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A Mathematician's Apology is a 1940 essay by British mathematician G. H. Hardy. It concerns the aesthetics of mathematics with some personal content, and gives the layman an insight into the mind of a working mathematician.

In a paper delivered to the Aristotelian Society on 12 March 1956, Walter Bryce Gallie (1912–1998) introduced the term essentially contested concept to facilitate an understanding of the different applications or interpretations of the sorts of abstract, qualitative, and evaluative notions—such as "art", "philanthropy" and "social justice"—used in the domains of aesthetics, development, political philosophy, philosophy of history, and philosophy of religion.

Garver (1978) describes their use as follows:

The term essentially contested concepts gives a name to a problematic situation that many people recognize: that in certain kinds of talk there is a variety of meanings employed for key terms in an argument, and there is a feeling that dogmatism ("My answer is right and all others are wrong"), skepticism ("All answers are equally true (or false); everyone has a right to his own truth"), and eclecticism ("Each meaning gives a partial view so the more meanings the better") are none of them the appropriate attitude towards that variety of meanings.

Essentially contested concepts involve widespread agreement on a concept (e.g., "fairness"), but not on the best realization thereof. They are "concepts the proper use of which inevitably involves endless disputes about their proper uses on the part of their users", and these disputes "cannot be settled by appeal to empirical evidence, linguistic usage, or the canons of logic alone".

In traditional Japanese aesthetics, wabi-sabi (侘寂) is a world view centered on the acceptance of transience and imperfection. The aesthetic is sometimes described as one of beauty that is "imperfect, impermanent, and incomplete". It is a concept derived from the Buddhist teaching of the three marks of existence (三法印, sanbōin), specifically impermanence (無常, mujō), suffering (苦, ku) and emptiness or absence of self-nature (空, kū).

Characteristics of the wabi-sabi aesthetic include asymmetry, roughness, simplicity, economy, austerity, modesty, intimacy, and appreciation of the ingenuous integrity of natural objects and processes.

Retrofuturism (adjective retrofuturistic or retrofuture) is a movement in the creative arts showing the influence of depictions of the future produced in an earlier era. If futurism is sometimes called a "science" bent on anticipating what will come, retrofuturism is the remembering of that anticipation. Characterized by a blend of old-fashioned "retro styles" with futuristic technology, retrofuturism explores the themes of tension between past and future, and between the alienating and empowering effects of technology. Primarily reflected in artistic creations and modified technologies that realize the imagined artifacts of its parallel reality, retrofuturism can be seen as "an animating perspective on the world". However, it has also manifested in the worlds of fashion, architecture, design, music, literature, film, and video games.