This book reflects the most recent research devoted to a systematized perspective and a critical (re)construction of previous theoretical attempts of explaining, justifying and continuing Kuhn’s ingenious hypothesis in arts. Hofstadter, Clignet and Habermas revealed to be the most engaged scholars in solving this aesthetic "puzzled-problem". In this context, the structural similarities between science and arts are attentively evaluated, thus satisfying an older concern attributed to the historical Kuhn-Kubler dispute, extensively commented along the pages of this book. How can we track the matter of rationality and truth in art and aesthetics, inspired by scientific perspectives? Are artistic styles similar to scientific paradigms? Are we entitled to pursue paradigms and masterpieces as rational models in science, respectively in arts? On what possible grounds can we borrow from science notions such as progress and predictability, in the study of the evolution of art and its aesthetic backgrounds? Are the historical dynamics of science and art affected by political factors in the same manner? This book will be of interest to philosophers, but also to historians of science and historians of art alike in the reassessment it provides of recent debates on reshaping the art world using Kuhn's "paradigm shift".

This edited collection examines alternative or entangled modernities as competitive narratives that blend ethics, aesthetics, and critical thinking to depict the human condition. It includes chapters covering the rivalry between scientific and aesthetic revolutions; contemporary trends in postmodernity; and study-cases on visual arts and cinema. The collection applies a philosophical view of visual arts and cinema, and competitive narratives of (post)modernity that arise from ethics and aesthetics as complementary fields. Key audiences for the book are students, PhD candidates, and scholars from the field of philosophy, aesthetics and cultural studies. This volume emerges from contributions held at the International Conference Rethinking Modernity: Transitions and Challenges, organized by the Research Center for the History and Circulation of Philosophical Ideas of the University of Bucharest.

Inspired by Bourdieu’s thought, this book explores the notion of cultural capital, offering insights into its various definitions, its evolution and the critical theories that engage with it. Designed for use by students and teachers, it addresses the limitations and expansion of Bourdieu's theory of capital and power, considering the relationship between cultural, social and human capital, the distinctions between capital and capitalism, and the conflicts that exist among theories that have emerged in response to – or can be brought to bear on – Bourdieu’s work. Engaging with the thought of Max Weber, Fernand Braudel, Daniel Bell, Herbert Marcuse, Jean Baudrillard, Theodore Adorno, Max Horkheimer and Gilles Lipovetsky, Cultural Capital and Creative Communication represents the first book to develop a field of research and study that is devoted to cultural capital. Richly illustrated with empirical examples and offering assessment exercises, it will appeal not only to scholars and students of sociology, philosophy and social theory, but also to corporate communities who seek to develop training modules on the increase of their cultural capital.

The first systematic study of the aesthetic evaluations that scientists pass on their theories.

Taking in hand the current "discovery" that we can listen to the cosmos, Andrew Hicks argues that sound-and the harmonious coordination of sounds, sources, and listeners-has always been an integral part of the history of studying the cosmos. In Composing the World, Hicks presents a narrative tour through medieval Platonic cosmology with reflections on important philosophical movements along the way. The book will resonate with a variety of readers, and it encourages us to rethink the role of music and sound within our greater understanding of the universe.

This collection examines key aesthetic avant-garde art movements of the twentieth century and their relationships with revolutionary politics. The contributors distinguish aesthetic avant-gardes —whose artists aim to transform society and the ways of sensing the world through political means—from the artistic avant-gardes, which focus on transforming representation. Following the work of philosophers such as Friedrich Schiller and Jacques Rancière, the contributors argue that the aesthetic is inherently political and that aesthetic avant-garde art is essential for political revolution. In addition to analyzing Russian constructivsm, surrealism, and Situationist International, the contributors examine Italian futurism's model of integrating art with politics and life, the murals of revolutionary Mexico and Nicaragua, 1960s American art, and the Slovenian art collective NSK's construction of a fictional political state in the 1990s. Aesthetic Revolutions and Twentieth-Century Avant-Garde Movements traces the common foundations and goals shared by these disparate arts communities and shows how their art worked towards effecting political and social change. Contributors. John E. Bowlt, Sascha Bru, David Craven, Aleš Erjavec, Tyrus Miller, Raymond Spiteri, Miško Šuvakovic

Although Thomas Kuhn and Karl Popper debated the nature of science only once, the legacy of this encounter has dominated intellectual and public discussions on the topic ever since. Kuhn's relativistic vision of science as just another human activity, like art or philosophy, triumphed over Popper's more positivistic belief in revolutionary discoveries and the superiority of scientific provability. Steve Fuller argues that not only has Kuhn's dominance had an adverse impact on the field but both thinkers have been radically misinterpreted in the process.