011 - Revision history

Chinouk at 09:37, 24 April 2024

2024-04-24T09:37:44Z

← Older revision		Revision as of 09:37, 24 April 2024
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	\|Type=Essay		\|Type=Essay
	\|Discipline=philosophy		\|Discipline=philosophy
	\|Subject=Aesthetics~~, De/colonialism~~		\|Subject=Aesthetics
	\|Description=The zany, the cute, and the interesting saturate postmodern culture. They dominate the look of its art and commodities as well as our discourse about the ambivalent feelings these objects often inspire. In this radiant study, Sianne Ngai offers a theory of the aesthetic categories that most people use to process the hypercommodified, mass-mediated, performance-driven world of late capitalism, treating them with the same seriousness philosophers have reserved for analysis of the beautiful and the sublime.		\|Description=The zany, the cute, and the interesting saturate postmodern culture. They dominate the look of its art and commodities as well as our discourse about the ambivalent feelings these objects often inspire. In this radiant study, Sianne Ngai offers a theory of the aesthetic categories that most people use to process the hypercommodified, mass-mediated, performance-driven world of late capitalism, treating them with the same seriousness philosophers have reserved for analysis of the beautiful and the sublime.

Chinouk at 09:37, 24 April 2024

2024-04-24T09:37:26Z

← Older revision		Revision as of 09:37, 24 April 2024
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	\|Entity=Individual		\|Entity=Individual
	\|Title=Our aesthetic categories: Zany, Cute, Interesting		\|Title=Our aesthetic categories: Zany, Cute, Interesting
	\|~~Link~~=https://www.~~are~~.na/~~block~~/~~3973763~~		\|Pdf=https://www.digital-media.teaching-documents.org/wp-content/uploads/2018/08/our-aesthetic-categories-zany-cute-interesting-partial-scan-only.pdf
	\|Type=Essay		\|Type=Essay
	\|Discipline=philosophy		\|Discipline=philosophy
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	Through readings of Adorno, Schlegel, and Nietzsche alongside cultural artifacts ranging from Bob Perelman's poetry to Ed Ruscha's photography books to the situation comedy of Lucille Ball, Ngai shows how these everyday aesthetic categories also provide traction to classic problems in aesthetic theory. The zany, cute, and interesting are not postmodernity's only meaningful aesthetic categories, Ngai argues, but the ones best suited for grasping the radical transformation of aesthetic experience and discourse under its conditions.		Through readings of Adorno, Schlegel, and Nietzsche alongside cultural artifacts ranging from Bob Perelman's poetry to Ed Ruscha's photography books to the situation comedy of Lucille Ball, Ngai shows how these everyday aesthetic categories also provide traction to classic problems in aesthetic theory. The zany, cute, and interesting are not postmodernity's only meaningful aesthetic categories, Ngai argues, but the ones best suited for grasping the radical transformation of aesthetic experience and discourse under its conditions.
	~~\|External reference=https://www.hup.harvard.edu/books/9780674088122~~
	\|Year=2012		\|Year=2012
	\|Has URL=Yes		\|Has URL=Yes
	\|Has PDF=Yes		\|Has PDF=Yes
	}}		}}

Admin at 17:10, 19 March 2024

2024-03-19T17:10:46Z

← Older revision		Revision as of 17:10, 19 March 2024
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	{{Entry		{{Entry
	\|Entry number=011		\|Entry number=011
	~~\|Year=2012~~
	\|People=Sianne Ngai		\|People=Sianne Ngai
	\|Entity=Individual		\|Entity=Individual
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	Through readings of Adorno, Schlegel, and Nietzsche alongside cultural artifacts ranging from Bob Perelman's poetry to Ed Ruscha's photography books to the situation comedy of Lucille Ball, Ngai shows how these everyday aesthetic categories also provide traction to classic problems in aesthetic theory. The zany, cute, and interesting are not postmodernity's only meaningful aesthetic categories, Ngai argues, but the ones best suited for grasping the radical transformation of aesthetic experience and discourse under its conditions.		Through readings of Adorno, Schlegel, and Nietzsche alongside cultural artifacts ranging from Bob Perelman's poetry to Ed Ruscha's photography books to the situation comedy of Lucille Ball, Ngai shows how these everyday aesthetic categories also provide traction to classic problems in aesthetic theory. The zany, cute, and interesting are not postmodernity's only meaningful aesthetic categories, Ngai argues, but the ones best suited for grasping the radical transformation of aesthetic experience and discourse under its conditions.
	\|External reference=https://www.hup.harvard.edu/books/9780674088122		\|External reference=https://www.hup.harvard.edu/books/9780674088122
	\|~~Image~~=~~Test-image-2-test-test.jpg.jpg~~		\|Year=2012
	~~\|CaptionImage=Bisque Kewpie doll, manufactured by the German firm J.D. Kestner, 1913. Courtesy Victoria and Albert Museum.~~
	~~\|Image2=Test-image-test-test.jpg~~
	~~\|CaptionImage2=Zany, Cute, Interesting: Sianne Ngai on Our Aesthetic Categories~~
	\|Has URL=Yes		\|Has URL=Yes
	\|Has PDF=Yes		\|Has PDF=Yes
	}}		}}

Admin: 1 revision imported

2024-03-19T16:46:28Z

1 revision imported

← Older revision	Revision as of 16:46, 19 March 2024
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directory>Admin at 09:22, 12 March 2024

2024-03-12T09:22:38Z

← Older revision		Revision as of 09:22, 12 March 2024
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	{{Entry		{{Entry
	\|Entry number=011		\|Entry number=011
	~~\|Book=Yes~~
	~~\|Web=Yes~~
	\|Year=2012		\|Year=2012
	\|People=Sianne Ngai		\|People=Sianne Ngai
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	\|Link=https://www.are.na/block/3973763		\|Link=https://www.are.na/block/3973763
	\|Type=Essay		\|Type=Essay
	~~\|Has URL=Yes~~
	~~\|Has PDF=Yes~~
	\|Discipline=philosophy		\|Discipline=philosophy
	\|Subject=Aesthetics, De/colonialism		\|Subject=Aesthetics, De/colonialism
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	Through readings of Adorno, Schlegel, and Nietzsche alongside cultural artifacts ranging from Bob Perelman's poetry to Ed Ruscha's photography books to the situation comedy of Lucille Ball, Ngai shows how these everyday aesthetic categories also provide traction to classic problems in aesthetic theory. The zany, cute, and interesting are not postmodernity's only meaningful aesthetic categories, Ngai argues, but the ones best suited for grasping the radical transformation of aesthetic experience and discourse under its conditions.		Through readings of Adorno, Schlegel, and Nietzsche alongside cultural artifacts ranging from Bob Perelman's poetry to Ed Ruscha's photography books to the situation comedy of Lucille Ball, Ngai shows how these everyday aesthetic categories also provide traction to classic problems in aesthetic theory. The zany, cute, and interesting are not postmodernity's only meaningful aesthetic categories, Ngai argues, but the ones best suited for grasping the radical transformation of aesthetic experience and discourse under its conditions.
	\|External reference=https://www.hup.harvard.edu/books/9780674088122		\|External reference=https://www.hup.harvard.edu/books/9780674088122
			\|Image=Test-image-2-test-test.jpg.jpg
			\|CaptionImage=Bisque Kewpie doll, manufactured by the German firm J.D. Kestner, 1913. Courtesy Victoria and Albert Museum.
			\|Image2=Test-image-test-test.jpg
			\|CaptionImage2=Zany, Cute, Interesting: Sianne Ngai on Our Aesthetic Categories
			\|Has URL=Yes
			\|Has PDF=Yes
	}}		}}

Admin at 15:37, 15 January 2024

2024-01-15T15:37:07Z

← Older revision		Revision as of 15:37, 15 January 2024
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	\|Has PDF=Yes		\|Has PDF=Yes
	\|Discipline=philosophy		\|Discipline=philosophy
	\|Subject=Aesthetics		\|Subject=Aesthetics, De/colonialism
	\|Description=The zany, the cute, and the interesting saturate postmodern culture. They dominate the look of its art and commodities as well as our discourse about the ambivalent feelings these objects often inspire. In this radiant study, Sianne Ngai offers a theory of the aesthetic categories that most people use to process the hypercommodified, mass-mediated, performance-driven world of late capitalism, treating them with the same seriousness philosophers have reserved for analysis of the beautiful and the sublime.		\|Description=The zany, the cute, and the interesting saturate postmodern culture. They dominate the look of its art and commodities as well as our discourse about the ambivalent feelings these objects often inspire. In this radiant study, Sianne Ngai offers a theory of the aesthetic categories that most people use to process the hypercommodified, mass-mediated, performance-driven world of late capitalism, treating them with the same seriousness philosophers have reserved for analysis of the beautiful and the sublime.

Admin at 15:29, 10 January 2024

2024-01-10T15:29:00Z

← Older revision		Revision as of 15:29, 10 January 2024
Line 13:		Line 13:
	\|Discipline=philosophy		\|Discipline=philosophy
	\|Subject=Aesthetics		\|Subject=Aesthetics
	\|Description=The zany, the cute, and the interesting saturate postmodern culture, dominating the look of its art and commodities as well as our ways of speaking about the ambivalent feelings these objects often inspire. In this study Ngai offers an aesthetic theory for the hypercommodified, mass-mediated, performance-driven world of late capitalism		\|Description=The zany, the cute, and the interesting saturate postmodern culture. They dominate the look of its art and commodities as well as our discourse about the ambivalent feelings these objects often inspire. In this radiant study, Sianne Ngai offers a theory of the aesthetic categories that most people use to process the hypercommodified, mass-mediated, performance-driven world of late capitalism, treating them with the same seriousness philosophers have reserved for analysis of the beautiful and the sublime.
	~~\|Reflection~~=The zany, the cute, and the interesting saturate postmodern culture. They dominate the look of its art and commodities as well as our discourse about the ambivalent feelings these objects often inspire. In this radiant study, Sianne Ngai offers a theory of the aesthetic categories that most people use to process the hypercommodified, mass-mediated, performance-driven world of late capitalism, treating them with the same seriousness philosophers have reserved for analysis of the beautiful and the sublime.

	Ngai explores how each of these aesthetic categories expresses conflicting feelings that connect to the ways in which postmodern subjects work, exchange, and consume. As a style of performing that takes the form of affective labor, the zany is bound up with production and engages our playfulness and our sense of desperation. The interesting is tied to the circulation of discourse and inspires interest but also boredom. The cute's involvement with consumption brings out feelings of tenderness and aggression simultaneously. At the deepest level, Ngai argues, these equivocal categories are about our complex relationship to performing, information, and commodities.		Ngai explores how each of these aesthetic categories expresses conflicting feelings that connect to the ways in which postmodern subjects work, exchange, and consume. As a style of performing that takes the form of affective labor, the zany is bound up with production and engages our playfulness and our sense of desperation. The interesting is tied to the circulation of discourse and inspires interest but also boredom. The cute's involvement with consumption brings out feelings of tenderness and aggression simultaneously. At the deepest level, Ngai argues, these equivocal categories are about our complex relationship to performing, information, and commodities.

Admin: Created page with "{{Entry |Entry number=011 |Book=Yes |Web=Yes |Year=2012 |People=Sianne Ngai |Entity=Individual |Title=Our aesthetic categories: Zany, Cute, Interesting |Link=https://www.are.na/block/3973763 |Type=Essay |Has URL=Yes |Has PDF=Yes |Discipline=philosophy |Subject=Aesthetics |Description=The zany, the cute, and the interesting saturate postmodern culture, dominating the look of its art and commodities as well as our ways of speaking about the ambivalent feelings these object..."

2023-12-22T10:56:33Z

Created page with "{{Entry |Entry number=011 |Book=Yes |Web=Yes |Year=2012 |People=Sianne Ngai |Entity=Individual |Title=Our aesthetic categories: Zany, Cute, Interesting |Link=https://www.are.na/block/3973763 |Type=Essay |Has URL=Yes |Has PDF=Yes |Discipline=philosophy |Subject=Aesthetics |Description=The zany, the cute, and the interesting saturate postmodern culture, dominating the look of its art and commodities as well as our ways of speaking about the ambivalent feelings these object..."

New page

{{Entry
|Entry number=011
|Book=Yes
|Web=Yes
|Year=2012
|People=Sianne Ngai
|Entity=Individual
|Title=Our aesthetic categories: Zany, Cute, Interesting
|Link=https://www.are.na/block/3973763
|Type=Essay
|Has URL=Yes
|Has PDF=Yes
|Discipline=philosophy
|Subject=Aesthetics
|Description=The zany, the cute, and the interesting saturate postmodern culture, dominating the look of its art and commodities as well as our ways of speaking about the ambivalent feelings these objects often inspire. In this study Ngai offers an aesthetic theory for the hypercommodified, mass-mediated, performance-driven world of late capitalism
|Reflection=The zany, the cute, and the interesting saturate postmodern culture. They dominate the look of its art and commodities as well as our discourse about the ambivalent feelings these objects often inspire. In this radiant study, Sianne Ngai offers a theory of the aesthetic categories that most people use to process the hypercommodified, mass-mediated, performance-driven world of late capitalism, treating them with the same seriousness philosophers have reserved for analysis of the beautiful and the sublime.

Ngai explores how each of these aesthetic categories expresses conflicting feelings that connect to the ways in which postmodern subjects work, exchange, and consume. As a style of performing that takes the form of affective labor, the zany is bound up with production and engages our playfulness and our sense of desperation. The interesting is tied to the circulation of discourse and inspires interest but also boredom. The cute's involvement with consumption brings out feelings of tenderness and aggression simultaneously. At the deepest level, Ngai argues, these equivocal categories are about our complex relationship to performing, information, and commodities.

Through readings of Adorno, Schlegel, and Nietzsche alongside cultural artifacts ranging from Bob Perelman's poetry to Ed Ruscha's photography books to the situation comedy of Lucille Ball, Ngai shows how these everyday aesthetic categories also provide traction to classic problems in aesthetic theory. The zany, cute, and interesting are not postmodernity's only meaningful aesthetic categories, Ngai argues, but the ones best suited for grasping the radical transformation of aesthetic experience and discourse under its conditions.
|External reference=https://www.hup.harvard.edu/books/9780674088122
}}