Wardrobe stories: Sustainability and the everyday aesthetics of fashion consumption

Continuum ◽  
2021 ◽  
pp. 1-17
Author(s):  
Lisa Heinze
Keyword(s):  
Everyday Aesthetics ◽  
The Everyday

Clive Bell’s "Metaphysical Hypothesis" and Everyday Aesthetics

2021 ◽  
Vol 1 ◽  
pp. 53-60
Author(s):  
Thomas Leddy ◽  
Keyword(s):  
Everyday Life ◽  
Contemporary Art ◽  
Philosophy Of Art ◽  
Social Meaning ◽  
Surface Level ◽  
Everyday Aesthetics ◽  
The Everyday ◽  
Deep Meaning ◽  
Definition Of ◽  
Formal Properties

Clive Bell’s Art, published in 1913, is widely seen as a founding document in contemporary aesthetics. Yet his formalism and his attendant definition of art as “significant form” is widely rejected in contemporary art discourse and in the philosophy of art. In this paper I argue for a reconsideration of his thought in connection with current discussions of “the aesthetics of everyday life.” Although some, notably Allen Carlson, have argued against application of Bell’s formalism to the aesthetics of everyday life, I claim that this is based on an interpretation of the concept that is overly narrow. First, Li Zehou offers an interpretation of “significant form” that allows in sedimented social meaning. Second, Bell himself offers a more complex theory of significant form by way of his “metaphysical hypothesis,” one that stresses perception of significant form outside the realm of art (for example in nature or in everyday life). Bell’s idea that the artist can perceive significant form in nature allows for significant form to not just be the surface-level formal properties of things. It stresses depth, although a different kind than the cognitive scientific depth Carlson wants. This is a depth that is consistent with the anti-dualism of Spinoza, Marx and Dewey. Reinterpreting Bell in this direction, we can say we are moved by certain relations of lines and colors because they direct our minds to the hidden aspect of things, the spiritual side of the material world referred to by Spinoza and developed by Dewey in his concept of experience. Bell hardly “reduces the everyday to a shadow of itself,” as Carlson puts it, since the everyday, as experienced by the artist or the aesthetically astute observer, has, or potentially has, deep meaning. If we reject Bell’s dualism and his downgrading of sensuous experience, we can rework his idea of pure form to refer to an aspect of things detached, yes, from practical use, but not from particularity or sedimented meaning, not purified of all associations.

Everyday Style

2017 ◽  
Author(s):  
Alison Taylor
Keyword(s):  
Case Studies ◽  
Subject Matter ◽  
Detailed Case ◽  
Everyday Aesthetics ◽  
The Everyday ◽  
Film Style ◽  
Positive Representations ◽  
Aesthetic Sensibility ◽  
The Way

Where chapter two deals with ordinary moments in extraordinary films, chapter three explores another aspect of the spectrum of the everyday in cinema: the concept of the everyday as a film style, and its relationship to the everyday as subject matter. This chapter examines the way the everyday as film style has been theorised—predominately as an aesthetic sensibility that privileges the undramatic and routine as a conduit to the profound or transcendent. Chapter three asserts that while this scholarship has been useful in illuminating positive representations of the everyday, its attempts to quarantine the everyday from the dramatic are problematic and ultimately reductive. Instead, through detailed case studies of Bresson’s Money (1983) and Haneke’s The Seventh Continent (1989), the chapter presents an alternate approach that allows for a more nuanced appreciation of everyday aesthetics, allowing for films which do not treat the everyday as strictly positive. These films are unsettling precisely for their lack of authorial guidance on how to respond to horrific narrative events; film style is pared back in such a way that moments of violence are afforded the same aesthetic weight as the representation of ordinary and mundane routines.

scholarly journals Everyday Aesthetics, Locality and Racialisation

2020 ◽  
pp. 174997552094942
Author(s):  
Andrew Smith ◽  
Bridget Byrne ◽  
Lindsey Garratt ◽  
Bethan Harries
Keyword(s):  
Qualitative Research ◽  
Social Relations ◽  
Aesthetic Responses ◽  
Order And Disorder ◽  
The Social ◽  
Everyday Aesthetics ◽  
The Everyday ◽  
Local Space ◽  
The Relationship ◽  
Made In

In this essay we reflect on the relationship between aesthetic practices and racialised conceptions of belonging. In particular, we explore attributions of beauty and ugliness, order and disorder, as these are made in relation to local space, and we consider how these attributions can be linked to proprietorial claims about who is welcome in those spaces. Our focus is thus on the everyday aesthetics of location: the ways in which aesthetic judgements are tied to the inhabitation of space and, in this case, the exclusionary potential of ‘ways of looking’ at such spaces and at the social relations which exist within them. Drawing on data from qualitative research in two adjoining neighbourhoods in Glasgow’s Southside, we make three analytical contributions. First, we consider the racialising potential of everyday aesthetic responses to local space. Second, we explore the ways in which local social relations themselves can be aesthetically interpreted. Third, we reflect on forms of everyday aesthetic resistance.

scholarly journals Towards an expansive object and a restrictive experience in Everyday Aesthetics: A Chestertonian metaxological approach

Kepes ◽  
2021 ◽  
Vol 18 (24) ◽  
pp. 197-231
Author(s):  
Miguel A. Romero-Ramírez ◽  
Duncan Reyburn
Keyword(s):  
Aesthetic Experience ◽  
Daily Life ◽  
The Self ◽  
Third Way ◽  
Original Intention ◽  
Everyday Aesthetics ◽  
The Everyday ◽  
The Subject ◽  
The Aesthetic ◽  
The One

This article proposes to resolve an internal ambiguity in the subdiscipline called Everyday Aesthetics (EA), systematized by the researcher Horacio Pérez-Henao, according to whom the extension of aesthetics to the everyday has been done, on the one hand, by means of a consideration of an expansive object and subject according to aesthesis itself, as mainly proposed by Katya Mandoki, and, on the other hand, by means of a restrictive object and subject according to the parameters of an authentic aesthetic experience, a theory headed by John Dewey. Methodology: To resolve this tension, a hermeneutic methodology known as the fourfold sense of being, related to Hegelian dialectic, albeit with important modifications supplied by William Desmond was used. This methodology allows a suitable way to explore and discuss different approaches in everyday aesthetics epitomized by Mandoki and Dewey, and makes possible the proposal of a third way, epitomized by G. K. Chesterton. Results: Bearing in mind the original intention of EA—according to which the everyday must be revitalized from an aesthetic perspective, as explained by Joseph Kupfer, it is argued that the two alternate positions of Mandoki and Dewey are unsatisfactory; an attempt is therefore made to respond to this through the analysis of the aesthetic approach of G. K. Chesterton. From his aesthetic reflections, it can be ascertained that to revitalize daily life, the object must be expansive and the subject, restrictive, from a certain méthodos and according to patterns that qualify an everyday aesthetic experience. All of this seeks to pave the way for subsequent investigations of EA being both expansive and restrictive. Finally, it is argued that this Chestertonian EA converges with and extends the aesthetics of design of Jane Forsey, and thus shows that design itself can be revitalized in keeping with a restrictiveexpansive approach to everyday aesthetics. Conclusion: aesthetics should be expansive every day, in that it should concern itself with any aspect of daily life, and restrictive, in that it should set certain limits on the self and its intentions with regard to the possibilities of aesthetic experience.

scholarly journals The Everyday Aesthetics of Public Space

2019 ◽  
pp. 75-89
Author(s):  
Mateusz Salwa
Keyword(s):  
Public Space ◽  
Aesthetic Experience ◽  
Theoretical Perspective ◽  
Main Claim ◽  
Aesthetic Quality ◽  
Everyday Objects ◽  
Everyday Aesthetics ◽  
The Everyday ◽  
The Aesthetic ◽  
A Site

The main claim of the article is that everyday aesthetics conceived as a philosophical analysis of everyday objects and situations offers a theoretical perspective that may be applied to the aesthetics of public space. Analysed in aesthetic terms, the public space may be thought to be a space that offers an aesthetic experience to the widest possible public. I contend that the aesthetic quality of public space should be a quality that favours positive experiences of the everyday, banal practices taking place in it. Accordingly, designing public space should consist in making it “everyday experience-friendly.” My argument will be illustrated by the example of a site-specific installation, the Oxygenator, created in Warsaw by Joanna Rajkowska, whose intention was to offer people an ordinary place where they could meet in a “healthy atmosphere.”

Video Games and Emotion Regulation

GeroPsych ◽  
2018 ◽  
Vol 31 (4) ◽  
pp. 205-213 ◽  
Author(s):  
Kathryn L. Ossenfort ◽  
Derek M. Isaacowitz
Keyword(s):  
Older Adults ◽  
Emotion Regulation ◽  
Video Games ◽  
Age Differences ◽  
Interactive Media ◽  
Age Groups ◽  
Younger Adults ◽  
Media Usage ◽  
The Everyday ◽  
Media Preferences

Abstract. Research on age differences in media usage has shown that older adults are more likely than younger adults to select positive emotional content. Research on emotional aging has examined whether older adults also seek out positivity in the everyday situations they choose, resulting so far in mixed results. We investigated the emotional choices of different age groups using video games as a more interactive type of affect-laden stimuli. Participants made multiple selections from a group of positive and negative games. Results showed that older adults selected the more positive games, but also reported feeling worse after playing them. Results supplement the literature on positivity in situation selection as well as on older adults’ interactive media preferences.

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