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This is a powerful and paradigm-shifting aesthetics of society, by a great philosophical talent. -- Simon Critchley, author of <i>Tragedy, the Greeks, and Us</i> Barbara Carnevali's concept of 'social aesthetics' is tremendously powerful, and explains a lot of otherwise baffling phenomena. Carnevali makes me think that the rise of Orban and Trump and the Brexit movement is better understood as a matter of social 'taste' than in terms of ideology, or economics, or identity. -- Blake Gopnik, author of <i>Warhol</i> Oscar Wilde famously quipped that only shallow people do not judge by appearances. This elegant, profound, and erudite book explores the startling proposition that we may indeed be what we seem. The reader of this book will not fail to be convinced that 'appearances' are constitutive of society. -- Eva Illouz, author of <i>The End of Love: A Sociology of Negative Relations</i> Every sentence in this brilliant book is a unit of thought; it's as epigrammatic as Nietzsche and as seamlessly developed as, say, Hume. And it helps that it's new. Carnevali has restored aesthetics to its central role in philosophy. -- Edmund White, author of <i>The Unpunished Vice: A Life of Reading</i>

Every sentence in this brilliant book is a unit of thought; it's as epigrammatic as Nietzsche and as seamlessly developed as, say, Hume. And it helps that it's new. Carnevali has restored aesthetics to its central role in philosophy. -- Edmund White, author of <i>The Unpunished Vice: A Life of Reading</i>

This is a powerful and paradigm-shifting aesthetics of society, by a great philosophical talent. -- Simon Critchley, author of <i>Tragedy, the Greeks, and Us</i> Barbara Carnevali's concept of 'social aesthetics' is tremendously powerful, and explains a lot of otherwise baffling phenomena. Carnevali makes me think that the rise of Orban and Trump and the Brexit movement is better understood as a matter of social 'taste' than in terms of ideology, or economics, or identity. -- Blake Gopnik, author of <i>Warhol</i> Oscar Wilde famously quipped that only shallow people do not judge by appearances. This elegant, profound, and erudite book explores the startling proposition that we may indeed be what we seem. The reader of this book will not fail to be convinced that 'appearances' are constitutive of society. -- Eva Illouz, author of <i>The End of Love: A Sociology of Negative Relations</i> Every sentence in this brilliant book is a unit of thought; it’s as epigrammatic as Nietzsche and as seamlessly developed as, say, Hume. And it helps that it’s new. Carnevali has restored aesthetics to its central role in philosophy. -- Edmund White, author of <i>The Unpunished Vice: A Life of Reading</i>

Every sentence in this brilliant book is a unit of thought; it's as epigrammatic as Nietzsche and as seamlessly developed as, say, Hume. And it helps that it's new. Carnevali has restored aesthetics to its central role in philosophy. -- Edmund White, author of <i>The Unpunished Vice: A Life of Reading</i> Oscar Wilde famously quipped that only shallow people do not judge by appearances. This elegant, profound, and erudite book explores the startling proposition that we may indeed be what we seem. The reader of this book will not fail to be convinced that 'appearances' are constitutive of society. -- Eva Illouz, author of <i>The End of Love: A Sociology of Negative Relations</i> Barbara Carnevali's concept of 'social aesthetics' is tremendously powerful, and explains a lot of otherwise baffling phenomena. Carnevali makes me think that the rise of Orban and Trump and the Brexit movement is better understood as a matter of social 'taste' than in terms of ideology, or economics, or identity. -- Blake Gopnik, author of <i>Warhol</i> This is a powerful and paradigm-shifting aesthetics of society, by a great philosophical talent. -- Simon Critchley, author of <i>Tragedy, the Greeks, and Us</i>

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Barbara Carnevali is professor at the École des Hautes Études en Sciences Sociales in Paris, where she holds a chair in social aesthetics. Her books include Romantisme et reconnaissance. Figures de la conscience chez Rousseau (2012). Zakiya Hanafi is the author of The Monster in the Machine: Magic, Medicine, and the Marvelous in the Time of the Scientific Revolution (2000) and affiliate assistant professor of human-centered design and engineering at the University of Washington, Seattle. Social Appearances is her eleventh book of philosophy in translation.

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