Aesthetics Philosophy

In this Very Short Introduction audiobook, the renowned philosopher Roger Scruton explores the concept of beauty, asking what makes an object - either in art, in nature, or the human form - beautiful and examining how we can compare differing judgments of beauty when it is evident all around us that our tastes vary so widely.

The Aesthetic Brain takes the listener on a wide-ranging journey through the world of beauty, pleasure, and art. Chatterjee uses neuroscience to probe how an aesthetic sense is etched in our minds and evolutionary psychology to explain why aesthetic concerns feature centrally in our lives. Along the way, Chatterjee addresses fundamental questions: What is beauty? Is beauty universal? How is beauty related to pleasure? What is art? Should art be beautiful? Do we have an instinct for art?

In this Very Short Introduction audiobook, Bence Nanay introduces the field of aesthetics, considering both Western and non-Western aesthetic traditions and exploring why it is sometimes misunderstood or considered to be too elitist - by artists, musicians, and even philosophers. As Nanay shows, so-called "high art" has no more claims on aesthetics than sitcoms, tattoos, or punk rock.

In his extraordinary new book, Alain de Botton explores the importance of buildings in our lives, pondering our attachment to our homes and considering such questions as: Why do people disagree about taste? Can beautiful surroundings make us good?

We live in an age of the mobile image. This recent kinetic revolution of the image has enormous consequences not only for the way we think about contemporary art and aesthetics but also for art history as well. Responding to this historical moment, Theory of the Image offers a fresh new theory and history of art from the perspective of this epoch-defining mobility. The image has been understood in many ways, but it is rarely understood to be fundamentally in motion.

An updated version of the seminal 1994 classic volume on the beauty of things imperfect, impermanent, and incomplete. Nearly every book with "wabi" or "wabi sabi" in the title is based on the concepts first elucidated in this book. Wabi-sabi is the quintessential Japanese aesthetic. It is a beauty of things imperfect, impermanent, and incomplete. It is a beauty of things modest and humble. It is a beauty of things unconventional....

More than a decade before the release of the book that would make him famous, Robert M. Pirsig had already caught hold of the central theme that would animate Zen and the Art of Motorcycle Maintenance. Though he was revered by fans who considered him a guru, the famously private Pirsig published only two books and consented to few interviews and almost no public appearances. Now, for the first time, listeners will be granted access to five decades of Pirsig’s personal writings in this posthumous collection that illuminates the evolution of his thinking to an unprecedented degree.

Wabi sabi (wah-bi sah-bi) is a captivating concept from Japanese aesthetics, which helps us to see beauty in imperfection, appreciate simplicity and accept the transient nature of all things. With roots in Zen and the way of tea, the timeless wisdom of wabi sabi is more relevant than ever for modern life, as we search for new ways to approach life's challenges and seek meaning beyond materialism.

Repulsive and yet strangely attractive, the gimmick is a form that can be found virtually everywhere in capitalism. It comes in many guises: a musical hook, a financial strategy, a striptease, a novel of ideas. Above all, acclaimed theorist Sianne Ngai argues, the gimmick strikes us both as working too little (a labor-saving trick) and as working too hard (a strained effort to get our attention).

Leo Tolstoy wrote prolifically in a series of essays and polemics on issues of morality, social justice and religion. These culminated in What Is Art?, published in 1898. Although Tolstoy perceived the question of art to be a religious one, he considered and rejected the idea that art reveals and reinvents through beauty. The works of Dante, Michelangelo, Shakespeare, Beethoven, Baudelaire, and even his own novels are condemned in the course of Tolstoy's impassioned and iconoclastic redefinition of art as a force for good; for the improvement of humankind.

Called "the sleeper hit of the publishing season" by The Boston Globe, Shop Class as Soulcraft became an instant best seller, attracting fans with its radical (and timely) reappraisal of the merits of skilled manual labor. On both economic and psychological grounds, author Matthew B. Crawford questions the educational imperative of turning everyone into a "knowledge worker," based on a misguided separation of thinking from doing.

In A Philosophical Enquiry, Edmund Burke sets out to define the nature of beauty and sublimity, and establish an objective criterion for discussing aesthetics. His definition of beauty as rooted in pleasure and sexuality, and the sublime in pain and survival, aligned him with the empiricists John Locke and David Hume, as he replaced the metaphysics of Plato's aesthetics with a psychological and physiological perspective.

Artists have learnt to pay attention. The rest of us spend most of our time on auto-pilot, rushing from place to place, our overfamiliarity blinding us to the marvellous, life-affirming phenomena of our world. But that doesn't have to be the case. In his typical engaging style, Will Gompertz takes us into the minds of artists - from contemporary stars to old masters, the well-known to the lesser-so, and from around the world - to show us how to look and experience the world with their heightened awareness.

In Praise of Shadows is an eloquent tribute to the austere beauty of traditional Japanese aesthetics. Through architecture, ceramics, theatre, food, women, and even toilets, Tanizaki explains the essence of shadows and darkness, and how they are able to augment beauty. He laments the heavy electric lighting of the West and its introduction to Japan, and shows how the artificial, bright, and polished aesthetic of the West contrasts unfavorably with the moody and natural light of the East.

"This is a declaration of war. In the name of our creator, we declare a revolutionary war against both the gods and those titans who were gods before them! In the name of our liberator, we declare a revolutionary war against fatalism and every other form of tyranny! We think from out of the end of all things, with an indomitable will to achieve either victory or a martyrdom that inspires enduring rebellion in those to whom we pass the torch of our example."

One of Nietzsche’s earliest works, The Birth of Tragedy (1872) is a remarkable source of inspiration. It is here that the philosopher expresses his frustration with the contemporary world and urges man to embrace Dionysian energy once more. He refutes European culture since the time of Socrates, arguing that it is one-sidedly Apollonian and prevents man from living in optimistic harmony with the sufferings of life.

Featuring an enlightening introduction by the book's translator, Michael T. H. Sadler, providing generational and cultural context for Kandinsky and his work, Concerning the Spiritual in Art gives testimony to the mind and creative expression of Kandinsky and other artists of his generation. This seminal and thought-provoking book exploring the heart of the artistic endeavor belongs in the library of every serious artist and student of modern art.

The book draws on history and sociology, and more personally on the author's early career as a professional cellist, as well as on his later work as a city planner and social thinker. It traces the evolution of performing spaces in the city; the emergence of actors, musicians, and dancers as independent artists; the inequality between performer and spectator; the uneasy relations between artistic creation and social and religious ritual; the uses and abuses of acting by politicians. The Janus-faced art of performing is both destructive and civilizing.

The idea that a small group of dedicated aspirants could work together to help dissipate the heavy enshrouding glamours which oppress humanity and deflect the light of truth, was initially quite a startling one. Spiritual progress has for so long held no meaning for the individual other than his own personal growth, that to consider spiritual experience in direct relation to world conditions is for many a revolutionary idea.

There is a cause, or a reason, behind everything that happens. This is the fundamental view behind the classical proposition the Principle of Sufficient Reason, which, in 1813, Schopenhauer chose as his subject for further examination in his doctoral dissertation On the Fourfold Root of the Principle of Sufficient Reason....