Versatile, trendy, and resilient, the global cosmetic surgery industry shows no signs of decline, especially with its promises, not just of aesthetic improvement, but of absolute transformation. Introducing the concept of "surface imagination," Rachel Hurst discusses the fantasy that a change to the exterior will enhance the interior, or that the outside is more significant because it fashions the inside. Drawing on psychoanalysis, feminist theory, popular culture, the history of medicine, and interviews with women who have undergone cosmetic procedures, Hurst explores the tensions between the two primary surfaces of cosmetic surgery: the photograph and the skin. The photograph, an idealized surface for envisioning the effects of cosmetic surgery, allows for speculation and retouching, predictably and without pain. The skin, on the other hand, is a recalcitrant surface that records the passage of time and heals unpredictably. Ultimately, Hurst argues, the fantasy of surface imagination corroborates the belief that one's body is mutable and controllable, and that control over one's body permits control over one's social, emotional, and mental suffering. Acknowledging the varied experiences and opinions of the patients interviewed, but also critiquing the promises made by the industry, Surface Imaginations develops an innovative approach to thinking about cosmetic surgical transformations through the seduction of surfaces.

Material Imagination in Architecture draws on history and the visual arts, and contemporary architecture to explore this popular theme in architectural practice and education. In the context of a discipline increasingly driven by digital production, this text explores architecture and making and the diverse influences on the material reality of architectural form: it argues that the crafts, fabrication and assemblage of its making remain vital elements of contemporary architectural language. This broad-ranging text bridges the gap between a technical or otherwise fragmentary knowledge of materials of the specialist, and the tacit or instinctive understanding of materials that the artist, sculptor or architect may have. It identifies key material themes pertinent to contemporary architectural debate and develops a discourse about future practice that is framed by environmental imperatives and grounded in a historical understanding of the meaning and use of materials. Material iconology in architecture is a well-established tradition and this book draws on that background to investigate the possibilities, and limits, of using materials in contemporary design to communicate the themes and contexts of an architectural project, a material’s relationship to context, and to the history of practices that belong to the traditions of making buildings. Each theme is explored in case studies from twelve countries around the world, including the UK, USA, Spain, Italy, Germany, Australia and China.

Versatile, trendy, and resilient, the global cosmetic surgery industry shows no signs of decline, especially with its promises, not just of aesthetic improvement, but of absolute transformation. Introducing the concept of "surface imagination," Rachel Hurst discusses the fantasy that a change to the exterior will enhance the interior, or that the outside is more significant because it fashions the inside. Drawing on psychoanalysis, feminist theory, popular culture, the history of medicine, and interviews with women who have undergone cosmetic procedures, Hurst explores the tensions between the two primary surfaces of cosmetic surgery: the photograph and the skin. The photograph, an idealized surface for envisioning the effects of cosmetic surgery, allows for speculation and retouching, predictably and without pain. The skin, on the other hand, is a recalcitrant surface that records the passage of time and heals unpredictably. Ultimately, Hurst argues, the fantasy of surface imagination corroborates the belief that one's body is mutable and controllable, and that control over one's body permits control over one's social, emotional, and mental suffering. Acknowledging the varied experiences and opinions of the patients interviewed, but also critiquing the promises made by the industry, Surface Imaginations develops an innovative approach to thinking about cosmetic surgical transformations through the seduction of surfaces.

A fascinating collection of articles looking for the first time at the connection between imagination and philosophy, and its impact on diverse forms of art.

Combining perspectives from both continental and analytic philosophy, this timely volume explores how imagination today both shapes and is shaped by technology, art and ethics. Imagination is one of the most significant and broadly examined concepts in contemporary philosophy and is frequently understood as a basic human faculty that enables complex activities. This book shows, however, that imagination is more than a mere enabler. Whilst imagination shapes our experiences, it is at the same time shaped by our environments. Some of the most creative manifestations of imagination are the result of its two-way interaction with art or technology, or both. In short, imagination co-shapes us. Beyond the traditional perspectives of Kant and Heidegger, The Philosophy of Imagination: Technology, Art and Ethics examines our dynamic relationship with imagination, from contemporary technological advancements such as AI that transform the whole ecosystem to imagination in the context of videogames and literary fiction. Analysing societal imagination, it addresses the relationship between the racial imaginary and white ignorance, as well as the effects that societal mechanisms such as lockdowns can have on our imagination. Taking its cue from the here and now, this volume brings together leading international scholars to investigate how the concept of co-shaping allows us to see imagination and its crucial role in society in new and productive ways.