Aesthetic Economy is a theory of the recent development of capitalism in our national economies. Basic needs are easily satisfied and, as a result, most commodities are no longer intended for consumption, but for the staging of our lives. That is, they are used to produce atmospheres. Applications of the theory are found wherever staging is performed: in commodity aesthetics, in marketing, as well as in the sphere of production. As to technology, we find a turn from useful to joyful technology. And the technology of entertainment has become a huge part of the general economy. Similarly, a further horizon of Aesthetic Economy is to be seen in the aestheticization of politics, the staging of sporting events and the management of culture.

Aesthetic Capitalism debates the social aesthetics of contemporary economic processes. The book connects modern cultural dynamics with the workings of contemporary capitalism. It explores art and the new spirit of capitalism; visual culture and the experience economy; aesthetics and organisations; the art of fiscal management; capitalism without myth; and architecture in the age of aesthetic capitalism. Contributors include: Peter Murphy, Eduardo de la Fuente, Antonio Strati, Ken Friedman, Dominique Bouchet, Anders Michelsen, David Roberts, Carlo Tognato

A provocative theory of the gimmick as an aesthetic category steeped in the anxieties of capitalism. Repulsive and yet strangely attractive, the gimmick is a form that can be found virtually everywhere in capitalism. It comes in many guises: a musical hook, a financial strategy, a striptease, a novel of ideas. Above all, acclaimed theorist Sianne Ngai argues, the gimmick strikes us both as working too little (a labor-saving trick) and as working too hard (a strained effort to get our attention). Focusing on this connection to work, Ngai draws a line from gimmicks to political economy. When we call something a gimmick, we are registering uncertainties about value bound to labor and time—misgivings that indicate broader anxieties about the measurement of wealth in capitalism. With wit and critical precision, Ngai explores the extravagantly impoverished gimmick across a range of examples: the fiction of Thomas Mann, Helen DeWitt, and Henry James; photographs by Torbjørn Rødland; the video art of Stan Douglas; the theoretical writings of Stanley Cavell and Theodor Adorno. Despite its status as cheap and compromised, the gimmick emerges as a surprisingly powerful tool in this formidable contribution to aesthetic theory.

Envy, irritation, paranoia—in contrast to powerful and dynamic negative emotions like anger, these non-cathartic states of feeling are associated with situations in which action is blocked or suspended. In her examination of the cultural forms to which these affects give rise, Sianne Ngai suggests that these minor and more politically ambiguous feelings become all the more suited for diagnosing the character of late modernity. Along with her inquiry into the aesthetics of unprestigious negative affects such as irritation, envy, and disgust, Ngai examines a racialized affect called “animatedness,” and a paradoxical synthesis of shock and boredom called “stuplimity.” She explores the politically equivocal work of these affective concepts in the cultural contexts where they seem most at stake, from academic feminist debates to the Harlem Renaissance, from late-twentieth-century American poetry to Hollywood film and network television. Through readings of Herman Melville, Nella Larsen, Sigmund Freud, Alfred Hitchcock, Gertrude Stein, Ralph Ellison, John Yau, and Bruce Andrews, among others, Ngai shows how art turns to ugly feelings as a site for interrogating its own suspended agency in the affirmative culture of a market society, where art is tolerated as essentially unthreatening. Ngai mobilizes the aesthetics of ugly feelings to investigate not only ideological and representational dilemmas in literature—with a particular focus on those inflected by gender and race—but also blind spots in contemporary literary and cultural criticism. Her work maps a major intersection of literary studies, media and cultural studies, feminist studies, and aesthetic theory.

The whole of Marx's project confronts the narrow concerns of political philosophy by embedding it in social philosophy and a certain understanding of the aesthetic. From those of aesthetic production to the "poetry of the future" (as Marx writes in the Eighteenth Brumaire), from the radical modernism of bourgeois development to the very idea of association (which defined one of the main lines of tradition in the history of aesthetics), steady references to Dante, Shakespeare and Goethe, and the idea that bourgeois politics is nothing but a theatrical stage: the aesthetic has a prominent place in the constellation of Marx's thought. This book offers an original and challenging study of both Marx in the aesthetic, and the aesthetic in Marx. It differs from previous discussions of Marxist aesthetic theory as it understands the works of Marx themselves as contributions to thinking the aesthetic. This is an engagement with Marx's aesthetic that takes into account Marx's broader sense of the aesthetic, as identified by Eagleton and Buck-Morss – as a question of sense perception and the body. It explores this through questions of style and substance in Marx and extends it into contemporary questions of how this legacy can be perceived or directed analytically in the present. By situating Marx in contemporary art debates this volume speaks directly to lively interest today in the function of the aesthetic in accounts of emancipatory politics and is essential reading for researchers and academics across the fields of political philosophy, art theory, and Marxist scholarship.

A complete and original theory of aesthetics based on Marx and Althusser in the modernist Marxist anti-humanist tradition (Brecht, Althusser, Benjamin, Adorno). The main concepts that arise from this work are: the aesthetic level of practice, aesthetic state apparatuses, aesthetic interpellation, and pseudo dialectics, all of which are used to understand the role of aesthetic experience and its place in everyday life. - In the space long thought as necessary to fill spanning the gap between Marx and Freud, the author proposes that aesthetics can be located and defined in a concrete way. We are therefore looking at a domain involving and implicating feelings, affections, dispositions, sensibilities and sensuality, as well as their social role in art, tradition, ritual, and taboo. With the classic Marxist concepts of base and superstructure divided into levels, economic, ideological, and political, the aesthetic level of practice is the area that has traditionally been mostly either missing or mislocated and, especially perhaps, misrepresented for political reasons. The importance of this level is that it fuels and supports the media, or as Althusser described it the 'traffic' (or mediation) between base and superstructure, although for Althusser this was ideological traffic. Here, this is also defined as aesthetic. From this vantage point, we begin to be able to see aesthetic state apparatuses, analyse how they function, both in the past, historically (for example firstly in art history), and today, in the contemporary political context, to grasp the role that art and feelings, along with affective alienation, plays in our culture as a complete and, in fact, cyclical reciprocating system. ,