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| List of figures | |
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| Acknowledgments | |
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| Note on translations | |
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| Abbreviations | |
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| Introduction | |
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| The aesthetics of experience | |
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| Aesthetic materialism | |
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| The disgrace of matter and the senses: a corrective | |
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| Realignments | |
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| Foundations: Aesthetics, Formalism, and Materialism | |
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| Aesthetic thought in antiquity | |
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| Is art modern? | |
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| Aesthetic questions | |
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| Aesthetic perceptions | |
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| Aesthetic vocabularies and the languages of art | |
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| Form and formalism | |
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| Forms of formalism | |
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| Form and the form of beauty in Plato and Aristotle | |
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| Matter and appearances | |
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| The disgrace of matter in philosophy, art, and culture | |
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| Materialism in art | |
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| Presocratic materialism, en route to the sublime | |
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| Were the Presocratics really materialists? | |
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| Presocratic aesthetics: painting the phainomena | |
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| Sublime matter: a Presocratic invention | |
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| The aesthetics of atomic matter | |
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| Presocratic empiricism: perception and experience | |
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| Aesthetic developments in the wake of early philosophy, and earlier | |
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| The Nascent Aesthetic Languages of the Sixth to Fourth Centuries BCE | |
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| The rise of aesthetic reflection in the fifth century | |
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| Reflecting on art and aesthetics: first beginnings? | |
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| Material economies of art and aesthetics | |
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| The rise of aesthetic reflection in a new aesthetic public sphere | |
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| Protagoras and the new role of experience | |
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| Protagoras' peers | |
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| Gorgias | |
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| Democritus, Hippias, and Prodicus: the componential and compositional method | |
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| Stoicheia and componential analysis | |
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| "Radical empiricism" and the radical aesthetics of the Particular | |
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| Beauty's material causes | |
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| Aesthetic pleasures of the senses | |
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| The evidence of Aristophanes and Gorgias | |
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| Measuring values in Frogs | |
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| Gorgias' "critical" materialism | |
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| Gorgias and the stoicheion: structure, sign, and play at the end of the fifth century | |
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| The music of the voice | |
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| Aristotle on the ascendancy of the "voice" | |
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| Euphony and the new science of aesthetic sound | |
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| The vivacity of the voice | |
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| Speech-writing: Alcidamas of Elaea on the spoken and written word | |
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| Hieronymus of Rhodes on the animated voice | |
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| Isocrates on the written voice | |
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| Hearing and punctuating the voice: incipient classicism | |
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| The voice visualized | |
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| Cultures of the voice in Greece and Rome | |
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| The voice of music | |
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| Music in its ancient contexts | |
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| Lasus of Hermione and the new poetics of sound | |
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| Clearchus and the riddle of S | |
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| Pindar's rhetoric of innovation and the new poetics of sound | |
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| Sacadas, Lasus, and the new poetics of sound | |
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| Lasus' theory of the musical note | |
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| The search for new sounds | |
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| Solving the riddle | |
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| Appendix: Clearchus of Soli on Pindar in Athenaeus | |
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| Visual experience | |
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| The majesty of Phidias | |
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| Tastsinn to Gesichtssinn? | |
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| Locating ideals: the Foundry Cup | |
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| Idealization in art: a materialist perspective | |
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| Cycladic marble | |
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| The Nolan amphora by the Berlin Painter | |
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| Phenomenality | |
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| Frozen music | |
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| Hiding in the light: perception, deception, allurement | |
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| Broader Perspectives | |
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| Sublime monuments in ancient aesthetics | |
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| La parole et le marbre | |
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| Voices made of stone: towards an aesthetics of early sepulchral verse inscriptions | |
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| Homer's monumentalizing imagination | |
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| Song versus stone? | |
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| Hellenistic monumentality: lithic leptotes | |
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| Verbal architecture | |
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| Sound sculpture | |
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| Taking stock | |
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| Monuments and their shadows | |
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| Sublime matter | |
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| Aesthetic Futures | |
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| Epilogue | |
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| Bibliography | |
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| Index locorum | |
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| General index | |