Aesthetics of Equilibrium is the first book-length comparative analysis of the theoretical prose by two major Latin American vanguardist contemporaries, Mario de Andrade (Brazil, 1893-1945) and Vicente Huidobro (Chile, 1893-1948). Willis offers a comparative study of two allegorical texts, Huidobro's "Non serviam" and Mario's "Parabola d'A escrava que nao e Isaura."

Award-winning photographer Tobi Shonibare - Tobi Shinobi to his followers - pushes the boundaries of symmetry and balance in his first book, Equilibrium. From his native London to his current Chicago home, and in far-flung locales around the world, Tobi's photographs explore and deconstruct architecture and nature until they appear as optical illusions. His vertigo-inducing perspectives turn familiar vistas into abstractions, reality into a fantasyland of line and shape. More than 164,000 followers on Instagram experience Tobi's obsessive attention to detail and fascination with the geometry of our world.

The central idea underlying this work is to convert the Walrasian general equilibrium structure (formalized in the 1950s by Kenneth Arrow, Gerard Debreu and others) from an abstract representation of an economy into realistic models of actual economies.

Poetry. Fiction. Translated by John Taylor. Alfredo de Palchi, in his 93rd year, has produced another stunning book after the cosmic obliteration of NIHIL (Xenos Books, 2017). As in that book, THE AESTHETICS OF EQUILIBRIUM leaps from a realistic setting into a fantastic panorama, this time revealed in sixty-four prose poems arranged in four sections. "The Fall" presents the author losing his balance, falling backward on the sidewalk, breaking his hip and feeling his "animal heart" and "porcine valves" respond to a life threat. "Destination Apocalypse" throws the reader back into the lush forests of Africa after the reptilian extinctions of the Jurassic, where mammals originate and a vicious herbivore-carnivore emerges. From primitive Ardipithecus to sophisticated Homo sapiens, prehistoric man passes in review, killing all the other creatures and raping the Earth. In "The Genesis of My Death," the story of this new species and his assault on feline forms splits the consciousness of the author into narrator and lion point of view. All themes, including medical and religious, converge in the last section, "The Anthropoid," which damns the anomaly for his pretense of divinity and his lust for blood.

Aesthetics and Economics is a pioneering effort at treating aesthetics from the point of view of economic theory, and addresses the contradictions which have arisen from economists' work in this field over the years. Starting from an historical review of the treatment of aesthetics in economic thought, Aesthetics and Economics goes through the integration of a number of recent advances in economic thinking with the main topics of aesthetics, from creativity to interpretation. The subject is systematically treated on the grounds of a restatement of the optimization analysis on non-consequentialist bases, starting from the Kantian definition of aesthetic judgement up to its contemporary developments. A specific information asymmetry characterizing the agents' behaviours arises from the aesthetic qualification of consumption, production and investment processes, thus affecting the usual equilibrium and optimization conditions, resulting in new institutional interventions in the market. `Certification' of the aesthetic nature of goods and stocks is needed and gives place to original market strategies and optimization problems.

A theoretically informed investigation that relates the philosophies of aesthetics and imagination to understanding design practice. In The Aesthetics of Imagination in Design, Mads Folkmann investigates design in both material and immaterial terms. Design objects, Folkmann argues, will always be dual phenomena—material and immaterial, sensual and conceptual, actual and possible. Drawing on formal theories of aesthetics and the phenomenology of imagination, he seeks to answer fundamental questions about what design is and how it works that are often ignored in academic research. Folkmann considers three conditions in design: the possible, the aesthetic, and the imagination. Imagination is a central formative power behind the creation and the life of design objects; aesthetics describes the sensual, conceptual, and contextual codes through which design objects communicate; the concept of the possible—the enabling of new uses, conceptions, and perceptions—lies behind imagination and aesthetics. The possible, Folkmann argues, is contained as a structure of meaning within the objects of design, which act as part of our interface with the world. Taking a largely phenomenological perspective that reflects both continental and American pragmatist approaches, Folkmann also makes use of discourses that range from practice-focused accounts of design methodology to cultural studies. Throughout, he offers concrete examples to illustrate theoretical points. Folkmann's philosophically informed account shows design—in all its manifestations, from physical products to principles of organization—to be an essential medium for the articulation and transformation of culture.