiovisuality and its Entanglements. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474467513.001.0001.

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This volume situates jihadi audio-visual media within a global communicative web, and provides perspectives that relate the production and dissemination of jihadi images and sound to various forms of engagement and appropriation. Through 12 case studies, this book examines the different ways in which Jihadi groups and their supporters use visualisation, sound production and aesthetic means to articulate their cause in online as well as offline contexts and how different actors relate to these media. Divided into four thematic sections, the chapters probe Jihadi appropriation of traditional and popular cultural expressions and show how, in turn, political activists appropriate extremist media to oppose and resist the propaganda. By conceptualising militant Islamist audio-visual productions as part of global media aesthetics and practices, the authors shed light on how religious actors, artists, civil society activists, global youth, political forces, security agencies and researchers engage with mediated manifestations of Jihadi ideology to deconstruct, reinforce, defy or oppose the messages.
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