Over a decade ago, Arthur Danto announced that art ended in the sixties. Ever since this declaration, he has been at the forefront of a radical critique of the nature of art in our time. After the End of Art presents Danto's first full-scale reformulation of his original insight, showing how, with the eclipse of abstract expressionism, art has deviated irrevocably from the narrative course that Vasari helped define for it in the Renaissance. Moreover, he leads the way to a (...) new type of criticism that can help us understand art in a posthistorical age where, for example, an artist can produce a work in the style of Rembrandt to create a visual pun, and where traditional theories cannot explain the difference between Andy Warhol's Brillo Box and the product found in the grocery store. Here we are engaged in a series of insightful and entertaining conversations on the most relevant aesthetic and philosophical issues of art, conducted by an especially acute observer of the art scene today.Originally delivered as the prestigious Mellon Lectures on the Fine Arts, these writings cover art history, pop art, "people's art," the future role of museums, and the critical contributions of Clement Greenberg--who helped make sense of modernism for viewers over two generations ago through an aesthetics-based criticism. Tracing art history from a mimetic tradition through the modern era of manifestos, Danto shows that it wasn't until the invention of Pop art that the historical understanding of the means and ends of art was nullified. Even modernist art, which tried to break with the past by questioning the ways of producing art, hinged on a narrative.Traditional notions of aesthetics can no longer apply to contemporary art, argues Danto. Instead he focuses on a philosophy of art criticism that can deal with perhaps the most perplexing feature of contemporary art: that everything is possible. (shrink)

In this eloquent guide to the meanings of the postmodern era, Albert Borgmann charts the options before us as we seek alternatives to the joyless and artificial culture of consumption. Borgmann connects the fundamental ideas driving his understanding of society's ills to every sphere of contemporary social life, and goes beyond the language of postmodern discourse to offer a powerfully articulated vision of what this new era, at its best, has in store. "[This] thoughtful book is the first remotely realistic (...) map out of the post modern labyrinth."—Joseph Coates, _The Chicago Tribune_ "Rather astoundingly large-minded vision of the nature of humanity, civilization and science."—_Kirkus Reviews_. (shrink)

This second edition features a new 48-page Afterword--1980 updating Professor Beardsley's classic work.

"Collects Martin Heidegger's pivotal writings on art, its role in human life and culture, and its relationship to thinking and truth"--Publisher description.

The central importance of Marx's concept of nature in the formulation of historical materialism has been largely neglected in the extensive literature on Marx. Alfred Schmidt, philosophical successor to Max Horkheimer and Theodor Adorno in Frankfurt, seeks to elucidate it in this original study.

Although the notion of spatiality has always lurked in the background of discussions of literary form, the self-conscious use of the term as a critical concept is generally traced to Joseph Frank's seminal essay of 1945, "Spatial Form in Modern Literature."1 Frank's basic argument is that modernist literary works are "spatial" insofar as they replace history and narrative sequence with a sense of mythic simultaneity and disrupt the normal continuities of English prose with disjunctive syntactic arrangements. This argument has been (...) attacked on several fronts. An almost universal objection is that spatial form is a "mere metaphor" which has been given misplaced concreteness and that it denies the essentially temporal nature of literature. Some critics will concede that the metaphor contains a half-truth, but one which is likely to distract attention from more important features of the reading experience. The most polemical attacks have come from those who regard spatial form as an actual, but highly regrettable, characteristic of modern literature and who have linked it with antihistorical and even fascist ideologies.2 Advocates of Frank's position, on the other hand, have generally been content to extrapolate his premises rather than criticize them, and have compiled an ever-mounting list of modernist texts which can be seen, in some sense, as "antitemporal." The whole debate can best be advanced, in my view, not by some patchwork compromise among the conflicting claims but by a radical, even outrageous statement of the basic hypothesis in its most general form. I propose, therefore, that far from being a unique phenomenon of some modern literature, and far from being restricted to the features which Frank identifies in those works , spatial form is a crucial aspect of the experience and interpretation of literature in all ages and cultures. The burden of proof, in other words, is not on Frank to show that some works have spatial form but on his critics to provide an example of any work that does not. · 1. Frank's essay first appeared in Sewanee Review 53 and was revised in his The Widening Gyre . Frank's basic argument has not changed essentially even in his most avante-garde statements; he still regards spatial form "as a particular phenomenon of modern avante-garde writing." See "Spatial Form: An Answer to Critics," Critical Inquiry 4 : 231-52. A useful bibliography, "Space and Spatial Form in Narrative," is being complied by Jeffrey Smitten .· 2. This charge generally links the notion of spatial form with Wyndham Lewis and Ezra Pound, the imagist movement, the "irrationality" and pessimistic antihistoricism of modernism, and the conservative Romantic tradition. Frank discusses the complex motives behind these associations in the work of Robert Weimann and Frank Kermode in his "Answer to Critics," pp. 238-48. W. J. T. Mitchell, editor of Critical Inquiry, is the author of Blake's Composite Art, and The Last Dinosaur Book: The Life and Times of a Cultural Icon. The present essay is part of Iconology: The Image in Literature and the Visual Arts. "Diagrammatology" appeared in the Spring 1981 issue of Critical Inquiry. Leon Surette responds to the current essay in "‘Rational Form in Literature’". (shrink)

This introduction to modern work in analytic philosophy uses the example of the proper name to give a clear explanation of the logical theories of Gottlob Frege, and explain the application of his ideas to ordinary language. McCulloch then shows how meaning is rooted in the philosophy of mind and the question of intentionality, and looks at the ways in which thought can be "about" individual material objects.

This book is intended as an introduction to the philosophical problems of space and time, suitable for any reader who has an interest in the nature of the universe and who has a secondary-school knowledge of physics and mathematics. In particular, it is hoped that the book may find a use in philosophy departments and physics departments within universities and other tertiary institutions. The attempt is always to introduce the problems from a twentieth-century point of view. It is preferable to (...) introduce the history of the topic if and when that history becomes relevant to the development and solution of the problems, rather than to introduce a problem that was of importance in some previous age and to trace the development of it down the years. (shrink)

"... Dr. Ihde brings an enlightening and deeply humanistic perspective to major technological developments, both past and present." —Science Books & Films "Don Ihde is a pleasure to read.... The material is full of nice suggestions and details, empirical materials, fun variations which engage the reader in the work... the overall points almost sneak up on you, they are so gently and gradually offered." —John Compton "A sophisticated celebration of cultural diversity and of its enabling technologies.... perhaps the best single (...) volume relating the philosophical tradition to the broad issues raised by contemporary technologies." —Choice "... important and challenging... " —Review of Metaphysics "... a range of rich historical, cultural, philosophical, and psychological insights, woven together in an intriguing and clear exposition... The book is really a pleasure to read, for its style, immense learning and sanity." —Teaching Philosophy The role of tools and instruments in our relation to the earth and the ways in which technologies are culturally embedded provide the foci of this thought-provoking book. (shrink)

INTRODUCTION Is there a * Renaissance ideal of man'? The consciousness that man is a historical being is a product of bourgeois development ; the condition ...

Blending social analysis and philosophy, Albert Borgmann maintains that technology creates a controlling pattern in our lives.

Being and Nothingness is without doubt one of the most significant books of the twentieth century. The central work by one of the world's most influential thinkers, it altered the course of western philosophy. Its revolutionary approach challenged all previous assumptions about the individual's relationship with the world. Known as 'the Bible of existentialism', its impact on culture and literature was immediate and was felt worldwide, from the absurd drama of Samuel Beckett to the soul-searching cries of the Beat poets. (...) Being and Nothingness is one of those rare books whose influence has affected the mind-set of subsequent generations. Sixty years after its first publication, its message remains as potent as ever - challenging the reader to confront the fundamental dilemmas of human freedom, responsibility and action. (shrink)

_Internet_ is een van de eerste boeken waarin het filosofische inzicht -van Plato tot Kierkegaard - betrokken wordt op het debat over de mogelijkheden en onmogelijkheden van het internet. Dreyfus laat zien dat de onstoffelijke, 'vrij zwevende' websurfer zijn oorsprong vindt in Descartes' scheiding van geest en lichaam, en hoe Kierkegaards inzichten in de opkomst van het moderne leespubliek vooruitlopen op de nieuwsgierige, maar elk risico vermijdende internet-junkie. Uitgaande van recente onderzoeken naar het isolement dat veel internetgebruikers ervaren, toont Dreyfus (...) aan hoe het internet, door zijn nadruk op privé-ervaringen, gebruikers berooft van wezenlijke, belichaamde vermogens zoals vertrouwen, stemmingen en betrokkenheid bij met anderen gedeelde lokale aangelegenheden. _Internet_ is verplichte kost voor iedereen die on line is en is geïnteressseerd in onze plaats in de 'e-revolutie'. (shrink)

This edition includes new essays by philosopher Michael Williams and literary scholar David Bromwich, as well as Rorty's previously unpublished essay "The ...

The Embodied Mind provides a unique, sophisticated treatment of the spontaneous and reflective dimension of human experience.

Information and communication technology is changing many aspects ofhuman endeavour and existence. This is beyond dispute for most. Whatare contested are the social and ethical implications of thesechanges. Possible sources of these disputes are the multiple ways inwhich one can conceptualize and interpret the informationtechnology/society interrelationship. Each of these ways ofconceptualization and interpretation enables one to see theinformation technology/society relationship differently and thereforeconstrue its social and ethical implications in a different manner. Atthe center of this technology/society interrelationship we find manycomplex (...) questions about the nature of the human, the technical,agency, autonomy, freedom and much more. This is indeed a vastintellectual landscape, which can obviously not be explored here inits fullness. This entry is about just one particular perspective onthis landscape. It is primarily concerned with the phenomenologicalapproach to interpreting information technology and its social andethical implications. It should be noted from the start that there isnot a unified phenomenological tradition or approach to informationtechnology in particular, or other phenomena more generally. Thephenomenological tradition consists of many different approaches thatshare certain characteristics but not all. We may however suggest, with Don Ihde,that they all accept that “phenomenology investigates theconditions of what makes things appear as such [as that which we takethem to be].” Differently stated, phenomenology suggests thatthere is a co-constitutive relationship between us and the phenomenawe encounter in our engagement with the world. In this sensephenomenologists would suggest that to understand thetechnology/society relationship we need to reveal how theyco-constitute each other—i.e. draw on each other for theirongoing meaning and sense. We will elaborate more precisely what thismeans in section 2 below. However, in order to understand the distinctiveness of thephenomenological approach other possible ways of interpreting thistechnology/society relationship will also be outlined brieflybelow., It can be said that information technology has become in a very realsense ubiquitous. Most everyday technologies such as elevators,automobiles, microwaves, watches, and so forth depend onmicroprocessors for their ongoing operation. Most organizations andinstitutions have become reliant on their information technologyinfrastructure to a lesser or greater degree. Indeed informationtechnology is seen by many as a cost-efficient way to solve amultitude of problems facing our complex contemporary society. One canalmost say that information technology has become construed as thedefault technology for solving a whole raft of technical and socialproblems such as health provision, security, governance, etc. Onecould also argue that it has become synonymous with society’sview of modernization and progress. For most it seems obvious thatinformation technology has made it possible for humans to continue toconstruct increasingly complex systems of coordination and socialordering—systems without which contemporary society would not beable to exist in its present form. To say the least, we, ascontemporary human beings, have our manner of being made possiblethrough a rather comprehensive entanglement with information andcommunication technology. Indeed, the economic, organizational andsocial benefit of information technology is not widely disputed. Thedispute is more often about the way information technology is changingor transforming the social domain, and in particular, the ethicaldomain. This dispute is largely centered around different ways ofconceptualizing and interpreting the nature of our entanglement withinformation technology. This debate is not merely an academic debateabout different and competing theoretical ‘models.’Rather, these different ways of conceptualizing it is central to ourunderstanding of how we go about managing our increasingly entangledrelationship with information technology. (shrink)