Author: Thomas Hilgers File Type: pdf The notion of disinterestedness is often conceived of as antiquated or ideological. In spite of this, Hilgers argues that one cannot reject it if one wishes to understand the nature of art. He claims that an artwork typically asks a person to adopt a disinterested attitude towards what it shows, and that the effect of such an adoption is that it makes the person temporarily lose the sense of herself, while enabling her to gain a sense of the other. Due to an artworks particular wealth, multiperspectivity, and dialecticity, the engagement with it cannot culminate in the construction of world-views, but must initiate a process of self-critical thinking, which is a precondition of real self-determination. Ultimately, then, the aesthetic experience of art consists of a dynamic process of losing the sense of oneself, while gaining a sense of the other, and of achieving selfhood. In his book, Hilgers spells out the nature of this process by means of rethinking Kants and Schopenhauers aesthetic theories in light of more recent developments in philosophyspecifically in hermeneutics, critical theory, and analytic philosophyand within the arts themselvesspecifically within film and performance art. **Review Hilgers book is a major new contribution to a topic that is often too quickly dismissed in current debates about the nature of aesthetic experience, namely the historical and contemporary importance of the concept of disinterestedness. Jane Kneller, Colorado State University, USA About the Author Thomas Hilgers finished his dissertation in philosophy at the University of Pennsylvania in 2010. He was a research associate at the Free University Berlin for almost four years, and he currently is a research associate at the Academy of Arts Dusseldorf. Thomas Hilgers will be a research fellow at the Italian Academy at Columbia University in 20152016.

Author: Roy Ascott File Type: pdf A vital addition to the literature on art of the later twentieth century, in which Roy Ascott has played central roles as a major pioneer of interactive, telematic art and as an innovative educator. Ascotts visionary philosophy, grounded in science and technology as well as metaphysical thought, has profound implications for the digital era. Edward Shanken is the ideal guide through this material, and his lucid and insightful introductory essay will become the standard source on Ascotts work and the larger history of telematic art.--Linda Dalrymple Henderson, David Bruton, Jr., Centennial Professor in Art History and Distinguished Teaching Professor, University of Texas, AustinRoy Ascott has unerringly been a step ahead of the cultural shifts of his times. If cybernetics, interactivity, network culture, and telematics have an artistic edge today, it is because Ascott has been there first. This collection, edited and with a brilliant introduction by Edward Shanken, charts the evolution of Ascotts ideas, pedagogy, and artmaking, which continue to be a potent source of ideas for the future of art.--Roger Malina, Executive Editor of LeonardoAn admirable survey of the telematic arts and of Roy Ascotts extraordinary contributions to this art form. Thoroughly researched, this readable text is a valuable resource for initiating students into the realm of contemporary electronic arts and sciences by bridging the gap between the visual and media arts.--Peter dAgostino, Professor of Film and Media Arts and Director of the NewTechLab, Temple UniversityRoy Ascott is a leading artist and writer in the field of art and technology, and a collection of his writings is long overdue. Edward Shankens introduction addresses many issues relevant to contemporary culture, elucidating historical, social, and theoretical aspects of Ascotts work.--Eduardo Kac, Associate Professor of Art and Technology, School of the Art Institute of Chicago

Author: Elisabeth Schimpfössl File Type: pdf The lives of wealthy people have long held an allure to many, but the lives of wealthy Russians pose a particular fascination. Having achieved their riches over the course of a single generation, the top 0.1 percent of Russian society have become known for ostentatious lifestyles and tastes. Nevertheless, as Elisabeth Schimpfossl shows in this book, their stories reveal a bourgeois existence that is distinct in its circumstances and self-definition, and far more complex than the caricatures suggest. Rich Russians takes a deep and unprecedented look at this group their personal stories, trajectories, ideas about life and how they see their role and position both on top of Russian society as well as globally. These people grew up and lived through a historically unique period of economic turmoil and social change following the collapse of the Soviet Union. But when taken in a wider historical context, their lives follow a familiar path, from new money to respectable money parvenus becoming part of Society. Based on interviews with millionaires, billionaires, their spouses and children, Rich Russians concludes that, as a class, they have acquired all sorts of cultural and social resources which help consolidate their personal power. They have developed distinguished and refined tastes, rediscovered their family history, and begun actively engaging in philanthropy. Most importantly, they have worked out a narrative to justify why they deserve their elitist position in society - because of who they are and their superior qualities - and why they should be treated as equals by the West. This is a group whose social, cultural and political influence is likely to outlast any regime change. As the first book to examine the transformation of Russias former robber barons into a new social class, Rich Russians provides insight into how this nations newly wealthy tick. **

Author: Dean Vuletic File Type: pdf Postwar Europe and the Eurovision Song Contest examines how the Eurovision Song Contest has reflected and become intertwined with the history of postwar Europe from a political perspective. Established in 1956, the Eurovision Song Contest is the worlds largest popular music event and one of the most popular television programmes in Europe, currently attracting a global audience of around 200 million people. Eurovision is often mocked as cultural kitsch because of its over-the-top performances and frivolous song lyrics. Yet there is no cultural medium that connects Europeans more than popular music, the development of which has always been tied to cultural, economic, political, social and technological change making Eurovision the ideal tool to explain the history of Europe in the last sixty years. This book uses Eurovision as a vehicle to address topics ranging from the Cold War, liberal democracy and communism to nationalism, European integration, economic prosperity and human rights. It analyses these subjects through their cultural, political and social relationships with Eurovision entries as expressed through lyrics and music, as well as by examining public debates that have accompanied the selection of the entries and the organisation of the contest itself. Postwar Europe and the Eurovision Song Contest also considers how states have used Eurovision to define their identities in a European context, be it to assert their national distinctiveness, highlight political issues or affirm their Europeanism or Euroscepticism in the context of European integration. Based on original sources, including hitherto unpublished archival documents from international broadcasting organisations, this is a novel historical study of interest to anyone keen to know more about the postwar history of Europe and its cultural history in particular. **Review A fascinating insight into the history of Eurovision. It is accessibly written, draws on a wealth of archival material, and adds much to our understanding of European culture in the postwar period. * Robert James, Senior Lecturer in History, University of Portsmouth, UK * This is a terrific addition to the literature on music and international relations. Analyzing the history of what has become the biggest forum of collective voting in Europe, Dean Vuletic shows the janus-headed nature of the Eurovision Song Contest - a competition both apolitical and political at the same time. A must-read addition for students of musicology, international relations and history, and, really, anyone trying to understand the confusing attraction of Europes largest music show. * Jessica Gienow-Hecht, Chair of the Department of History, John F. Kennedy Institute for North American Studies, Freie Universitat Berlin, Germany * Overturning familiar assumptions about this apolitical celebration of pan-European values, Vuletic brings us a much-needed serious and thorough historical account of the Eurovision Song Contest from its founding in the mid-1950s to the present-day paradox of this international event with national limitations. A crucial read for anyone interested in the song contests deeper history and significance. * Ivan Raykoff, Associate Professor of Music, The New School, USA * About the Author Dean Vuletic is a historian of contemporary Europe. As a Lise Meitner Fellow in the Department of East European History at the University of Vienna, he leads the project Intervision Popular Music and Politics in Eastern Europe. As a Marie Sklodowska-Curie Fellow, he previously led the project Eurovision A History of Europe through Popular Music. He holds a doctorate in history from Columbia University, USA. He regularly comments on the Eurovision Song Contest in the international media.