Michael Kelly

Black Art and Aesthetics comprises essays, poems, interviews, and over 50 images from artists and writers: GerShun Avilez, Angela Y. Davis, Thomas F. DeFrantz, Theaster Gates, Aracelis Girmay, Jeremy Matthew Glick, Deborah Goffe, James B. Haile III, Vijay Iyer, Isaac Julien, Benjamin Krusling, Daphne Lamothe, George E. Lewis, Sarah Elizabeth Lewis, Meleko Mokgosi, Wangechi Mutu, Fumi Okiji, Nell Painter, Mickaella Perina, Kevin Quashie, Claudia Rankine, Claudia Schmuckli, Evie Shockley, Paul C. Taylor, Kara Walker, Simone White, and Mabel O. Wilson. The stellar contributors practice Black aesthetics by engaging intersectionally with class, queer sexuality, female embodiment, dance vocabularies, coloniality, Afrodiasporic music, Black post-soul art, Afropessimism, and more. Black aesthetics thus restores aesthetics to its full potential by encompassing all forms of sensation and imagination in art, culture, design, everyday life, and nature and by creating new ways of reckoning with experience, identity, and resistance. Highlighting wide-ranging forms of Black aesthetics across the arts, culture, and theory, Black Art and Aesthetics: Relationalities, Interiorities, Reckonings provides an unprecedented view of a field enjoying a global resurgence. Black aesthetics materializes in communities of artists, activists, theorists, and others who critique racial inequities, create new forms of interiority and relationality, uncover affective histories, and develop strategies for social justice.

This book provides a phenomenological analysis of envy. The author's account takes a descriptive look at the whole experience of envy as it pertains to the envier's sense of self and the envied. Philosophical work on envy has predominately focused on how the envier perceives, thinks about, or schemes against the person envied. This book proposes a phenomenological analysis of envy that articulates its essentially comparative character according to which we can further incorporate the role of the envier. This approach offers a novel contribution in three ways. First, it develops a notion of two predominant ways in which envy expresses itself: one that is bad for the envied and the other that is bad for the envier. Second, it renews the traditional defense of the view that envy is bad or vicious. Third, it provides original phenomenological descriptions of differences between envy and covetousness, indignation, emulation, ressentiment, and jealousy. By drawing on literary sources and social scientific literature, the author provides concrete examples of the lived experience of an envier. A Phenomenological Analysis of Envy will appeal to researchers and advanced students working in ethics, moral psychology, phenomenology, and philosophy of emotion.

This essay contests the standard historical comparison that links Husserl’s account of time-consciousness to the tradition by way of Book XI of Augustine’sConfessions. This comparison rests on the mistaken assumption that both thinkers attribute the soul’s distention and corresponding apprehension of time to memory. While true for Augustine and Husserl’s 1905 lectures on time, Husserl concluded after 1907 that these lectures advanced the flawed and counter-intuitive position that memory extends perception. I will trace the shortcomings of Augustine’s and Husserl’s conflation of memory with perception. After developing Husserl’s maturely articulated distinction between memory and retention from 1911, I suggest chapters 10–14 of Aristotle’s Physics IV as a more apt anticipation of this second, more adequate half of the Husserlian story. A reconstruction of Aristotle’s definition of time as “the number of movement,” one that privileges the activity of “the mind pronouncing that the ‘nows’ are two,” intimates Husserl’s distinction between memory and retention. For Aristotle, the soul’s recognition of the ‘nows’ as two depends not on memory, but on the soul’s intentional activity of counting, itself dependent on the ability to, as Aristotle writes in his Metaphysics, “grasp mentally and [have] already grasped” at the same time.

This essay contests the standard historical comparison that links Husserl’s account of time-consciousness to the tradition by way of Book XI of Augustine’sConfessions. This comparison rests on the mistaken assumption that both thinkers attribute the soul’s distention and corresponding apprehension of time to memory. While true for Augustine and Husserl’s 1905 lectures on time, Husserl concluded after 1907 that these lectures advanced the flawed and counter-intuitive position that memory extends perception. I will trace the shortcomings of Augustine’s and Husserl’s conflation of memory with perception. After developing Husserl’s maturely articulated distinction between memory and retention from 1911, I suggest chapters 10–14 of Aristotle’s Physics IV as a more apt anticipation of this second, more adequate half of the Husserlian story. A reconstruction of Aristotle’s definition of time as “the number of movement,” one that privileges the activity of “the mind pronouncing that the ‘nows’ are two,” intimates Husserl’s distinction between memory and retention. For Aristotle, the soul’s recognition of the ‘nows’ as two depends not on memory, but on the soul’s intentional activity of counting, itself dependent on the ability to, as Aristotle writes in his Metaphysics, “grasp mentally and [have] already grasped” at the same time.

Noel Carroll’s A Philosophy of Mass Art is intended as a contribution to a “systematic” philosophy of mass art, but his more immediate aim is to clarify and criticize the principles and presuppositions that contemporary theorists bring—mistakenly, he argues—to their reflections on mass art. In a sense, Carroll offers to provide for the philosophy of mass art what he claims mass art can provide for morality, namely, clarificationism : “Logical argumentation and conceptual clarification are its major research tools”. The general result of this strategy is a classification of mass art that is ontological, as he explains what is unique about a mass artwork ; structuralist, as he claims there are common emotional, moral, and ideological structures of mass art ; and functionalist, as he argues that it is the function of mass art to be produced intentionally to be accessible to a mass audience. Moreover, Carroll’s ontological theory is essentialist, for he is committed to developing and defending “a series of necessary conditions that are jointly sufficient for calling something a mass artwork”. This commitment culminates in what he calls a “real” definition of a mass artwork, which is as follows

In this chapter, the author aims to make a case that Foucault does indeed have a viable conception of critical agency. The issue of critical agency emerges implicitly and explicitly throughout Foucault's work, but appears consistently. The key capacities of critical agency are present all along in Foucault's discussions of painting and, moreover, they culminate in the aesthetics of existence. The kind of critical agency evident in Foucault's discussions of various painters from the Renaissance to modern art can now be found in more explicit form in his conception of the aesthetics of existence, that is, in the various techniques or practices that individuals adopt to transform their lives ethically as if they were works of art.

When summarizing the findings of his 1896 Matter and Memory, Bergson claims: “That every reality has... a relation with consciousness—this is what we concede to idealism.” Yet Bergson’s 1896 text presents the theory of “pure perception,” which, since it accounts for perception according to the brain’s mechanical transmissions, apparently leaves no room for subjective consciousness. Bergson’s theory of pure perception would appear to render his idealistic concession absurd. In this paper, I attempt to defend Bergson’s idealistic concession. I argue that Bergson’s account of cerebral transmissions at the level of pure perception necessarily entails a theory of temporality, an appeal to a theory of time-consciousness that justifies his idealistic concession.

Are things ugly or are they just not beautiful? The answer to this and many other questions can be found in this encyclopedia, the first large-scale comprehensive English-language reference on aesthetics and destined to be a classic in the field. Drawing from experts in the areas of philosophy, art, history, psychology, feminist theory, legal theory, and many more, the encyclopedia presents 600 signed essays alphabetically arranged. Most entries include a headnote clarifying the topic. Entries range from the philosophical essay on ugliness, to the more reality-based article on the impact of AIDS on the arts. Comprehensive coverage includes key figures, concepts, periods, theories, and movements in the history of aesthetics."--"Outstanding Reference Sources: the 1999 Selection of New Titles", American Libraries, May 1999. Comp. by the Reference Sources Committee, RUSA, ALA.