Versatile, trendy, and resilient, the global cosmetic surgery industry shows no signs of decline, especially with its promises, not just of aesthetic improvement, but of absolute transformation. Introducing the concept of "surface imagination," Rachel Hurst discusses the fantasy that a change to the exterior will enhance the interior, or that the outside is more significant because it fashions the inside. Drawing on psychoanalysis, feminist theory, popular culture, the history of medicine, and interviews with women who have undergone cosmetic procedures, Hurst explores the tensions between the two primary surfaces of cosmetic surgery: the photograph and the skin. The photograph, an idealized surface for envisioning the effects of cosmetic surgery, allows for speculation and retouching, predictably and without pain. The skin, on the other hand, is a recalcitrant surface that records the passage of time and heals unpredictably. Ultimately, Hurst argues, the fantasy of surface imagination corroborates the belief that one's body is mutable and controllable, and that control over one's body permits control over one's social, emotional, and mental suffering. Acknowledging the varied experiences and opinions of the patients interviewed, but also critiquing the promises made by the industry, Surface Imaginations develops an innovative approach to thinking about cosmetic surgical transformations through the seduction of surfaces.

Material Imagination in Architecture draws on history and the visual arts, and contemporary architecture to explore this popular theme in architectural practice and education. In the context of a discipline increasingly driven by digital production, this text explores architecture and making and the diverse influences on the material reality of architectural form: it argues that the crafts, fabrication and assemblage of its making remain vital elements of contemporary architectural language. This broad-ranging text bridges the gap between a technical or otherwise fragmentary knowledge of materials of the specialist, and the tacit or instinctive understanding of materials that the artist, sculptor or architect may have. It identifies key material themes pertinent to contemporary architectural debate and develops a discourse about future practice that is framed by environmental imperatives and grounded in a historical understanding of the meaning and use of materials. Material iconology in architecture is a well-established tradition and this book draws on that background to investigate the possibilities, and limits, of using materials in contemporary design to communicate the themes and contexts of an architectural project, a material’s relationship to context, and to the history of practices that belong to the traditions of making buildings. Each theme is explored in case studies from twelve countries around the world, including the UK, USA, Spain, Italy, Germany, Australia and China.

This remarkable book has endured as a true masterpiece of mathematical exposition. There are few mathematics books that are still so widely read and continue to have so much to offer—even after more than half a century has passed! The book is overflowing with mathematical ideas, which are always explained clearly and elegantly, and above all, with penetrating insight. It is a joy to read, both for beginners and experienced mathematicians. “Hilbert and Cohn-Vossen” is full of interesting facts, many of which you wish you had known before. It's also likely that you have heard those facts before, but surely wondered where they could be found. The book begins with examples of the simplest curves and surfaces, including thread constructions of certain quadrics and other surfaces. The chapter on regular systems of points leads to the crystallographic groups and the regular polyhedra in R 3 R3. In this chapter, they also discuss plane lattices. By considering unit lattices, and throwing in a small amount of number theory when necessary, they effortlessly derive Leibniz's series: π/4=1−1/3+1/5−1/7+−… π/4=1−1/3+1/5−1/7+−…. In the section on lattices in three and more dimensions, the authors consider sphere-packing problems, including the famous Kepler problem. One of the most remarkable chapters is “Projective Configurations”. In a short introductory section, Hilbert and Cohn-Vossen give perhaps the most concise and lucid description of why a general geometer would care about projective geometry and why such an ostensibly plain setup is truly rich in structure and ideas. Here, we see regular polyhedra again, from a different perspective. One of the high points of the chapter is the discussion of Schlafli's Double-Six, which leads to the description of the 27 lines on the general smooth cubic surface. As is true throughout the book, the magnificent drawings in this chapter immeasurably help the reader. A particularly intriguing section in the chapter on differential geometry is Eleven Properties of the Sphere. Which eleven properties of such a ubiquitous mathematical object caught their discerning eye and why? Many mathematicians are familiar with the plaster models of surfaces found in many mathematics departments. The book includes pictures of some of the models that are found in the Göttingen collection. Furthermore, the mysterious lines that mark these surfaces are finally explained! The chapter on kinematics includes a nice discussion of linkages and the geometry of configurations of points and rods that are connected and, perhaps, constrained in some way. This topic in geometry has become increasingly important in recent times, especially in applications to robotics. This is another example of a simple situation that leads to a rich geometry. It would be hard to overestimate the continuing influence Hilbert-Cohn-Vossen's book has had on mathematicians of this century. It surely belongs in the “pantheon” of great mathematics books.

Much current theorizing about literature involves efforts to renew our sense of aesthetic values in reading. Such is the case with new formalism as well as recent appeals to the notion of “surface reading.” While sympathetic to these efforts, Charles Altieri believes they ultimately fall short because too often they fail to account for the values that engage literary texts in the social world. In Reckoning with the Imagination, Altieri argues for a reconsideration of the Kantian tradition of Idealist ethics, which he believes can restore much of the power of the arguments for the role of aesthetics in art. Altieri finds a perspective for that restoration in a reading of Wittgenstein’s later work that stresses Wittgenstein’s parallel criticisms of the spirit of empiricism. Altieri begins by offering a phenomenology of imagination, because we cannot fully honor art if we do not link it to a distinctive, socially productive force. That force emerges in two quite different but equally powerful realizations in his reading of John Ashbery’s “Instruction Manual,” which explicitly establishes a model for a postromantic view of imagination, and William Butler Yeats’s “Leda and the Swan.” He then turns to Wittgenstein with chapters on the role of display as critique of Enlightenment thinking, the honoring of qualities like sensitivity and the ability to attune to the actions of others, the role of expression in the building of models, and the contrast between ethical and confessional modes of judgment. Finally, Altieri produces his own model of aesthetic experience as participatory valuation and makes an extended argument for the social significance of appreciation as a way to escape the patterns of resentment fundamental to our current mode of politics. A masterful work by one of our foremost literary and philosophical theorists, Reckoning with the Imagination will breathe new life into ongoing debates over the value of aesthetic experience.

What is the place of materiality—the expression or condition of physical substance—in our visual age of rapidly changing materials and media? How is it fashioned in the arts or manifested in virtual forms? In Surface, cultural critic and theorist Giuliana Bruno deftly explores these questions, seeking to understand materiality in the contemporary world. Arguing that materiality is not a question of the materials themselves but rather the substance of material relations, Bruno investigates the space of those relations, examining how they appear on the surface of different media—on film and video screens, in gallery installations, or on the skins of buildings and people. The object of visual studies, she contends, goes well beyond the image and engages the surface as a place of contact between people and art objects. As Bruno threads through these surface encounters, she unveils the fabrics of the visual—the textural qualities of works of art, whether manifested on canvas, wall, or screen. Illuminating the modern surface condition, she notes how façades are becoming virtual screens and the art of projection is reinvented on gallery walls. She traverses the light spaces of artists Robert Irwin, James Turrell, Tacita Dean, and Anthony McCall; touches on the textured surfaces of Isaac Julien’s and Wong Kar-wai’s filmic screens; and travels across the surface materiality in the architectural practices of Diller Scofidio + Renfro and Herzog & de Meuron to the art of Doris Salcedo and Rachel Whiteread, where the surface tension of media becomes concrete. In performing these critical operations on the surface, she articulates it as a site in which different forms of mediation, memory, and transformation can take place. Surveying object relations across art, architecture, fashion, design, film, and new media, Surface is a magisterial account of contemporary visual culture.

A fascinating collection of articles looking for the first time at the connection between imagination and philosophy, and its impact on diverse forms of art.

Most adult believers would acknowledge that the absolute reality of God is unimaginable, and yet the ordinary mind cannot think about divinity without creating images of that reality. This book explores a variety of ways in which our imagination influences what we believe and think we know about God. Even as some theories and the methods behind them yield better results in practice, so certain forms of the imagination yield a truer connection to the divine. Curiously, cutting-edge scienceoften viewed as inimical to engagement with the divineis itself creating new images for a conception of divinity that intimately penetrates all that is. Frontier cutting-edge science will thus become one of three interpenetrating streams that impact the influence of the imagination on the knowledge of God. The other two are the conceptual dimension of mind and what I distinguish as the awareness dimension of mind. The application of my theory about the influence of the imagination on the knowledge of God is whether the reader can make practical connections to their experience of suffering in the world and find some diminishment of that suffering. If that does not happen, I apologize to my readers for wasting their time.

Combining perspectives from both continental and analytic philosophy, this timely volume explores how imagination today both shapes and is shaped by technology, art and ethics. Imagination is one of the most significant and broadly examined concepts in contemporary philosophy and is frequently understood as a basic human faculty that enables complex activities. This book shows, however, that imagination is more than a mere enabler. Whilst imagination shapes our experiences, it is at the same time shaped by our environments. Some of the most creative manifestations of imagination are the result of its two-way interaction with art or technology, or both. In short, imagination co-shapes us. Beyond the traditional perspectives of Kant and Heidegger, The Philosophy of Imagination: Technology, Art and Ethics examines our dynamic relationship with imagination, from contemporary technological advancements such as AI that transform the whole ecosystem to imagination in the context of videogames and literary fiction. Analysing societal imagination, it addresses the relationship between the racial imaginary and white ignorance, as well as the effects that societal mechanisms such as lockdowns can have on our imagination. Taking its cue from the here and now, this volume brings together leading international scholars to investigate how the concept of co-shaping allows us to see imagination and its crucial role in society in new and productive ways.

The Shakespearean image of a tempest and its aftermath forms the beginning as well as a major guiding thread of Logic of Imagination. Moving beyond the horizons of his earlier work, Force of Imagination, John Sallis sets out to unsettle the traditional conception of logic, to mark its limits, and, beyond these limits, to launch another, exorbitant logic—a logic of imagination. Drawing on a vast range of sources, including Plato, Aristotle, Kant, Hegel, Nietzsche, and Freud, as well as developments in modern logic and modern mathematics, Sallis shows how a logic of imagination can disclose the most elemental dimensions of nature and of human existence and how, through dialogue with contemporary astrophysics, it can reopen the project of a philosophical cosmology.

In The Prosthetic Imagination, leading critic Peter Boxall argues that we are now entering an artificial age, in which our given bodies enter into new conjunctions with our prosthetic extensions. This new age requires us to reimagine our relation to our bodies, and to our environments, and Boxall suggests that the novel as a form can guide us in this imaginative task. Across a dazzling range of prose fictions, from Thomas More's Utopia to Margaret Atwood's Oryx and Crake, Boxall shows how the novel has played a central role in forging the bodies in which we extend ourselves into the world. But if the novel has helped to give our world a human shape, it also contains forms of life that elude our existing human architectures: new amalgams of the living and the non-living that are the hidden province of the novel imagination. These latent conjunctions, Boxall argues, are preserved in the novel form, and offer us images of embodied being that can help us orient ourselves to our new prosthetic condition.