I’m a Professor of Cultural Sociology at Edinburgh, UK, and have written extensively on contemporary culture and particularly technological mediations of popular music. I have undertaken empirical research on cultures of popular music in places like Iceland, Japan, and the UK, and I have supervised around 25 doctoral students to successful completion. My work is widely cited in the field of cultural sociology, and I am regularly interviewed by national broadcasters and the press. I’m also an amateur musician, making homespun electronic music in my bedroom and releasing it under the monikers Sponge Monkeys and Triviax.
Is music as universally positive and life-affirming as we think?
This book made me think twice about that idea. Yes, music lubricates our identities and can generate fellow feeling and a sense of well-being, but it can just as easily drive us apart. Think about pop’s repertoire of overtly sexist and racist songs, the booing of national anthems at sports events, and music reserved for the status acquisition practices of the elite, like opera.
What I like about David Hesmondhalgh’s exploration of why music matters is that it takes a balanced view of these questions. I use it a lot in teaching as an antidote to the somewhat lazy idea that music is *always* a force for social good. I also admire David’s ability to move from the somewhat abstract realms of moral philosophy to dancing bodies without losing sight of basic but important questions like social inequality.
Listen to David Hesmondhalgh discuss the arguments at the core of 'Why Music Matters' with Laurie Taylor on BBC Radio 4's Thinking Allowed here: www.bbc.co.uk/iplayer/episode/b03q9q2n/Thinking_Allowed_Why_Music_Matters_Bhangra_and_Belonging/
In what ways might music enrich the lives of people and of societies? What prevents it from doing so? Why Music Matters explores the role of music in our lives, and investigates the social and political significance of music in modern societies.
First book of its kind to explore music through a variety of theories and approaches and unite these theories using one authoritative voice
Combines a broad yet theoretically sophisticated approach to music and…
I love words, their sound, and their power. When I was a little girl, I would adopt one and make it my own. My parents long recalled my love affair with “nonsense,” which I would wield like a wand when hearing anything silly or irrational. I think words are interwoven with what we feel in a deep and inextricable way. I am also fascinated with how Indian thought offers millennia of wide and deep explorations of human experience in ways that trouble the basic assumptions of the modern West.
Indian thinkers writing in Sanskrit spent 1500 years theorizing and debating the nature of emotions and aesthetic experience as we experience them in literature and the performing arts. Pollock assembles, translates, and helps us interpret many of these debates. While not about emotions as such, these texts get at the finer shades of feeling as they relate to ways we relish the romantic, the tragic, the comic, the macabre, and so on.
While I am inspired by contemporary writing on emotions, the core of my imagination and intellectual life has been built by ideas from ancient and classical India. Sheldon Pollock is second to none in bringing the world of Sanskrit knowledge systems to a modern audience.
From the early years of the Common Era to 1700, Indian intellectuals explored with unparalleled subtlety the place of emotion in art. Their investigations led to the deconstruction of art's formal structures and broader inquiries into the pleasure of tragic tales. Rasa, or taste, was the word they chose to describe art's aesthetics, and their passionate effort to pin down these phenomena became its own remarkable act of creation. This book is the first in any language to follow the evolution of rasa from its origins in dramaturgical thought-a concept for the stage-to its flourishing in literary thought-a concept for…
My interest and curiosity in this topic primarily came from life experience: not fitting in as a gangly Asian girl growing up in white suburbs and picked on for how I looked, working as a teen model in the late 1990s and early aughts, becoming a mother to three girls while opening up NPR’s first-ever bureau and living in Seoul, South Korea, the plastic surgery capital of the world. Ever since graduating from The University of Missouri-Columbia’s School of Journalism, I’ve been a professional journalist. Most of my career has been as an NPR correspondent, but I’ve also worked as a reporter for VICE and appeared in The Atlantic, WIRED, Slate, and numerous other publications.
As the author and philosopher Heather Widdows makes clear, one of the big reasons why appearance has come to mean so much to us, and we spend so much time, energy, and resources on upgrading our looks, is because physical beauty has wrongly become conflated with worthiness and character.
In other words, we assume if you look good, you’re a good, moral person. In this comprehensive yet fast-paced read (which laid an academic groundwork for a lot of the reporting in my own book), Widdows connects the dots between ethics and beauty and makes the case for why we should resist the increasing demands of beauty ideals.
How looking beautiful has become a moral imperative in today's world
The demand to be beautiful is increasingly important in today's visual and virtual culture. Rightly or wrongly, being perfect has become an ethical ideal to live by, and according to which we judge ourselves good or bad, a success or a failure. Perfect Me explores the changing nature of the beauty ideal, showing how it is more dominant, more demanding, and more global than ever before.
Heather Widdows argues that our perception of the self is changing. More and more, we locate the self in the body--not just our…
I'm a designer, a teacher, a father, a husband, and a friend. I love beautiful things and personally want to know why I find certain things more beautiful than others. I love learning about the world and finding connections between everyday experience and art. When I say “art” I really am blending art, design, architecture, landscape architecture, product design, etc. I believe everything is connected in some way. If I were to pigeonhole myself in any way I would call myself a generalist design thinker. I draw, I write, I make little objects, I make big objects – I see very little difference in any of these things.
This book provides the reader with a foundation as to how we think through our bodily experience in the world. It argues that we think through the body and through experience and that bodily engagement with the world (organism-environment interaction) is used to develop more abstract modes of thought.
I find this key to understanding design generally.
In "The Meaning of the Body", Mark Johnson continues his pioneering work on the exciting connections between cognitive science, language, and meaning first begun in the classic "Metaphors We Live By". Johnson uses recent research into infant psychology to show how the body generates meaning even before self-consciousness has fully developed. From there he turns to cognitive neuroscience to further explore the bodily origins of meaning, thought, and language and examines the many dimensions of meaning - including images, qualities, emotions, and metaphors - that are all rooted in the body's physical encounters with the world. Drawing on the psychology…
I've spent the last three decades thinking about Japanese aesthetics, and in particular if and how they can be meaningfully used beyond Japan. I'm the author of several books on the subject: Frank Lloyd Wright and Japan, Place Time and Being in Japanese Architecture, This Here Now: Japanese Building and the Architecture of the Individual, and most recently, The Constructed Other: Japanese Architecture in the Western Mind. I teach about Asian Pacific architecture at the University of Hawai'i, Mānoa.
Okakura links Taoist and Zen philosophy to the tangible world by way of the aesthetics of tea, which are actually the aesthetics of life itself. The title of this slim volume is disarmingly understated, then. It is the most approachable book on aesthetics I know.
Now available in a gorgeous hardcover slipcase edition, this "object d'art" will be sure to add grace and elegance to tea shelves, coffee tables and bookshelves. A keepsake enjoyed by tea lovers for over a hundred years, The Book of Tea Classic Edition will enhance your enjoyment and understanding of the seemingly simple act of making and drinking tea.
In 1906 in turn-of-the-century Boston, a small, esoteric book about tea was written with the intention of being read aloud in the famous salon of Isabella Gardner, Boston's most notorious socialite. It was authored by Okakura Kakuzo, a Japanese philosopher, art…
I discovered my love for story early, growing up on TV and movies. I spent a good chunk of my teen years sitting in the dark watching everything that came out, especially foreign films. It’s safe to say that I learned the basics of storytelling by watching all the greats, from Hitchcock to David Lean to Kubrick. It’s no wonder I became a screenwriter rather than a novelist. But when I realized that story is story, regardless of the story form (book, movie, or TV commercial) a whole other world opened to me and my talent for story blossomed. Over the years, I grew this talent and passion and launched a career in Hollywood.
This book is an old standard but one of the best books ever written on how to write. More about the writing process than story, per se, it is still essential for any writer interested in upping their story development game. Don’t be put off by the focus on “young writers” in the title; this is for old and young.
Gardner systematically guides the reader through both theory and practicum, delivering a primer on how to not just write solid fiction but how to think like a writer. I love this book.
This classic guide, from the renowned novelist and professor, has helped transform generations of aspiring writers into masterful writers—and will continue to do so for many years to come.
John Gardner was almost as famous as a teacher of creative writing as he was for his own works. In this practical, instructive handbook, based on the courses and seminars that he gave, he explains, simply and cogently, the principles and techniques of good writing. Gardner’s lessons, exemplified with detailed excerpts from classic works of literature, sweep across a complete range of topics—from the nature of aesthetics to the shape of…
I am the Goldthwaite Professor of Rhetoric and Japanese at Tufts University. I’ve lived in Japan for 8 years beginning when I was 17 when I travelled to Tokyo and lived on my own, teaching English, and studying Japanese. I became a scholar of Japanese literature, and then in the 1990s became interested in Japanese animation (anime) and in animation in general. I’ve written five books on either Japanese literature or anime-related subjects, and I am currently working on a project comparing the animated films of the Walt Disney Studio with the films of Studio Ghibli.
This is a book for animation aficionados who really want to think about the nuts and bolts of animation. As someone with a tendency to revel in the world building of the finished product of animation, be it a Miyazaki movie or a Disney film, this book re-orients me to the materiality of the medium itself. And yes, traditional animation is a material medium! Frank looked at thousands of animation cells, literally frame by frame, and in her book provides us with a glimpse of the enormous labor, expertise, and occasional mistakes that go into creating even a seven-minute short subject. She brings back from the past the many women who were the inkers and in-betweeners in American animation studios and makes us realize the enormous effort (and tedium) that went into producing the fluid and flexible cartoons that Hollywood is known for.
At publication date, a free ebook version of this title will be available through Luminos, University of California Press's Open Access publishing program. Visit www.luminosoa.org to learn more.
In this beautifully written and deeply researched study, Hannah Frank provides an original way to understand American animated cartoons from the Golden Age of animation (1920-1960). In the pre-digital age of the twentieth century, the making of cartoons was mechanized and standardized: thousands of drawings were inked and painted onto individual transparent celluloid sheets (called "cels") and then photographed in succession, a labor-intensive process that was divided across scores of artists and…
I’m an Eisner-nominated and award-winning graphic novel and comics writer, editor, and book packager. I've worked on staff at the Los Angeles Times Syndicate, Disney Publishing, DC Comics, Nickelodeon Magazine, and Platinum Studios. My sequential art book, The Bramble, won the 2013 Moonbeam Gold Medal for Picture Books, and I created a new way to read comics with BirdCatDog, a 2015 Eisner Awards nominee, that received the 2015 Moonbeam Spirit Award Gold Medal for Imagination, and was chosen by Kirkus Reviews as one of the best children’s books of 2014. SheHeWe, the third book in the series, was a 2016 Eisner Award nominee for Best Publication for Early Readers.
Eisner was a comics and graphic novel pioneer, first by his work on his classic creation, The Spirit, and then with his graphic novels. Eisner offers valuable, personal, professional, and practical insights into how the sequential art medium can be tailored to your intentions. In his foreword, he writes: “This work is intended to consider and examine the unique aesthetics of sequential art as a means of creative expression, a distinct discipline, an art and literary form that deals with the arrangement of pictures or images and words to narrate a story or dramatize an idea.”
Will Eisner is one of the twentieth century's great American artists, a man who pioneered the field of comic arts. Here, in his classic Comics and Sequential Art, he refines the art of graphic storytelling into clear, concise principles that every cartoonist, comic artist, writer, and filmmaker meeds to know. Adapted from Eisner's landmark course at New York's School of Visual Arts, Comics and Sequential Art is an essential text filled with invaluable theories and easy-to-use techniques. Eisner reveals here the fundamentals of graphic storytelling. He addresses dialogue, anatomy, framing, and many other important aspects of the art form. Fully…
I’ve had a life-long love affair with the arts. I intended to become an artist, but ultimately became a psychologist researching psychological aspects of the arts. My first book, Invented Worlds, examined the key questions and findings in the psychology of the arts. In Gifted Children: Myths and Realities, I wrote about gifted child artists. My Arts & Mind Lab at Boston College investigated artistic development in typical and gifted children, habits of mind conferred by arts education, and how we respond to works of art. The walls of my home are covered with framed paintings by young children, often side by side paintings by professional artists.
Most studies of child art describe development towards realism. Artful Scribbles is one of the first accounts to focus on the expressiveness and aesthetics of child art. Developmental psychologist Howard Gardner discusses in depth the puzzle of why the flowering of children’s art (as valued in the West in the last century) does not last. While drawings of 8- or 9-year-olds are more realistic and “accurate” than those of preschoolers, they seem to have lost the exploratory freshness of the art of younger children. This is one of the earliest studies of children’s art to take seriously the idea of the child as an artist and to consider the relationship between child art, modern art, and the art of adolescents and of mature artists.
Psychologists have long understood that the art works of children relate to their intellectual and emotional development but this is the first book to describe the developmental process of drawing. Gardner explores the vital links between childrens art and their emotional, social, and cognitive development.
I’m a historian of emotions, science, and medicine, with more than a decade of experience in meddling in other scientific affairs, especially in the worlds of psychology and neuroscience. I’m fascinated by human emotions in part, at least, because I feel we’re living in a crude emotional age. I’ve worked in five different countries since gaining my PhD in 2005. In that time I’ve written or edited 14 books of historical non-fiction, as well as dozens of articles and reviews. You can freely read my work inAeon or History Today. I live between Canada (my adopted country) and Finland, where I frequently lament the loss of my European citizenship.
I was desperately waiting for Lanzoni’s book to come out, being certain that it would be the key to displacing an all-too-easy tendency, among scientists, scholars and the general public alike, to make empathy the hardwired mechanism that defines humanity.
It frankly amazes me how quickly the fortunes of empathy rose in the second of half of the twentieth century when, fundamentally, nobody has been able to say precisely what it is, where it is, how it works or what its limits might be.
I loved Lanzoni’s book for laying it all out. Down with empathy!
A surprising, sweeping, and deeply researched history of empathy-from late-nineteenth-century German aesthetics to mirror neurons
Empathy: A History tells the fascinating and largely unknown story of the first appearance of empathy in 1908 and tracks its shifting meanings over the following century. Despite the word's ubiquity today, few realize that it began as a translation of Einfuhlung ("in-feeling"), a term in German psychological aesthetics that described how spectators projected their own feelings and movements into objects of art and nature.
Remarkably, this early conception of empathy transformed into its opposite over the ensuing decades. Social scientists and clinical psychologists refashioned…
