Add to ORKGThe range of the aesthetic has expanded to cover not only a wider range of objects and situations of daily life but also to encompass the negative. This includes terrorism, whose aesthetic impact is central to its use as a political tactic. The complex of positive and negative aesthetic values in terrorism are explored, introducing the concept of the sublime as a negative category to illuminate the analysis and the distinctive aesthetic of terrorism
The relevance of the problem defining the terror and terrorism essence as the most dangerous forms o...
This paper examines some explanations of the logic of terrorism, which, respectively, assign a centr...
The contemporary art seems to transform violence into kind of a critical gesture that engages aesthe...
As the range of the aesthetic has expanded to cover not only a wider range of objects and situations...
The range of the aesthetic has expanded to cover not only a wider range of objects and situations of...
This essay builds on Arnold Berleant’s concept of the negative sublime and his less-appreciated imag...
In the World agitated by terrorism, solidification of identity, paranoia, xenophobia and genocide, a...
How can violence as evil be represented in art and what do works of art evoke in the viewer? Two clo...
This study aimed to discourse an important issue related to clarify the role of plastic art in fight...
This paper discusses the body of artwork developed for my thesis series, Aesthetics of Violence, whi...
This article investigates the representational and graphical characteristics of the symbols of terro...
Images of extreme and ever more graphic violence are a part of contemporary culture. Since students ...
The paper considers the phenomenon of contemporary Islamic (religious/political) terrorism, as well ...
There have been numerous critical articles on what really happened on the otherwise beautiful mornin...
The nature of the relationship between art and terror/ism and why identifications between the two ar...
The relevance of the problem defining the terror and terrorism essence as the most dangerous forms o...
This paper examines some explanations of the logic of terrorism, which, respectively, assign a centr...
The contemporary art seems to transform violence into kind of a critical gesture that engages aesthe...
As the range of the aesthetic has expanded to cover not only a wider range of objects and situations...
The range of the aesthetic has expanded to cover not only a wider range of objects and situations of...
This essay builds on Arnold Berleant’s concept of the negative sublime and his less-appreciated imag...
In the World agitated by terrorism, solidification of identity, paranoia, xenophobia and genocide, a...
How can violence as evil be represented in art and what do works of art evoke in the viewer? Two clo...
This study aimed to discourse an important issue related to clarify the role of plastic art in fight...
This paper discusses the body of artwork developed for my thesis series, Aesthetics of Violence, whi...
This article investigates the representational and graphical characteristics of the symbols of terro...
Images of extreme and ever more graphic violence are a part of contemporary culture. Since students ...
The paper considers the phenomenon of contemporary Islamic (religious/political) terrorism, as well ...
There have been numerous critical articles on what really happened on the otherwise beautiful mornin...
The nature of the relationship between art and terror/ism and why identifications between the two ar...
The relevance of the problem defining the terror and terrorism essence as the most dangerous forms o...
This paper examines some explanations of the logic of terrorism, which, respectively, assign a centr...
The contemporary art seems to transform violence into kind of a critical gesture that engages aesthe...