#'routledge companion to aesthetics'

[nerdnag]

Soooo due to events I'm apparently about to write my bachelor's in philosophy about art philosophy

[the-blorbo-project]

Hey I took your survey just now but realized I forgot something. thelustiestargonianmaid's original post which kicked off this whole blorbo meme specifically mentions tags. I wonder if Tumblr 's change to having tags more visible changed the way that we talk about our fav characters? It definitely makes individual commentary/tagging systems more visible

Hello anon! Thank you so much for this ask! I (Maria) shall try to keep my flailing to a minimum here, but short answer: 100% yes! Also, there's actually been some interesting work done on Tumblr tags as "expressive": i.e., the way that tags here are conversational and personal as well as organizational. Things like this make tags a cultural affordance, or a feature of our site/community that isn't technically coded in but has become a way things work around here because that's how the community uses it. Put differently: the tags are part of the site, but how we use them is also a 'feature' of sorts now too. If you're interested 👀👀👀 here are some things I've cited lately: ---Bourlai, Elli E. 2018. "‘Comments in Tags, Please!’: Tagging Practices on Tumblr." Discourse, Context & Media 22, pp 46-56. ---Neill Hoch, Indira. "Content, Conduct, and Apologies in Tumblr Fandom Tags." Transformative Works and Cultures 27 (2018). https://journal.transformativeworks.org/index.php/twc/article/view/1198 [plus this whole issue's about Tumblr!] --- Price, Ludi, and Lyn Robinson. 2021. "Tag Analysis as a Tool for Investigating Information Behaviour: Comparing Fan-tagging on Tumblr, Archive of Our Own and Etsy." Journal of Documentation 77, no. 2, pp. 320-58. --- Stein, Louisa. 2018. "Tumblr Fan Aesthetics." In The Routledge Companion to Media Fandom, 1st ed. Edited by Melissa A. Click and Suzanne Scott. New York: Routledge, pp. 86–97.

(*If* I'm remembering correctly, there's also some discussion in Gretchen McCullough's Because Internet, but I can't remember specifically ,;D It's a really cool read regardless, though!)

[fundgruber]

“While liking and commenting form the basis of large numbers of community, even larger numbers of Instagram images are in fact not instantiations of self-making or identity in rela- tion to culture, practice, politics or sociality. Rather, they are vehicles expressly designed for the interconnection between aesthetic contemplation and taste making, uploaded specifically to engender social networks of appreciation.”

Haidy Geismar, Instant Archives?, in The Routledge Companion to Digital Ethnography, hg. von Larissa Hjorth et al. Routledge, 2017: 331–43, 339

[perennialessays]

Crisis and Critique

What is critical theory, and whence the notion of critique as a practical stance towards the world? Using these questions as a point of departure, this course takes critical theory as its field of inquiry. Part of the course will be devoted to investigating what critique is, starting with the etymological and conceptual affinity it shares with crisis: since the Enlightenment, so one line of argument goes, all grounds for knowledge are subject to criticism, which is understood to generate a sense of escalating historical crisis culminating in a radical renewal of the intellectual and social order. We will explore the efficacy of modern critical thought, and the concept of critique’s efficacy, by examining a series of attempts to narrate and amplify states of crisis – and correspondingly transform key concepts such as self, will, time, and world – in order to provoke a transformation of society. The other part of the course will be oriented towards understanding current critical movements as part of the Enlightenment legacy of critique, and therefore as studies in the practical implications of critical readings. Key positions in critical discourse will be discussed with reference to the socio-political conditions of their formation and in the context of their provenance in the history of philosophy, literature, and cultural theory. Required readings will include works by Kant, Hegel, Marx, Nietzsche, Freud, Husserl, Benjamin and others, with suggested readings and references drawn from a variety of source materials ranging from literary and philosophical texts to visual images, film, and architecture. You are invited to work on your individual interests with respect to the readings.

Week 1                                                                                              

Critique, krinein, crisis (Koselleck, Adorno)

 Required Reading

Reinhart Koselleck, “Crisis,” Journal of the History of Ideas 67.2 (2006), 357-400.

—, Chapters 7 and 8, Critique and Crisis: Enlightenment and the Pathogenesis of Modern Society. Cambridge, MA: The MIT Press, 1988 [German original, 1959].

Adorno and Horkheimer, "The Concept of Enlightenment," in Dialectic of Enlightenment, trans. John Cumming (New York: Continuum, 1989), pp. 3-42.

 Recommended Reading

Michel Foucault, “What is Enlightenment?” in The Foucault Reader. New York: Pantheon Books, 1984: 32-50.

—, The Politics of Truth. New York: Semiotext(e), 1997.

Friedrich Hölderlin, “Nature and Art or Saturn and Jupiter,” in Hyperion and Selected Poems. Ed. by Eric Santner. Translated by Michael Hamburger. New York: Continuum, 1990: 150-151.

  Week 2          

Judgment and Imagination (Kant)

 Required Reading

Immanuel Kant, “Preface [A and B],” in Critique of Pure Reason. Translated and edited by Paul Guyer and Allen W. Wood. Cambridge: Cambridge University Press, 1998: 99-124.  

—, “Preface” and “Introduction,” in Critique of Practical Reason, in Practical Philosophy, trans. Mary Gregor (Cambridge UP, 1996), pp. 139-149.

—, §§1-5, 59-60 of Critique of the Power of Judgment, trans. Paul Guyer and Eric Matthews (Cambridge UP, 2000), pp. 89-96, 225-230.

—, “Idea for a Universal History with a Cosmopolitan Purpose,” in Kant: Political Writings. Cambridge: Cambridge University Press, 1991 (2nd ed.): 41-53, 273.

—, “An Answer to the Question: What is Enlightenment? [1784],” in Practical Philosophy. Translated by Mary J. Gregor. Cambridge: Cambridge University Press, 1999: 11-22.

 Recommended Reading

Immanuel Kant, "Analytic of the Sublime," in Critique of Judgment. Translated by James Creed Meredith; revised, edited, and introduced by Nicholas Walker. Oxford: Oxford University Press, 2007: 75-164.

Theodor Adorno, Kant’s Critique of Pure Reason (2001 [1959])

Henry Allison, Kant’s Transcendental Idealism (2004)

Hannah Arendt, Lectures on Kant’s Political Philosophy (1992)

Geoffrey Bennington, “Kant’s Open Secret”, Theory, Culture and Society 28.7-8(2011): 26-40.

J.M. Bernstein, The Fate of Art: Aesthetic Alienation from Kant to Derrida and Adorno (1992)

Graham Bird, The Revolutionary Kant (2006)

Andrew Bowie, Aesthetics and Subjectivity: from Kant to Nietzsche (1990, 2003)

Howard Caygill, The Kant Dictionary (2000)

Ernst Cassirer, Kant's Life and Thought (1981)

Gilles Deleuze, Kant's Critical Philosophy (1984)

Will Dudley and Kristina Engelhard (eds.) Immanuel Kant: Key Concepts (2010)

Paul Guyer, Kant’s Critique of the Power of Judgment: Critical Essays (2003)

Martin Heidegger, Phenomenological Interpretation of Kant’s Critique of Pure Reason (1997)

Laura Hengehold, The BODY Problematic: Political Imagination in Kant and Foucault (2007)

Otfried Höffe, Immanuel Kant (1994)

Jean-François Lyotard, L’Enthousiasme: La critique kantienne de l’histoire. Paris: L’Éditions Galilée, 1986.

Rudolf Makkreel, Imagination and Interpretation in Kant: The Hermaneutic Import of the Critique of Judgment (1990)

Jean-Luc Nancy, A Finite Thinking (2003)

Andrea Rehberg and Rachel Jones (eds.), The Matter of Critique: Readings in Kant’s Philosophy (2000)

Philip Rothfield (ed.), Kant after Derrida (2003)

Rei Terada, Looking Away: Phenomenality and Dissatisfaction, Kant to Adorno (2009)

Yirmiahu Yovel, Kant and the Philosophy of History (1989)

  Week 3          

Recognition and the Other (Hegel)

 Required Reading

G.W.F. Hegel, “The Truth of Self-Certainty” and “Lordship and Bondage,” in The Phenomenology of Spirit. Translated by Terry Pinkard. Cambridge: Cambridge UP, 2018: 102-116.

—, “The Art-Religion,” in The Phenomenology of Spirit. Translated by Terry Pinkard. Cambridge: Cambridge UP, 2018: 403-430.

 Recommended Reading

G.W.F. Hegel, Introduction [§§1, 2, 3, 5, 6 and 8], in Aesthetics: Lectures on Fine Art. Translated by T.M. Knox. Oxford: Clarendon Press, 1975: 1-14; 22-55; 69-90.

Stuart Barnett (ed.), Hegel after Derrida (2001)

Frederick Beiser (ed.), The Cambridge Companion to Hegel (1993)

Susan Buck-Morss, Hegel, Haiti, and Universal History (2009)

Rebecca Comay, Mourning Sickness: Hegel and the French Revolution (2011)

Rebecca Comay and John McCumber (eds.), Endings: Questions of Memory in Hegel and Heidegger (1999)

Eva Geulen, The End of Art: Readings in a Rumor after Hegel. Stanford, CA: Stanford University Press, 2006.

Werner Hamacher, “(The End of Art with the Mask),” in Stuart Barnett (ed.), Hegel after Derrida. London and New York: Routledge, 1998: 105-130.

Werner Hamacher, “The Reader’s Supper: A Piece of Hegel,” trans. Timothy Bahti, diacritics 11.2 (1981): 52-67.

H.S. Harris, Hegel: Phenomenology and System (1995)

Stephen Houlgate, An Introduction to Hegel: Freedom, Truth and History (2005)

Stephen Houlgate, Hegel’s Phenomenology of Spirit (2013)

Fredric Jameson, The Hegel Variations (2010)

Alexandre Kojève, Introduction to the Reading of Hegel. Lectures on the Phenomenology of Spirit. Ithaca: Cornell University Press, 1980.

Terry Pinkard, Hegel: A Biography (2001)

  Week 4          

Revolution … (Marx)

 Required Reading

Karl Marx, “I: Feuerbach,” The German Ideology, in Collected Works vol. 5. London: Lawrence and Wishart, 1976: 27-93.

Karl Marx, "Theses on Feuerbach," available online (http://www.marxists.org/archive/marx/works/1845/theses/theses.htm)  

 Week 5

... and Repetition (Marx)

 Required Reading

Karl Marx, “Preface” to A Contribution to the Critique of Political Economy [1859], in Collected Works vol. 29. London: Lawrence and Wishart, 1976: 261-165.

—, “Postface to the Second Edition” and “Chapter 1: The Commodity,” in Capital: A Critique of Political Economy. Trans. by B. Fowkes. London: Penguin, 1990: 95-103 and 125-177.

 Recommended Reading

Louis Althusser, For Marx (1969)

Hannah Arendt, “Karl Marx and the Tradition of Western Political Thought”, Social Research 69.2 (2002): 273-319.

Étienne Balibar, The Philosophy of Marx (1995, 2007)

Ernst Bloch, On Karl Marx (1971)

Andrew Chitty and Martin McIvor (eds.), Karl Marx and Contemporary Philosophy (2009)

Simon Choat, Marx Through Post-Structuralism: Lyotard, Derrida, Foucault, Deleuze (2010)

Jacques Derrida, Specters of Marx: The State of the Debt, the Work of Mourning and the New International. New York and London: Routledge, 1994.

Werner Hamacher, “Lingua Amissa: The Messianism of Commodity-Language and Derrida’s Specters of Marx” (1999)

Jean Hyppolite, Studies on Marx and Hegel (1969)

Sarah Kofman, Camera Obscura: Of Ideology (1998)

Peter Singer, Marx: A Very Short Introduction (1980)

Michael Sprinker (ed.), Ghostly Demarcations: A Symposium on Jacques Derrida’s Specters of Marx (1999, 2008)

Moishe Postone, History and Heteronomy: Critical Essays (2009)

Moishe Postone, Time, Labor, and Social Domination: A Reinterpretation of Marx’s Critical Theory (1993)

Jacques Rancière, “The Concept of ‘Critique’ and the ‘Critique of Political Economy’ (from the 1844 Manuscript to Capital)”, Economy and Society 5.3 (1976): 352-376.

Tom Rockmore, Marx After Marxism: The Philosophy of Karl Marx (2002)

Gareth Stedman-Jones, Karl Marx: Greatness and Illusion (2016)

  Week 6

Tutorial Week

  Week 7          

Will to Becoming Otherwise (Nietzsche)

 Required Reading

Friedrich Nietzsche, "Preface" and "First Treatise," in On the Genealogy of Morality. Trans. by Maudemarie Clark and Alan J. Swensen. Indianopolis/Cambridge: Hackett, 1998: 1-33.

  Week 8                                                                                                                      

Ascetic Ideal and Eternal Return (Nietzsche)

 Required Reading

Friedrich Nietzsche, "Second Treatise" and "Third Treatise," in On the Genealogy of Morality. Trans. by Maudemarie Clark and Alan J. Swensen. Indianopolis/Cambridge: Hackett, 1998: 35-118.

Recommended Reading

Friedrich Nietzsche, §§341-342 of The Gay Science

Friedrich Nietzsche, “On Vision and Riddle” and “The Convalescent,” in Thus Spake Zarathustra III

Friedrich Nietzsche, “On Truth and Lying in a Non-Moral Sense,” in: The Birth of Tragedy and other writings. Cambridge: Cambridge University Press, 1999.

Friedrich Nietzsche, “On the Uses and Abuses of History for Life,” in: Untimely Meditations. Trans. by R.J. Hollingdale. Cambridge: Cambridge University Press, 1983.

Gilles Deleuze, Nietzsche and Philosophy. New York: Columbia University Press, 2006.

Jacques Derrida, Spurs: Nietzsche’s Styles. Chicago and London: University of Chicago Press, 1979.

Michel Foucault, "Nietzsche, Genealogy, History," in Language, Counter-Memory, Practice: Selected Essays and Interviews. Ed. by D. F. Bouchard. Ithaca: Cornell University Press, 1977: 139-164.

R. Kevin Hill, Nietzsche’s Critiques: The Kantian Foundations of his Thought (2003)

Luce Irigaray, Marine Lover of Friedrich Nietzsche. Trans. by Gillian C. Gill. New York: Columbia University Press, 1991.

Jean-Francois Lyotard, The Postmodern Condition: A Report on Knowledge. Trans. by Geoff Bennington and Brian Massumi. Minneapolis: University of Minnesota Press, 1984.

Gianni Vattimo, The End of Modernity: Nihilism and Hermeneutics in Postmodern Culture. Trans. by Jon R. Snyder. Baltimore: Johns Hopkins University Press, 1988.

Alenka Zupančič, The Shortest Shadow: Nietzsche’s Philosophy of the Two (2003)

  Week 9          

Repetition Compulsion (Freud)

 Required Reading

Sigmund Freud, “Beyond the Pleasure Principle” [excerpts], in Peter Gay (ed.), The Freud Reader. London: Vintage, 1995: 594-625.

Recommended Reading

Theodor Adorno, “Revisionist Psychoanalysis,” Philosophy and Social Criticism 40.3 (2014): 326-338.

Louis Althusser, Writings on Psychoanalysis: Freud and Lacan (1996)

Lauren Berlant, Desire/Love (2012)

Leo Bersani, The Freudian Body: Psychoanalysis and Art (1986)

Rebecca Comay, “Resistance and Repetition: Freud and Hegel,” Research in Phenomenology 45 (2015): 237-266.

Jacques Derrida, Archive Fever: A Freudian Impression (1995)

Jacques Derrida, The Post Card: From Socrates to Freud and Beyond (1987)

Mladen Dolar, “Freud and the Political,” Unbound 4.15 (2008): 15-29.

Sarah Kofman, Freud and Fiction (1991)

Jacques Lacan, “The Agency of the Letter in the Unconscious; or Reason after Freud”, in Écrits: A Selection. Trans. by A. Sheridan. New York: Norton, 1977: 146-175.

Catherine Malabou, “Plasticity and Elasticity in Freud’s Beyond the Pleasure Principle.” Diacritics 37.4 (2007): 78-85.

Jean-Luc Nancy, "System of (Kantian) Pleasure (With a Freudian Postscript)," in Kant after Derrida. Ed. by Phil Rothfield. Manchester: Clinamen Press, 2003: 127-141.

Angus Nicholls and Martin Liebscher (eds.), Thinking the Unconscious: Nineteenth-Century German Thought (2010)

Charles Sheperdson, Vital Signs: Nature, Culture, Psychoanalysis (2000)

Samuel Weber, The Legend of Freud. Stanford, CA: Stanford University Press, 2000.

Alenka Zupančič, Ethics of the Real: Kant and Lacan. London: Verso, 2012 [reprint].

  Week 10        

Crisis of European Humankind (Husserl)

 Required Reading

Edmund Husserl, §§1-7 and §§10-21, The Crisis of European Sciences and Transcendental Phenomenology. Trans. by David Carr. Evanston: Northwestern University Press, 1970: 2-18; 60-84.

Recommended Reading

Edmund Husserl, “Philosophy and the Crisis of European Humanity [Vienna Lecture],” in The Crisis of European Sciences and Transcendental Phenomenology. Trans. by David Carr. Evanston: Northwestern University Press, 1970: 269-299.

Jacques Derrida, The Other Heading: Reflections on Today’s Europe. Trans. by Pascale Anne Brault and Michael B. Naas. Bloomington: Indiana University Press, 1992: 4-83.

Paul de Man, “Criticism and Crisis,” in Blindness and Insight: Essays in the Rhetoric of Contemporary Criticism. New York: Oxford University Press, 1971: 3-19.

James Dodd, Crisis and Reflection: An Essay on Husserl’s Crisis of the European Sciences (2004)

Burt C. Hopkins, The Philosophy of Husserl (2011)

David Hyder and Hans-Jörg Rheinberger, Science and the Life-World: Essays on Husserl’s Crisis of European Sciences (2010)

Leonard Lawlor, Derrida and Husserl: The Basic Problem of Phenomenology (2002)

Dermot Moran, The Husserl Dictionary (2012)

Paul Valéry, "Notes on the Greatness and Decline of Europe” and “The European,” in History and Politics. Trans. Denise Folliot and Jackson Matthews. New York: Bollingen, 1962: 228; 311-12.

David Woodruff Smith, Husserl (2007)

Barry Smith and David Woodruff Smith (eds.), The Cambridge Companion to Husserl (1995)

  Week 11        

Crisis-Proof Experience (Benjamin)

 Required Reading

Walter Benjamin, “On Some Motifs in Baudelaire,” in Selected Writings vol. 4. Cambridge: Harvard UP, 2003: 313-355.

 Recommended Reading

Walter Benjamin, "Experience and Poverty"

—, "The Work of Art in the Age of Mechanical Reproducibility”

—, “Theses on the Concept of History”

—, “Epistemo-Critical Prologue,” in The Origin of German Tragic Drama. Trans. by John Osborne. London and New York: Verso, 2003: 27-56.

—, “Convolute J,” The Arcades Project

—, The Writer of Modern Life: Essays on Charles Baudelaire (2006)

Benjamin and Theodor Adorno, “Exchange with Theodor W. Adorno on ‘The Paris of the Second Empire in Baudelaire,” in Benjamin, Selected Writings vol. 4 (1999).

Charles Baudelaire, The Flowers of Evil; The Painter of Modern Life

Ian Balfour, “Reversal, Quotation (Benjamin’s History)”, Modern Language Notes 106.3 (1991): 622-647.

Eduardo Cadava, Words of Light: Theses on the Photography of History (1997)

Tom Gunning, “The Exterior as Intérieur: Benjamin’s Optical Detective,” boundary 2 30.1 (2003).

Werner Hamacher, “Now: Benjamin on Historical Time” (2001; 2005)

General Background

Julian Wolfreys (ed.), Modern European Criticism and Theory: A Critical Guide (2006) Simon Critchley, Continental Philosophy: A Very Short Introduction (2001) Terry Pinkard, German Philosophy 1760-1860: The Legacy of Idealism (2002)

Andrew Bowie, Introduction to German Philosophy: From Kant to Habermas (2003)

Kai Hammermeister, The German Aesthetic Tradition (2002) Gary Gutting, French Philosophy in the Twentieth Century (2001)

Eric Matthews, Twentieth-Century French Philosophy (1996)

Jonathan Simons (ed.), From Kant to Lévi-Strauss: The Background to Contemporary Critical Theory (2002)

Learning Outcomes

-       You will have a grasp of the broad trends in the development of critical theory.

-       You will have a good understanding of how different modern philosophical traditions from German Idealism to Phenomenology inform the different strains of critical theory.

-       You will be able to expound and analyse the ways in which a range of different writers and tendencies in the history of modern thought conceive of the specificity of critique.

-       You will have a sound grasp of the primary and secondary literatures in critical theory, both on general issues and specific thinkers or schools.

-       You will be able to use the ideas and texts explored in the module to inform your readings in critical theoretical texts.

 Assessment Criteria

-       Students should show a clear command of how their chosen thinker(s) and texts relate to the broader trajectories of critical theory.

-       Students should show a detailed critical knowledge of at least two of the module’s key thinkers or theoretical tendencies.

-       Students should show a knowledge and capacity to use a good range of secondary literature on both general issues in the field and on the specific thinkers and texts they address.

-       Students should be able to read the relevant texts from both critical and genealogical perspectives.

-       Students should demonstrate their capacity to develop a distinctive and coherent interpretative and analytical perspective on their chosen subject.

[softrobotcritics]

Machine Movement Lab

https://www.frontiersin.org/articles/10.3389/frobt.2020.577900/full

The Esthetics of Encounter: A Relational-Performative Design Approach to Human-Robot Interaction

Petra Gemeinboeck

Department of Media Theory, University of Applied Arts Vienna, Vienna, Austria

Centre for Transformative Media Technologies, School of Arts, Social Sciences and Humanities, Swinburne University of Technology, Melbourne, VIC, Australia

This article lays out the framework for relational-performative esthetics in human-robot interaction, comprising a theoretical lens and design approach for critical practice-based inquiries into embodied meaning-making in human-robot interaction. I explore the centrality of esthetics as a practice of embodied meaning-making by drawing on my arts-led, performance-based approach to human-robot encounters, as well as other artistic practices. Understanding social agency and meaning as being enacted through the situated dynamics of the interaction, I bring into focus a process of bodying-thinging; entangling and transforming subjects and objects in the encounter and rendering elastic boundaries in-between. Rather than serving to make the strange look more familiar, aesthetics here is about rendering the differences between humans and robots more relational....

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Keywords: human-robot interaction design, aesthetics, performativity, agency, design, movement

Citation: Gemeinboeck P (2021) The Esthetics of Encounter: A Relational-Performative Design Approach to Human-Robot Interaction. Front. Robot. AI 7:577900. doi: 10.3389/frobt.2020.577900

Received: 30 June 2020; Accepted: 14 December 2020; Published: 16 March 2021.

Edited by:

Elizabeth Ann Jochum

, Aalborg University, Denmark

Reviewed by:

Gregory J. Corness

, Columbia College Chicago, United States

Jonas Jørgensen

, University of Southern Denmark, Denmark

Copyright © 2021 Gemeinboeck. This is an open-access article distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction in other forums is permitted, provided the original author(s) and the copyright owner(s) are credited and that the original publication in this journal is cited, in accordance with accepted academic practice. No use, distribution or reproduction is permitted which does not comply with these terms.

*Correspondence: Petra Gemeinboeck, petra.gemeinboeck@uni-ak.ac.at

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[sophieklemensblogs]

Post 0: “How does Tumblr Function as a digital community?”

Before getting into today’s question, I thought I should introduce myself. My name is Sophie and to be honest I don’t have a lot of experience with Tumblr. When I was younger I tried making a Tumblr account because all my friends did, I would just scroll through my feed but I never actually posted anything, so I’m really a newbie to this platform. :)) 

Tumblr functions as a digital community in a variety of ways. As the Tumblr platform states;  “Tumblr lets you effortlessly share anything” by allowing users to post text, photos, quotes, links, music and videos. I often hear people say they utilise Tumblr as it is a cross between social networking sites such as Facebook, twitter and a blog. The site was founded in 2007 and is one of the worlds largest blogging platforms. Tumblr hosts over 200 million blogs and has over 420 million users. The site is particularly popular with young people, with approximately 69% of  monthly users  identifying as millennials (Heine, 2015; Smith, 2017)

The platform’s primary difference from most other social media platforms, stems from the notion that the site has no personal profiles or networks of friends, leaving many Tumblrs’ anonymous.  Although Tumblr’s predominant use is for blogging, it is also commonly used to find artistic based media on each individuals interest. Tumblr can be looked at as a platform that prioritises aesthetics.

Jurgen Habermas (2016 p. 98) concept of the public sphere, “is a construct of its time, and the mass media- dominated environment”. The way Tumblr functions as a digital community surrounds how the users across the world can communicate with each other through their posts, ultimately enabling them to connect with people who have the same hobbies and interests as them.  Users can share their views online as Tumblr gives them a creative outlet to do so. People are able to comment and interact with posts, creating a digital community.  Tumblr allows freedom of speech and more importantly freedom of their self creativity. It is not surprising that the ability to be anonymous is a major reason that the primary users are teenagers and in particular young feminist. Tumblr is a safe place they can express their opinions and outlooks without being attacked, but still have that open discussion in the comments. Dara, a 14 year old girl who uses Tumblr regularly was asked, when talking about her experience with sexism, which platform would she use, she replied “ I might put it on Tumblr because I feel very anonymous and I like that”. This is a primary example how people can express their thoughts in a safe environment. The platform allows a community to be formed without the direct and personal attacks on the users. It further allows people to voice their opinions and to be listened to and heard.

Sorry for the long first post, I had a lot to say. I hope you enjoyed the read and feel free to give me your opinion on Tumblr and what you use it for?

"It took me quite a long time to develop a voice, and now that I have it, I am not going to be silent." Madeleine Albright

References:

·       Anon 2020, Explainer: What is Tumblr?, viewed 15 April, 2020, <https://www.webwise.ie/parents/explainer-what-is-tumblr-2/>.

·       Anon 2020, Habermas’ Public Sphere, viewed 15 April, 2020, <https://opentextbc.ca/mediastudies101/chapter/habermas-public-sphere/>.

·       Anon 2020, TechCrunch is now a part of Verizon Media, viewed 15 April, 2020, <https://techcrunch.com/2013/02/18/tumblr-is-not-what-you-think/>.

·       Anon 2020, TechCrunch is now a part of Verizon Media, viewed 15 April, 2020, <https://techcrunch.com/2013/02/18/tumblr-is-not-what-you-think/>.

·       Bruns, A & Highfield, T 2016 Is Habermas on Twitter? Social media and the public sphere. In A Bruns, G Enli, E Skogerbø, AO Larsson, & Christensen, C (Eds.) The Routledge Companion to Social Media and Politics. Routledge, New York, pp. 56-73

·       Jessalynn Keller, “Oh, She’s a Tumblr Feminist”: Exploring the Platform Vernacular of Girls’ Social Media Feminisms, Social Media + Society Volume: 5 issue: 3, 2019

[mbti-notes]

Hi, last week's art student here. Thank you so much for your reply. I will study more deeply the types so I can correctly type myself. In the meantime, I wanted to ask you if you have any recommended books/resources for reflection about the subjective and objective elements of art and about the role of art in society. The field of asthetics is huge and I dont know where to beging with those questions. Thank you ^^

If you have no idea about something, then any introductory book published by a university press should suffice to teach you the main concepts. For example:

The Routledge Companion to Aesthetics (Gaut & Lopes)

Cambridge Introduction to the Philosophy of Art (Eldridge)

Routledge Contemporary Introduction to Philosophy of Art (Carroll)

Philosophy of the Arts: An Introduction to Aesthetics (Graham)

[sophie-embleton13]

How does Tumblr function as a Digital Community?

In 2014 Tumblr was the fastest growing social platform (Lunden, 2014), since then numbers may have declined yet it is still a place that houses an important digital community. Like most social platforms users can follow, reblog (share) images and like eachothers posts although, Tumblr is unique in the way that it’s a blogging site yet users communicate primarily through images. It’s currency, ‘reposts’ are another form of ‘likes’ which displays the popularity of the image but direct comments on posts are not an available feature. In order for users to comment, they must repost the image which ends up being displayed on their own blog. David Karp who founded Tumblr states that this feature is key to discourage overly negative comments, diffusing comment wars that ignite and exacerbate bullying and hate speech (Kanai, 2015). 

 A platform that provides connectivity and actively encourages and relies upon the creation and sharing of content, Tumblr is the perfect environment for niche communities to thrive. The ‘hug box’ theory (Kruse et.al, 2017) addresses the ease of eliminating anything we dislike or disagree with online translating to an unfollow, unfriend or delete. This filtration process enables us to make sense of the vast information we are faced with on social media and connects us to likeminded communities with similar interests (Kruse, 2017).  

“These virtual communities based on shared interests rather than shared physical space can be more democratic, less oppressive” (Jenkins, 2016) and despite the absence of a personal profile or social network, the anonymity users have on Tumblr enables them to voice their opinions freely (Papacharissi, 2011). This freedom of speech allows self-expression to be exercised to its full potential with no consequences of a ‘tarnished reputation.’  

Tumblr plays a vital role in shaping our social identity, an online extension of ourselves allowing us to create and play with the ‘look’ of blog through many facets. The way we portray ourselves to our online community, the aesthetic of our blog becomes our new physical appearance to hide behind (Zoonen, 2013). An emphasis on individuality has grown as Tumblr becomes saturated with users, yet a desire to fit in is prevalent, as similar aesthetics are formed and certain themes become popular. Tumblr functions to serve as an extension of ourselves, a place for self expression with no filter and a place that cultivates niche communities.

References

Bruns, A. and Highfield, 2016. Is Habermas On Twitter? Social Media And The Public Sphere.. Routledge, New York: The Routledge Companion to Social Media and Politics, pp.56-73.

Kanai, A., 2015. WhatShouldWeCallMe? Self-Branding, Individuality and Belonging in Youthful Femininities on Tumblr. M/C Journal, 18(1), pp.1-2.

Kruse, L., Norris, D. and Flinchum, J., 2017. Social Media as a Public Sphere? Politics on Social Media. The Sociological Quarterly, 59(1), pp.62-84.

Lunden, I., 2014. Techcrunch Is Now A Part Of Verizon Media. [online] Techcrunch.com. Available at: <https://techcrunch.com/2014/11/25/tumblr-overtakes-instagram-as-fastest-growing-social-platform-snapchat-is-the-fastest-growing-app/> [Accessed 21 April 2020].

Papacharissi, Z., 2011. A Networked Self. New York: Routledge.

Wilken, R. and McCosker, 2014. The Media & Communications In Australia: Social Selves. pp.291-295.

Zoonen, L., 2013. From Identity To Identification. pp.44-51.

[sheliamintarablog]

How Tumblr Functions as a Digital Community

Tumblr is a social media that launched in 2007 and is famous for their micro-blogging style. Tumblr offers their users to communicate through images which function “more as content curators through posting both original and ‘reblogged’ content” (Keller 2019, p. 7). Its allowance for users to customized short-form blogs reinforce that Tumblr prioritizes aesthetics. The thing that most distinguishes this platform from the other is the ability to maintain social privacy which means individual can stay anonymous and hard to be identified. Individuals also can control the flow of information, social situations and manage relationships in Tumblr.

The ability to control social privacy and protected participation enable Tumblr to act as a public sphere. A German philosopher, Habermas ([1989] 1991:27) defines public sphere as a place where “private people come together as a public”. Public sphere is a platform where individuals can speak up and social issues are discussed. Therefore it is not that surprising to see so many people engage in political issue in Tumblr. In an article written by Keller (2019, p.7) it is stated that Tumblr is specifically well known among teenagers with 69 percent identified as millennial out of a total of 550 million monthly users. Many teenagers especially girls choose to engage in feminist politics in Tumblr as it is very ideal for them to talk about ‘extreme’ issues that may not be suitable to disscuss in other platforms. The anonymous feature even caused a teenager to describes Tumblr as a “proper black hole” (Keller 2019, p. 8), which is deeper than any other platforms.  Tumblr’s layout also makes it less accessible for them to find themselves in an argument. Thus, it makes Tumblr seems to “offer a space for girls to engage in a wider range of feminist politics” (Keller 2019, p. 8). 

 Reference

Bruns, A & Highfield, T 2016, ‘Is Habermas on Twitter? Social media and the public sphere’, The Routledge Companion to Social Media and Politics, pp. 56-73.

Keller, J 2019, ‘ “Oh, she’s a tumblr feminist”: exploring the platform vernacular of girls’ social media feminisms’, Social Media + Society, vol. 5, no. 3, pp. 1-11.

Kruse, L, Norris, D & Flinchum, D 2018, ‘Social media as a public sphere? Politics on social media’, The Sociological Quarterly, vol. 59, no. 1, pp. 62-84.

[ryotarox]

(分析美学入門 | ロバート ステッカー, Robert Stecker, 森 功次 |本 | 通販 | Amazonから)

美しいとはどういうことか? 芸術とは? 芸術作品とは何か? 美学と芸術哲学についてわかりやすく解説する本邦初の入門書。

英語圏哲学界の泰斗が現代の美学をわかりやすく紹介。雄大な自然、悲しい交響曲、社会を変えた暴露小説、不道徳なバイオレンス映画、美しくないコンセプチュアルアート、周囲と調和しない前衛建築など、多岐にわたる実例を用いながら、13章にわたって最新の論争をあざやかに解説する。丁寧な文献紹介と用語解説、確認問題集を付した、最先端の入門書。

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分析美学にはどのようなトピックがあるのか - 昆虫亀

英語圏の美学ではどのような問題が考察されているのか、という観点からまとめてみました。 まとめてみたというか、項目は英語圏の教科書のひとつThe Routledge Companion to Aesthetics, 3rd editionの第2部、第3部そのままです。

Part II 芸術の定義（Definitions of art） 芸術のカテゴリー（Categories of art） 芸術の存在論（Ontology of art） 美的なもの（The aesthetic） 趣味（Taste） 美的普遍性（Aesthetic universals） 芸術と進化（Art and Evolution） 芸術の価値（Value of art） 美（Beauty） 解釈（Interpretation） 想像とごっこ（Imagination and make-believe） フィクション（Fiction） 物語（Narrative） メタファー（Metaphor） 描写（Depiction） Part III 批評（Criticism） 芸術と知識（Art and knowledge） 芸術と倫理（Art and ethics） 芸術、表現、情動（Art, expression and emotion） 悲劇（Tragedy） ユーモア（Humor） 創造性（Creativity） スタイル（Style） パフォーマンスにおける真正性（Authenticity in performance） 偽物と贋作（Fake and forgeries） 高級芸術vs下級芸術（High art versus low art） 環境美学（Environmental aesthetics） フェミニスト美学（Feminist Aesthetics） 芸術と宗教（Art and religion）

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美学を一から勉強するひとのために：文献リスト - 昆虫亀

[noplaceforsanity]

“An even more symbolic presentation of monstrosity, reducing the Beast’s deformation to a scar, is chosen by an Italian director, Fabrizio Costa. In commentaries available on YouTube (2015, 2016), he describes his 2014 TV mini-series, La bella e la bestia, as replacing the story’s fantastic elements with the aesthetics of gothicized historical romance. The deformation of Prince Leon’s face is a token of his psychological damage that, as Costa clarifies, becomes an equivalent of the magical curse and needs to be healed with Bella's involvement. Simultaneously, as Luca Bernabei, the producer of La bella e la bestia, underlines in the commentary from 2016, the characterization is hardly able to ruin Preziosi’s appearance, which makes the mini-series subscribe to the visual trope of an attractive Beast.

While the romantic model in Costa’s adaptation bears resemblance to that of Beastly, featuring the faulty male character improving and developing under the steady influence of the heroine’s goodness, it diversifies the gender dynamics of the relationship by introducing rivals of both protagonists. Bella's agreeable suitor poses no threat to Leon and gracefully accepts the eventual rejection. The prince’s obsessive cousin Helene, determined to become his wife, proves, in turn, to be the main villain and, indirectly, the cause of Leon’s bestial transformation. That development is relevant for the theme of domestic violence, definitely more prominent than in other adaptations. It is Leon’s emotional volatility and the alleged part in his former wife’s death that is the source of Bella’s doubts. Consequently, his redemption comes with the revelation of Helene as the actual killer. The abusive tendencies of the prince affect also his position as a whimsical landowner, eventually pushing local farmers to a violent reaction. Thus, La bella e la bestia constitutes another example of an uneasy fusion of a generic fairy-tale romance with more specific, socially involved themes.”

—  Tomasz Z. Majkowski and Agata Zarzycka. “Romance (The Transmedial Romance of “Beauty and the Beast”).” The Routledge Companion to Media and Fairy-Tale Cultures. Eds. Pauline Greenhill, Jill Terry Rudy, Naomi Hamer, Lauren Bosc. Routledge, 2018. 598-606.

[weirdletter]

The Irish Journal of Gothic and Horror Studies, Issue #17, Autumn 2018. General editor: Dara Downey. Available at irishgothicjournal.net.

The Irish Journal of Gothic and Horror Studies (ISSN 2009-0374) is a peer-reviewed, interdisciplinary, electronic publication dedicated to the study of Gothic and horror literature, film, new media and television.

ARTICLES Mother, Monstrous: Motherhood, Grief, and the Supernatural in Marc-Antoine Charpentier’s Médée – Shauna Louise Caffrey ‘Most foul, strange and unnatural’: Refractions of Modernity in Conor McPherson’s The Weir – Matthew Fogarty John Banville’s (Post)modern Reinvention of the Gothic Tale: Boundary, Extimacy, and Disparity in Eclipse (2000) – Mehdi Ghassemi The Ballerina Body-Horror: Spectatorship, Female Subjectivity and the Abject in Dario Argento’s Suspiria (1977) Charlotte Gough In the Shadow of Cymraeg: Machen’s ‘The White People’ and Welsh Coding in the Use of Esoteric and Gothicised Languages – Angela Elisa Schoch/Davidson BOOK REVIEWS: LITERARY AND CULTURAL CRITICISM Jessica Gildersleeve, Don’t Look Now – Anthony Ballas Plant Horror: Approaches to the Monstrous Vegetal in Fiction and Film, ed. – Dawn Keetley and Angela Tenga (New York: Palgrave, 2016) Gustavo Subero, Gender and Sexuality in Latin American Horror Cinema: Embodiments of Evil (London: Palgrave Macmillan, 2016) Ecogothic in Nineteenth-Century American Literature, ed. by Dawn Keetley and Matthew Wynn Sivils (New York: Routledge, 2018) Monsters in the Classroom: Essays on Teaching What Scares Us, ed. by Adam Golub and Heather Hayton (Jefferson, NC: McFarland, 2017) Scottish Gothic: An Edinburgh Companion, ed. by Carol Margaret Davison and Monica Germanà (Edinburgh: Edinburgh University Press, 2017) Catherine Spooner, Post-Millennial Gothic: Comedy, Romance, and the Rise of Happy Gothic (London, New York: Bloomsbury, 2017) Anna Watz, Angela Carter and Surrealism: ‘A Feminist Libertarian Aesthetic’ (London: Routledge, 2017) S.T. Joshi, Varieties of the Weird Tale (New York: Hippocampus Press, 2017) Phil Smith BOOK REVIEWS: FICTION A Suggestion of Ghosts: Supernatural Fiction by Women 1854-1900, ed. by J. A. Mains (Kent: Black Shuck Books, 2017) – Maria Giakaniki BOOKS RECEIVED FILM REVIEWS My Friend Dahmer, dir. by Marc Meyers (FilmRise, 2017) – Jess H. Anderson The First Purge, dir. by Gerard McMurray (Universal Pictures, 2018) – Caroline Egan The Ritual, dir. by David Bruckner (eOne Films, 2017) – Gerard Gibson Unsane, dir. by Steven Soderbergh (Bleecker Street, 2018) – Laura R. Kremmel The Cured, dir. by David Freyne (IFC Films, 2017) – Wendy Mooney Alien Covenant, dir. by Ridley Scott (Twentieth Century Fox, 2017) – Antonio Sanna Ghost Stories, dir. by Andy Nyman, Jeremy Dyson (Lionsgate Films, 2018) – Carly Stevenson A Quiet Place, dir. by John Krasinski (Paramount Pictures, 2018) – Richard Gough Thomas Jigsaw, dir. Michael Spierig, Peter Spierig (Lionsgate, 2017) – Gavin Wilkinson FILM AND TELEVISION REVIEWS Hereditary (dir. by Ari Aster, 2018) and Sharp Objects (HBO, 2018)  – Bernice M. Murphy Superstition (Syfy, 2017) – Miranda Corcoran Riverdale, Season Two (CW, 2018) – Richard Drumm The Strain (FX, 2014-17) – Thomas Sweet GAME REVIEWS Lingdong Huang, Normal Human Face Simulator (itch.io, 2017) – Ashley Darrow Blooper Team SA, Layers of Fear (Aspyr, 2016) – Clara A. Pimentel and Philipe de Freitas Melo NOTES ON CONTRIBUTORS

[caitlin-ohara]

Week 8: The Impacts Social Media Plays On Body Modification

The increase in social media influencers results in the rise of body modification online, this not only be subjected to those using beauty apps to alter one’s appearance but can also be apparent in micro-celebrity culture – pornification, aesthetic labour, and sexualised femininity and masculinity culture which can ultimately lead to Body Dysmorphic Disorder (BDD) and other mental health issues (Mavroudis 2022).

Online body modification can be explored in a way like never before, micro-celebrities and influencers are using various platforms and tools to alter their appearance online, whether this is through face-tunning or editing one’s body to make themselves appear a certain way. This idea has now become ‘normalised’ within western society (Tyler and Quek 2016), as it suggests that online users are engaging with as well as participating in online body modification without realisation.

Body modification and the exploitation editing of images online can be viewed as pornification as influencers are everyday social media users posting highly edited exploitive photos of their bodies online. This idea is visible amongst the Kardashians and Jenners who regularly post sexualised content, despite this creating unhealthy thoughts around body image, whilst contributing to pornification and microcelebrity culture it is also highlighting the significance of being comfortable in one’s skin whilst exploring the idea of femininity on social media (Spargo 2020). The overall idea of pornification has led to the visibility of sexual representation in mainstream media and culture (Attwood 2010).

Tana Mongeau is a notorious image editor that contributes significantly to body modifications online as well as the idea of pornification due to the type of photos posted. Despite Mongeau and other influencers being open and honest about their photoshopping of photos, this still contributes to the negative effects edited photos have on young consumers online who look up to these influencers as role models. Although being transparent about editing is a commendable thing online in comparison to those who lie and aren’t honest about their images being real or fake, this idea of body modification has a severe impact on mental health and body image issues which can ultimately result in BDD. This, therefore, suggests the negative effect photoshopping and editing have on society in particular the internalisation of beauty standards and body image concerns (Pham 2018).

Online body modification also extends to people modifying their bodies to fit in with online trends or to appear to look like celebrities or micro-celebrities online. This can be explored with teenage girls piercing parts of the body which therefore is a form of body modification. In 2020, TikTok of girls getting their nipples pierced was going viral, this quickly became a trend where people would film the benefits of getting their nipples pierced on would vlog the experience. Despite this being a harmless trend at first, the viral sensation of body modification can be attributed to arise many ethical and behaviour questions. However, it is online forum discussions that generate conversation and allow users to be more confident in their body and appearance as it is becoming normalised within society (Rome 2022).

References:

Attwood, F. 2010. ‘The Sexualisation of Culture’ Mainstreaming Sex: The Sexualisation of Western Culture. [online] Available at <https://books.google.co.uk/books?hl=en&lr=&id=3xKJDwAAQBAJ&oi=fnd&pg=PT10&ots=9GYkVO25X6&sig=cVqKEHQQtx5SiEJ36fEm7p1U-Tc#v=onepage&q&f=false >

Pham, T. 2018. ‘Why Can 't I Look Like Her? The Impact of Photoshop on Female Adolescents' Internalization of Beauty Ideals and Body-Related Concerns’. Dickson Scholar.  [online] Available at < https://scholar.dickinson.edu/cgi/viewcontent.cgi?article=1058&context=student_work >

 Rome, A. 2022. ‘Taking off the Blindfold, The Perils of Pornification and Sexual abjectification.’ The Routledge Companion to Marketing and Feminism. PP. 207 – 214. [online] Available at <https://books.google.com.au/books?id=mhdYEAAAQBAJ&printsec=frontcover#v=onepage&q&f=false >

Spargo, T. 2020. ‘Kim Kardashian’s Ass: Thoughts on Sexual Politics’. Albuquerque History Magazine. [online] Available at < https://periodicos.ufms.br/index.php/AlbRHis/article/view/12358/10225 >

Tyler, M. & Quek, K. 2016. ‘Conceptualizing pornographisation’. Media and Society. [online] Available at  < https://journals.sagepub.com/doi/pdf/10.1177/2374623816643281 >

[fundgruber]

Unlike folksonomy projects in museums in which crowd-sourced categories float on top of museum catalogs yet rarely, if ever, enter a dialog with the formal key words of museum collection management systems, the Instagram tagging system both constitutes the archival qualities of the platform and demonstrates the ways in which classificatory systems are in fact not a priori, but created out of a networked infrastructure of images.

Haidy Geismar, Instant Archives?, in The Routledge Companion to Digital Ethnography, hg. von Larissa Hjorth et al. Routledge, 2017: 331–43, 337

"Yet it is the very sociality of Instagram and the ways in which it forges networks of images that is also the most profound regulator of the production of normative images. The archival logic of Instagram revolves around an infrastructure of value forged by the formation of classi- ficatory systems based on user appreciations, underpinned by the epistemological logic of the hashtag. Not only does this have a practical application, in the exploitation of these circuits of appreciation in the form of commercial interest, it also in part might explain the emergence of particular genres within the platform." p. 338

"While liking and commenting form the basis of large numbers of community, even larger numbers of Instagram images are in fact not instantiations of self-making or identity in rela- tion to culture, practice, politics or sociality. Rather, they are vehicles expressly designed for the interconnection between aesthetic contemplation and taste making, uploaded specifically to engender social networks of appreciation." 339

"Historically there have been numerous failed attempts at total archiving projects from Warburg’s Mnemosyne project to the Mundaneum. These projects, like that of Google’s book project or even its search engine, might be understood as a kind of imperial hubris, like the mapping project described by Borges in his short story “On the Exactitude of Science.” However, platforms such as Instagram can be seen as new forms of archives of the everyday, constructing a predetermined and emergent infrastructure through which persons circulate in the digital world as assemblages of taste and, by extension, work collectively to construct new forms of value. It is the archival logic that produces the qualities of Instagram that are of such interest to analysts—the classificatory system of the hashtag, the normativity of genre production and the self-identification of users within this new normative and visible public sphere. Instagram opens up the possibility of registering or archiving a slice of reality that was absent in the traditional archive, and in so doing makes it possible to incorporate that into circuits of value and the production of meaning. Thinking of Instagram as an archive allows us to make sense of the ongoing tensions about the visual economy, the monetization of user data, the corporate structure of the interface, alongside the analysis and understanding of user-generated content." p.341f.

[chopstick-reader]

To posses the sense of hearing is simply to be capable of receiving the set of ideas we call "sounds" in response to the action of objects suited to give such ideas; to possess the sense of beauty is simply to be capable of receiving the idea we call "the pleasure of beauty" in response to the action of objects suited to give such pleasure.

This characterization of the sense of beauty prompts the question of what quality (or complex of qualities) suits an object to give us the pleasure of beauty - the question in other words, of the source of the pleasure of beauty in objects. The answer may seem obvious: it may seem that it is in virtue of their possession of the quality of beauty that objects give rise to the pleasure of beauty. Hutcheson rejects this answer not because it is uninformative, but because it is, strictly speaking, false. Following Locke, Hutcheson thinks of the idea of beauty as an idea of secondary quality, which means that beauty exists as an idea merely, and not as a quality that inheres in objects.

The Routledge companion to aesthetics. Empiricism, James Shelley.

Hutcheson's idea of taste

[vc-vc]

Mod 11

Chapter 26: Raza Rockabilly and Greaser Cultura

In Chapter 26 of the “Routledge companion to Latina/o popular culture,” the author Nicholas Centino, writes about the Rockabilly music and its importance in Latina/o communities. Rockabilly or Razabilliy, is a genre of music that first became popular in the 1950’s, originating in the American south it entails a combination of white country music and black R&B. Centino describes the rising popularity of rockabilly among Latina/o communities in Los Angeles, and the use of this genre of music to create shared experiences and reimagining Latina/o identity and contribution to Los Angeles. Artists such as Big Sandy, Vicky Tafoya and bands like Lil’Luis y Los wild Teens of Wild Records, made headways in the music world and transformed Mexican rock and roll throughout the 90’s and 2000s. Razabilly has evolved to create music that is based on community, self-expression and a reimagination of identity in the United States, it is a creative outlet for these artists and enthusiasts to share their experiences.

The link attached is a recording of Vicky Tofoya’s song So young: https://www.youtube.com/watch?v=BkYZkisd3tA

 Photograph by Chandra Narcia 

Chapter 27: Bodies in Motion

Marivel T. Danielson, the author or chapter 28 titled Bodies in Motion: Latina/o Popular culture as Rasquache Resistance, explores the use of Rasquache themes and ideals in the artwork and activism of Latina/o artists and activists. Rasquache, is a term that refers to the cultural sensibility of the poor/excluded, often incorporating the use of reused and recycled materials. A Rasquache aesthetic is one that makes do with what there is, with limited resources you find a way, you find the grit to fulfill your vision. Artists and Activists such as Chandra Narica, Julio saldago, Leigh-Anna Hidalgo Newtin and Kathy Cano-Murillo embody the ideals of rasquache aesthetic, by keeping in mind the cultural sensibility of the poor and excluded Latina/o individual and using their stance and platforms to share messages of empowerment and resistance.

Chapter 28: Claiming style, consuming culture

Chapter 28 titled Claiming Style, Consuming culture: The Politics of Latina Self-Styling and Fashion lines, written by Stacy I. Macías explores the role and influence of Latina fashion and self-styling in clothing production and politics. Macías uses the term racialized rasquache raunche in reference to the explicit Latina aesthetic that goes beyond individual identity, racialized gendered clichés, or subversion. Corporations such as Cotton incorporated and sears created clothing lines target toward Hispanic women in an effort to gain capital from Latina consumers, the results of these clothing lines produced clothing that embodies the racialized and hypersexualized stereotypes of Latina women, that is until the product no longer garners profit. This chapter seemed to me like a critique of neoliberal practices and capitalistic efforts to profit off of Latina consumers by using racialized gendered notions of identity, while simultaneously recognizing the influence that Latina self-styling and fashion has on the fashion industry and surrounding society. I enjoyed the authors use of personal experience and her story’s about her fashion forward and stylistic mother in is this chapter, she showed what it meant to embody rasquachismo and being a Latina consumer.