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<p class="MsoNormal">Capitalist Aesthetics <o:p></o:p></p>
<p class="MsoNormal">A Special Issue of Open Cultural Studies<o:p></o:p></p>
<p class="MsoNormal">Deadline for submission is *March 1, 2018.*<o:p></o:p></p>
<p class="MsoNormal">Issue Editors: Dr Pansy Duncan and Dr Nicholas Holm <o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">In 1989, surveying the hyper-commodified, performance-driven and information-saturated conditions of what he called “late capitalism,” Fredric Jameson diagnosed the rise of a world-system that, as he put it, “assign[ed] an increasingly
structural function and position to aesthetic innovation” and aesthetic judgment. Today, in what’s variously dubbed “networked,” “neoliberal,” “communicative” or “platform” capitalism, Jameson’s appraisal seems more pertinent than ever. Aesthetic objects,
from holiday selfies to “lolcatz” memes, are the bread and butter of our everyday online social exchanges. Aesthetic debate on the merits of Melania Trump’s sartorial choices has become a proxy for popular political deliberation. And aesthetic criteria, from
“streamlining” and “flexibility” to “excellence,” serve as the alibis of fiscally-driven restructuring across the public and private sectors. In fact, while the aesthetic practices that preoccupied Jameson in 1989 remain sealed in the realm of “culture” (whether
high or low, elite or popular), the rise of the so-called creative economy, the data-fication of cultural production and distribution, the increasingly intimate imbrication between culture and techno-science, and the apparent “democratization” of design, mean
that, today, what Jan Mukarovsky calls the “aesthetic function” extends into spaces as diverse as the workplace, the body, the bedroom, the social media-sphere, and the environmental or extra-planetary imaginary.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">“Capitalist Aesthetics,” then, will build on Jameson’s attention to the rich seam between aesthetics, ideology and political economy in light of the above developments. Assessing a world marked by what Hal Foster, bleakly, calls “total
design” and by what Jacques Ranciere, more optimistically, calls the “aestheticization of common life,” this special issue of Open Cultural Studies welcomes articles that explore the aesthetic configurations—from the cute to the comfortable, from the no-brow
to the fringe—through which the economic logics of late capitalism come to crystallize today. It invites work that treats the stylistic and formal dimension of cultural objects, and the verdictive and affective dimensions of cultural discourse/experience,
as valuable “cryptograms” of contemporary ideological formations and the economic relations they sustain. In the process, it will foreground the fact that—despite widespread suspicion, post-Bourdieu, of the discourse of the aesthetic—scholars associated with
cultural studies, from Raymond Williams to Rosalind Gill, have developed a powerful set of critical tools for analysing aesthetic configurations, both as vehicles of ideological and economic domination, and as sources of subversion, pleasure, critique, and
renewal.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">We welcome essays on any topic related to the intersection of capitalism and aesthetics, including:<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoListParagraph" style="text-indent:-18.0pt;mso-list:l0 level1 lfo1"><![if !supportLists]><span style="font-family:Symbol"><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman"">
</span></span></span><![endif]>Aesthetic manifestations of capitalism;<o:p></o:p></p>
<p class="MsoListParagraph" style="text-indent:-18.0pt;mso-list:l0 level1 lfo1"><![if !supportLists]><span style="font-family:Symbol"><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman"">
</span></span></span><![endif]>Capitalist mediations and expressions, genres and forms;<o:p></o:p></p>
<p class="MsoListParagraph" style="text-indent:-18.0pt;mso-list:l0 level1 lfo1"><![if !supportLists]><span style="font-family:Symbol"><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman"">
</span></span></span><![endif]>“Post-Capitalist” aesthetics: designing the future;<o:p></o:p></p>
<p class="MsoListParagraph" style="text-indent:-18.0pt;mso-list:l0 level1 lfo1"><![if !supportLists]><span style="font-family:Symbol"><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman"">
</span></span></span><![endif]>White collar aesthetics: corporate aesthetics, from the bank to the boardroom;<o:p></o:p></p>
<p class="MsoListParagraph" style="text-indent:-18.0pt;mso-list:l0 level1 lfo1"><![if !supportLists]><span style="font-family:Symbol"><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman"">
</span></span></span><![endif]>Aesthetic subversion or critique of/as capitalism;<o:p></o:p></p>
<p class="MsoListParagraph" style="text-indent:-18.0pt;mso-list:l0 level1 lfo1"><![if !supportLists]><span style="font-family:Symbol"><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman"">
</span></span></span><![endif]>Aesthetics and techno-science: datafication of/as aesthetics;<o:p></o:p></p>
<p class="MsoListParagraph" style="text-indent:-18.0pt;mso-list:l0 level1 lfo1"><![if !supportLists]><span style="font-family:Symbol"><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman"">
</span></span></span><![endif]>Aesthetics as domination and/or liberation: between autonomy and heteronomy;<o:p></o:p></p>
<p class="MsoListParagraph" style="text-indent:-18.0pt;mso-list:l0 level1 lfo1"><![if !supportLists]><span style="font-family:Symbol"><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman"">
</span></span></span><![endif]>Digital aesthetics and “platform capitalism”;<o:p></o:p></p>
<p class="MsoListParagraph" style="text-indent:-18.0pt;mso-list:l0 level1 lfo1"><![if !supportLists]><span style="font-family:Symbol"><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman"">
</span></span></span><![endif]>Beyond “zany,” “cute” and “interesting”: late capitalism’s (other) aesthetic categories;<o:p></o:p></p>
<p class="MsoListParagraph" style="text-indent:-18.0pt;mso-list:l0 level1 lfo1"><![if !supportLists]><span style="font-family:Symbol"><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman"">
</span></span></span><![endif]>The aesthetics of the Capitalocene: eco-catastrophe and environmental activism as late capitalist spectacle;<o:p></o:p></p>
<p class="MsoListParagraph" style="text-indent:-18.0pt;mso-list:l0 level1 lfo1"><![if !supportLists]><span style="font-family:Symbol"><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman"">
</span></span></span><![endif]>Capitalist structures of feeling, capitalist affects;<o:p></o:p></p>
<p class="MsoListParagraph" style="text-indent:-18.0pt;mso-list:l0 level1 lfo1"><![if !supportLists]><span style="font-family:Symbol"><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman"">
</span></span></span><![endif]>Neoliberal aesthetics;<o:p></o:p></p>
<p class="MsoListParagraph" style="text-indent:-18.0pt;mso-list:l0 level1 lfo1"><![if !supportLists]><span style="font-family:Symbol"><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman"">
</span></span></span><![endif]>Representations of capitalism;<o:p></o:p></p>
<p class="MsoListParagraph" style="text-indent:-18.0pt;mso-list:l0 level1 lfo1"><![if !supportLists]><span style="font-family:Symbol"><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman"">
</span></span></span><![endif]>Late capitalist temporal aesthetics, from speed to slowness;<o:p></o:p></p>
<p class="MsoListParagraph" style="text-indent:-18.0pt;mso-list:l0 level1 lfo1"><![if !supportLists]><span style="font-family:Symbol"><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman"">
</span></span></span><![endif]>The “creative industries” and the “cultural economy” as late capitalist aesthetic formations;<o:p></o:p></p>
<p class="MsoListParagraph" style="text-indent:-18.0pt;mso-list:l0 level1 lfo1"><![if !supportLists]><span style="font-family:Symbol"><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman"">
</span></span></span><![endif]>The fate of “political aesthetics” in cultural studies;<o:p></o:p></p>
<p class="MsoListParagraph" style="text-indent:-18.0pt;mso-list:l0 level1 lfo1"><![if !supportLists]><span style="font-family:Symbol"><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman"">
</span></span></span><![endif]>New aesthetic currencies, from the corporeal to the celestial;<o:p></o:p></p>
<p class="MsoListParagraph" style="text-indent:-18.0pt;mso-list:l0 level1 lfo1"><![if !supportLists]><span style="font-family:Symbol"><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman"">
</span></span></span><![endif]>Aesthetics and/of class.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Please submit your <strong><span style="font-family:"Calibri",sans-serif">proposals</span></strong> to
<a href="mailto:izabella.penier@degruyteropen.com">izabella.penier@degruyteropen.com</a> by
<strong><span style="font-family:"Calibri",sans-serif">March 1, 2018</span></strong>. The deadline for submissions of<strong><span style="font-family:"Calibri",sans-serif"> full papers
</span></strong>is <strong><span style="font-family:"Calibri",sans-serif">June 1, 2018</span></strong>. The issue will be published in 2018. There are no Article Publishing Charges.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><span style="font-size:9.0pt;mso-fareast-language:EN-NZ">-----------------------------------------------------------------<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:9.0pt;mso-fareast-language:EN-NZ"><a href="http://www.massey.ac.nz/massey/expertise/profile.cfm?stref=990001"><span style="color:blue">Dr Nicholas Holm</span></a> |Senior Lecturer in Media Studies |</span><span style="font-size:9.0pt;mso-fareast-language:EN-NZ">Program
Coordinator for Media Studies</span><span style="color:black;mso-fareast-language:EN-NZ"><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:9.0pt">Building 7, Room 7C45 |Massey University |Wellington |Aotearoa New Zealand<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:9.0pt;mso-fareast-language:EN-NZ">DDI 04 979 3544 |ext. 63544 |
</span><span style="font-size:9.0pt;mso-fareast-language:EN-NZ"><a href="mailto:N.H.F.Holm@massey.ac.nz"><span style="color:windowtext">N.H.F.Holm@massey.ac.nz</span></a><o:p></o:p></span></p>
<p class="MsoNormal" style="margin-bottom:12.0pt"><span style="font-size:9.0pt;color:black;mso-fareast-language:EN-NZ"><a href="https://massey.academia.edu/NicholasHolm"><span style="color:blue">https://massey.academia.edu/NicholasHolm</span></a></span><u><span style="color:blue;mso-fareast-language:EN-NZ"><o:p></o:p></span></u></p>
<p class="MsoNormal" style="margin-bottom:12.0pt"><span style="font-size:9.0pt;color:black;mso-fareast-language:EN-NZ">New Publications<br>
<a href="https://www.palgrave.com/de/book/9783319509495"><span style="color:blue">Humour as Politics</span></a> //
<a href="https://he.palgrave.com/page/detail/advertising-and-consumer-society-nicholas-holm/?sf1=barcode&st1=9781137471741">
<span style="color:blue">Advertising and Consumer Society: A Critical Introduction</span></a></span><span style="font-size:9.0pt;mso-fareast-language:EN-NZ"> //
<a href="https://rowman.com/ISBN/9781498535694/Ecological-Entanglements-in-the-Anthropocene">
<span style="color:blue">Ecological Entanglements in the Anthropocene</span></a></span><span style="mso-fareast-language:EN-NZ"><o:p></o:p></span></p>
<p class="MsoNormal"><o:p> </o:p></p>
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