Federico Vercellone – författare

Our age – saturated with media images and ever-present political crises – traces back to the beginning of Christianity and its messianic vision of the world. In the twentieth and twenty-first centuries, our sense of time and history has become apocalyptic.In The Illegitimate Age Federico Vercellone explains contemporary affinities for both apocalypse and media imagery from the perspective of political theology, drawing from St Paul’s mysterious figure of the katechon – the withholding power that prevents the arrival of the Antichrist and the end of times while also delaying the Messiah, therefore containing the very evil it restrains. Vercellone highlights representation as a crucial aspect of the katechon myth, finding within it the roots of current political and aesthetic forms. In the context of contemporary populism, charismatic leaders build their power on presumed prestige, mimicry of sacred figures, and pandering invocations of kitsch, all recurrent aspects of the katechon and Antichrist trope in Western art and history. Political power, Vercellone argues, has been deeply aestheticized, and the path that led us here was laid long before mass media, mass consumption, and our society of the spectacle.A new interpretation of the political and aesthetic categories first suggested by Carl Schmitt, Walter Benjamin, and Jean Baudrillard, The Illegitimate Age turns a fresh lens on the legitimacy of political power, the appeal of populism, and the role of the image in our society.

Traces the decline of beauty as an ideal from early German romanticism to the twentieth century.The American abstract expressionist painter Barnett Newman famously declared in 1948 that the impulse of modern art is to destroy beauty. Not long after that, Andy Warhol was reconciling the world of art with the world of everyday life, painting soup cans and soda bottles. In this book, Federico Vercellone provides an account of the decline of beauty as a Platonic ideal from early German Romanticism to the twentieth century. He traces this intellectual trajectory from Goethe, Dilthey, and Nietzsche, through modernism and the avant-garde move ment, to the work of Adorno and Heidegger. Rather than the death or destruction of beauty, Vercellone argues instead that beauty in the twentieth century came back to live in reality and everyday life. He suggests this is a new edition of the classical ideal rather than an abandonment of it, and further makes the case for the ecological significance of this orientation and outlook.

Traces the decline of beauty as an ideal from early German romanticism to the twentieth century.The American abstract expressionist painter Barnett Newman famously declared in 1948 that the impulse of modern art is to destroy beauty. Not long after that, Andy Warhol was reconciling the world of art with the world of everyday life, painting soup cans and soda bottles. In this book, Federico Vercellone provides an account of the decline of beauty as a Platonic ideal from early German Romanticism to the twentieth century. He traces this intellectual trajectory from Goethe, Dilthey, and Nietzsche, through modernism and the avant-garde move ment, to the work of Adorno and Heidegger. Rather than the death or destruction of beauty, Vercellone argues instead that beauty in the twentieth century came back to live in reality and everyday life. He suggests this is a new edition of the classical ideal rather than an abandonment of it, and further makes the case for the ecological significance of this orientation and outlook.

Creating a glossary and a culture of these intersections is the task of morphology, which thus enters into the boundaries between aesthetics, art, design, advertising, and sciences (from mathematics to computer science, to physics, and to biology), in order to provide the founding elements of a grammar and a syntax of the image.

Creating a glossary and a culture of these intersections is the task of morphology, which thus enters into the boundaries between aesthetics, art, design, advertising, and sciences (from mathematics to computer science, to physics, and to biology), in order to provide the founding elements of a grammar and a syntax of the image.