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The aesthetics of violence in contemporary media - Bates College
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Contemporary Aesthetics Special Volume “Aesthetics and Terrorism”
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The aesthetics of violence in contemporary media, Gwyn Symonds
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Authors Tim Winton Sarah J. Top Pick. PaperBack November 3, This category carved out sensuous experience as a relatively autonomous domain, which was separated from everyday commerce and promised to expand human experience. It is this historical category that came to shape and give meaning to our modern sense of the arts, and it is crucial to understand that the modern aesthetic project is irreducible to the history of artistic forms alone. As I see it, the problem with the modern aesthetic project is that, since the Enlightenment, the thinkers of aesthetics have set the aesthetic sphere against the monetary domain in an entrenched and ill-fated dialectical conflict.
Initially, bourgeois philosophy and culture positioned the aesthetic field against political economy, that is, in opposition to the world that money primarily organizes. This is because an emergent bourgeois Liberalism was intensely ambivalent about the monetary sphere. On one hand, the world of money was seen as a great site of production, cooperation, and wealth. On the other hand, it was understood to be a highly imperfect domain, marked by homogenizing calculations, private competition, uncertainty, risk, deception, and both material and social privation.
The aesthetic, meanwhile, was conceived as a domain defined by sensuous abundance and diversity, individual and collective freedom and, communions with society and nature. In other words, aesthetic mediation promised everything that monetary mediation left to be desired.
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Soon, radicals from Karl Marx and William Morris to Andre Breton and Walter Benjamin dialecticized the bourgeois opposition between money and aesthetics toward socialist and communist ends. Today, aesthetic theorists readily acknowledge that the aesthetic was always something of a myth. And for better or worse, most contemporary critics concede that the modern aesthetic project has lost its totalizing utopian promise. For this reason, they tend to adopt more modest critical practices and goals. Still, the dialectic between money and aesthetics lives on in aesthetic thought and practice like some undead monster.
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