Thanks to his unsurpassed eye and his fearless willingness to take a stand, Clement Greenberg (1909 1994) became one of the giants of 20th century art criticism a writer who set the terms of critical discourse from the moment he burst onto the scene with his seminal essays Avant Garde and Kitsch (1939) and Towards a Newer Laocoon (1940). In this work, which gathers previously uncollected essays and a series of seminars delivered at Bennington in 1971, Greenberg (...) provides his most expansive statement of his views on taste and quality in art, arguing for an esthetic that flies in the face of current art world fashions. Greenberg insists despite the attempts from Marcel Duchamp onwards to escape the jurisdiction of taste by producing an art so disjunctive that it cannot be judged that taste is inexorable. He argues that standards of quality in art, the artist's responsibility to seek out the hardest demands of a medium, and the critic's responsibility to discriminate, are essential conditions for great art. The obsession with innovation the epidemic of newness leads, in Greenbergs view, to the boringness of so much avant garde art. He discusses the interplay of expectation and surprise in aesthetic experience, and the exalted consciousness produced by great art. Homemade Esthetics allows us particularly in the transcribed seminar sessions, never before published to watch the critics mind at work, defending (and at times reconsidering) his theories. His views, often controversial, are the record of a lifetime of looking at and thinking about art as intensely as anyone ever has. (shrink)

El modernismo es una teoría de la relación del arte con su medio, y en ningún lugar se ve esto más claro que en el pensamiento de Clement Greenberg. Greenberg fue probablemente el crítico de arte más influyente del siglo xx, uno de los responsables del reconocimiento del impresionismo abstracto y de la pintura de campos de color, así como del desplazamiento del centro del mundo del arte desde París a Nueva York. Su práctica como crítico de (...) arte estaba, además, fundada en una ambiciosa teoría del modernismo artístico y, en particular, pictórico. “Towards a Newer Laocoön”, aparecido originalmente en 1940 y que se publica aquí por primera vez en español, forma parte del puñado de ensayos imprescindibles para comprender su pensamiento estético. (shrink)

The understanding of the meaning of Jewish identity in Clement Greenberg's work follows the deep relationship between the conception of Modernism and the interpretation of Franz Kafka's short story The Great Wall of China. Greenberg, whose role as one of the first american popularizers of Kafka's narratives has been relevant, ascribes to the bohemian author an halachic reasoning closely related to his jewish origins. This strictly firm and normative mindset finds resemblances in Greenberg's modernist theory and (...) critical practice, which, according to Susan Noyes-Platt's study, could be interpreted as a derivation, in many aspects, of his Jewish origins and, particularly, as the critic's need to preserve his intellectual thinking from the nazi-fascist advance. Moreover, the article proposes to interpret Greenberg's purism as a form of messianism, that is a faith in a future, but indefinitely belated, absolute purification of the medium. (shrink)

It is not intended as some sort of revelation on my part that Greenberg's cultural theory was originally Marxist in its stresses and, indeed in its attitude to what constituted explanation in such matters. I point out the Marxist and historical mode of proceeding as emphatically as I do partly because it may make my own procedure later in this paper seem a little less arbitrary. For I shall fall to arguing in the end with these essay's Marxism and (...) their history, and I want it understood that I think that to do so is to take issue with their strengths and their main drift.But I have to admit there are difficulties here. The essays in question ["Avant-Garde and Kitsch" and "Towards a Newer Lacoön"] are quite brief. They are, I think, extremely well written: it was not for nothing the Partisan Review described Clement Greenberg, when he first contributed to the journal early in 1939, as "a young writer who works in the New York customs house"—fine, redolent avant-garde pedigree, that! The language of these articles is forceful and easy, always straightforward, blessedly free from Marxist conundrums. Yet the price paid for such lucidity, here as so often, is a degree of inexplicitness—certain amount of elegant skirting round the difficult issues, where one might otherwise be obliged to call out the ponderous armory of Marx's concepts and somewhat spoil the low of the prose from one firm statement to another. The Marxism, in other words, is quite largely implicit; it is stated on occasion, with brittle and pugnacious finality, as the essay's frame of reference, but it remains to the reader to determine just how it works in the history and theory presented—what that history and theory depend on, in the way of Marxist assumptions about class and capital or even abase and superstructure. That is what I intend to do in this paper: to interpret and extrapolate from the texts, even at the risk of making their Marxism declare itself more stridently than the "young writer" seems to have wished. And I should admit straight away that there are several point in what follows where I am genuinely uncertain as to whether I am diverging from Greenberg's argument or explaining it more fully. This does not worry me overmuch, as long as we are alerted to the special danger in this case, dealing with such transparent yet guarded prose, and as long as we can agree that the project in general—pressing home a Marxist reading of texts which situate themselves within the Marxist tradition—is a reasonable one.22. This carelessness distinguishes the present paper from two recent studies of Greenberg's early writings, Serge Guilbaut's "The New Adventures of the Avant-Garde in America," October 15 , and Fred Orton and Griselda Pollock's "Avant-Gardes and Partisans Reviewed," Art History 3 I am indebted to both these essays and am sure that their strictures on the superficiality—not to say the opportunism–of Greenberg's Marxism are largely right. But I am nonetheless interested in the challenge offered to most Marxist, and non-Marxist, accounts of modern history by what I take to be a justified though extreme, pessimism as t the nature of established culture since 1870. That pessimism is characteristic, I suppose, of what Marxists call an ultraleftist point of view. I believe, as I say, that a version of some such view is correct and would therefore with to treat Greenberg's theory as if it were a decently elaborated Marxism of an ultraleftist kind, on which issues in certain mistaken views but which need not so issue and which might still provide, cleansed of those errors, a good vantage for a history of our culture.T. J. Clark, professor of fine arts at Harvard University, is the author of The Absolute Bourgeois: Artists and Politics in France, 1848-1851 and Image of the People: Gustave Courbet and the 1848 Revolution. His book on impressionist painting and Paris is forthcoming. (shrink)

According to commentators like Rosalind Krauss, Briony Fer, Caroline Jones, and Michael Fried, Clement Greenberg’s formalist/positivist device of “medium-specificity” debars errant affective aesthetic experiences that are embodied; despite significant differences in how these theorists arrive at this conclusion, one shared point of emphasis is Greenberg’s inheriting Kant’s disinterested conception of pleasure in reflective judgments of beauty. Offering a textualist review of Kant’s Analytic of the Beautiful, I seek to demonstrate that neither Greenberg, nor Greenberg’s critics, (...) are correct in their account of Kant’s judgments of beauty.1 Specifically, I argue that Greenberg conflates Kant’s conception of judgments of free beauty (pulchritudo vaga) with merely adherent beauty (pulchritudo adhaerens). In formulating a rejoinder to Greenberg and the misplacement of Greenberg as a Kantian, and following Diarmuid Costello, I hope to save a path for a Kantian aesthetics of the present, much in the spirit of other broadly Kantian art historians and philosophers of art/aesthetics (e.g., Thierry de Duve, Paul Guyer, Ido Geiger, etc.). (shrink)

[A Czech Greenberg? Mukařovský and Aesthetic Formalism] This article revisits Tomáš Pospiszyl’s discussion of the split between the North American and the Czechoslovak postwar modernism as a difference between the views of two critics who dominated the American and the Czechoslovak art scene, respectively--Clement Greenberg and Jindřich Chalupecký. Pospiszyl convincingly traces the evolution of American art to what has been called Greenberg’s “formalism,” and the developments on the Czechoslovak scene to Chalupecký’s ideas about art as part (...) of social social interactions. Though the author of the article agrees with this analysis of Czechoslovak modernism as anti-formalist, he seeks to draw attention to the writings of the Czech literary theorist Jan Mukařovský, which were contemporaneous with Chalupecký’s and Greenberg’s--in particular Mukařovský’s 1944 lecture “The Essence of the Visual Arts.” The author provides a comparative analysis of Mukařovský and Greenberg, suggesting that the former was quite close to the latter’s “formalism.” This might seem incorrect, given that Mukařovský is considered to be a precursor of the semiotic theory of art, which is generally understood as antithetical to formalism. The solution, he argues, is to realize that Greenberg is subtler, hence not so "formalist” after all. At any rate, it turns out that in addition to Chalupecký’s “social” theory of art, Mukařovský had a more “formalist” alternative which – for well-known historical reasons – had no effect on the subsequent development of Czechoslovak modernism. (shrink)

Este estudo discute a questão do fim da arte com base nas reflexões críticas de Clement Greenberg e na posterior apropriação dessas reflexões por Arthur Danto. Em primeiro lugar, pretendo mostrar como a visão negativa de Greenberg acerca da arte produzida a partir dos anos 1960 implica o tema do fim da arte. Em segundo, pretendo expor a tarefa assumida por Danto a partir de sua avaliação dos diagnósticos e da teoria de Greenberg. This paper addresses (...) the question of the end of art based on the critical reflections of Clement Greenberg and the subsequent appropriation of these reflections by Arthur Danto. Firstly, I intend to show how the negative view of Greenberg about art produced from the 60's implies the issue of the end of art. Secondly, I intend to expose the task taken up by Danto based on his debate with Greenberg's theory. (shrink)

Resumen: Partiendo del texto clásico Vanguardia y kitsch, nos proponemos analizar la obra del crítico norteamericano Clement Greenberg. Después de la intervención del Estado norteamericano en el arte entre 1935 y 1943, Clement Greenberg surge como uno de los principales críticos que buscaron unificar el “arte elevado” de ese país. Para tanto, el crítico norteamericano busca justificar el nivel artístico de esa vanguardia acercando esa producción a las vanguardias europeas, especialmente el cubismo. Veremos los problemas de (...) Greenberg al forjar una “historicidad inmanente” a las obras de arte para justificar una posible convergencia de las vanguardias europeas en el nuevo contexto de la vanguardia norteamericana: el “expresionismo abstracto”. Greenberg, con ayuda del MoMA y del Estado norteamericano buscó fomentar una “pintura a la americana”, una vanguardia conocida como escuela de Nueva York. Buscamos analizar el contexto en que se forjó esa tendencia artificiosamente unificada y cómo el pop art emerge como una crítica performática de ese contexto. Más que vanagloriarse de sus métodos técnicos, el pop art busca subvertir el contexto de recepción del arte que hasta entonces era expectante del “arte serio y elevado” defendido por Greenberg.: Starting from the classic text Avant-garde and kitsch, we propose to analyze the work of the North American critic Clement Greenberg. After the US state intervention in the arts between 1935 and 1943, Clement Greenberg emerged as one of the main critics who sought to unify the “high art” of that country. The critic attempted to justify the artistic level of the American avant-garde by bringing it closer to the European avant-gardes, especially Cubism. We will see Greenberg’s problems in forging an “immanent historicity” of works of art in order to justify a possible convergence of the European avant-garde in the new context of an American avant-garde of “abstract expressionism”. Greenberg, with the help of the MoMA and the American government, sought to promote an “American painting”, a vanguard known as the New York school. We seek to analyze the context in which this artificially unified tendency was forged, and to analyze how pop art emerged as a performance critique of that context. More than boasting of its technical methods, pop art sought to subvert the context of the reception of art that until then expected the “serious and high art” defended by Greenberg. (shrink)

Focussing on some claims by Richard Wollheim and Clement Greenberg, I investigate how the concepts of depicted figure, background of a pictorial scene and ground of a picture are relevant for an understanding of the relation between figurative and abstract pictures, especially when it comes to considering whether abstract pictures can be said to represent pictorially.

In this paper, I argue that there is a picture of how law works that most legal theorists are implicitly committed to and take to be common ground. This Standard Picture (SP, for short) is generally unacknowledged and unargued for. SP leads to a characteristic set of concerns and problems and yields a distinctive way of thinking about how law is supposed to operate. I suggest that the issue of whether SP is correct is a fundamental one for the philosophy (...) of law, more basic, for example, than the issue that divides legal positivists and anti-positivists, at least as the latter issue is ordinarily understood. The goals of the paper are fourfold: 1) to identify and articulate in some detail the Standard Picture; 2) to show that SP is widely held and has important consequences for other debates in the philosophy of law; 3) to show that SP leads to a serious theoretical problem; 4) to sketch an alternative picture that promises to avoid this problem. I emphasize the modesty of these goals in one respect. I make no claim to refute SP or to fully develop and defend an alternative picture. (shrink)

It is common to distinguish two great families of representation. Symbolic representations include logical and mathematical symbols, words, and complex linguistic expressions. Iconic representations include dials, diagrams, maps, pictures, 3-dimensional models, and depictive gestures. This essay describes and motivates a new way of distinguishing iconic from symbolic representation. It locates the difference not in the signs themselves, nor in the contents they express, but in the semantic rules by which signs are associated with contents. The two kinds of rule have (...) divergent forms, occupying opposite poles on a spectrum of naturalness. Symbolic rules are composed entirely of primitive juxtapositions of sign types with contents, while iconic rules determine contents entirely by uniform natural relations with sign types. This distinction is marked explicitly in the formal semantics of familiar sign systems, both for atomic first-order representations, like words, pixel colors, and dials, and for complex second-order representations, like sentences, diagrams, and pictures. (shrink)

Introduction -- Invited Remarks from Symposium Participants -- What Are the Fundamental Compliance and Ethics Challenges Facing the C-Suite, and What Oversight Role Should the Board Play? -- How to Overcome the Barriers to High Standards of Integrity in the C-Suite, and What Should Boards, Management, and Policymakers Do Next? -- Appendix A: Symposium Agenda -- Appendix B: Symposium Participants -- Appendix C: Invited Keynote Address by Judge Ruben Castillo -- Appendix D: Invited Papers from Symposium Participants.

Psychologists have emphasized children's acquisition of information through firsthand observation. However, many beliefs are acquired from others' testimony. In two experiments, most 4yearolds displayed sceptical trust in testimony. Having heard informants' accurate or inaccurate testimony, they anticipated that informants would continue to display such differential accuracy and they trusted the hitherto reliable informant. Yet they ignored the testimony of the reliable informant if it conflicted with what they themselves had seen. By contrast, threeyearolds were less selective in trusting a reliable (...) informant. Thus, young children check testimony against their own experience and increasingly recognise that some informants are more trustworthy than others. (shrink)

Philosophers agree that an important part of our knowledge is acquired via testimony. One of the main objectives of social epistemology is therefore to specify the conditions under which a hearer is justified in accepting a proposition stated by a source. Non-reductionists, who think that testimony could be considered as an a priori source of knowledge, as well as reductionists, who think that another type of justification has to be added to testimony, share a common conception about children development. Non-reductionists (...) believe that infants and children are fundamentally gullible and their gullibility could be seen as an example for justifying testimony, while reductionists believe that this gullibility is merely an exception that should be taken into account. The objective of this paper is to review contemporary literature in developmental psychology providing empirical grounds likely to clarify this philosophical debate. What emerges from current research is a more elaborated vision of children’s attitude toward testimony. Even at a very young age, children do not blindly swallow information coming from testimony; doubtful or contradictory information is automatically screened by their cognitive system. Even if they are unable to give positive reasons for the acceptance of a given testimony, young children are not gullible. Such empirical findings tend to call into question the radical opposition between reductionism and non-reductionism. (shrink)

This paper deals with the exceptions-tolerance property of generic sentences with indefinite singular and bare plural subjects (IS and BP generics, respectively) and with the way this property is connected to some well-known observations about felicity differences between the two types of generics (e.g. Lawler's 1973, Madrigals are popular vs. #A madrigal is popular). I show that whereas both IS and BP generics tolerate exceptional and contextually irrelevant individuals and situations in a strikingly similar way, which indicates the existence of (...) a basically equivalent tolerance mechanism, there is also a difference between them, unnoticed so far, which concerns the degree to which the properties of the legitimate exceptions can be characterized in advance. Following claims in Greenberg (2003), I argue that both this newly observed difference as well as the traditional felicity differences result from an underlying contrast in the type of ‘non-accidentalness’ expressed by the two types of generic sentences, and more formally, in the accessibility relations that their generic quantifier (Gen) is compatible with. To capture the new difference in tolerance of exceptions, I develop an improved version of the exceptions-tolerance mechanism for generic sentences suggested in Kadmon & Landman (1993), namely, a restriction on the set of individuals and situations quantified by Gen, which is partially vague to two different degrees using supervaluationist methods. The different degrees of vagueness in this restriction are shown to be systematically dependent on the two types of accessibility relations that IS and BP generics are compatible with, which are redefined as precise and vague restrictions on the generic quantification over worlds. (shrink)

The Triumph of Life is Rabbi Irving Greenberg's magnum opus-a narrative of the relationship between God and humanity expressed in the Jewish journey through modernity, the Holocaust, the creation of Israel, and the birth of Judaism's next era.

This original and authoritative book offers a first-ever attempt to define a poetics of the editing arts. It proposes a new field of editing studies, in which the 'ideal editor' can be understood in relation to the long-theorised author and reader. The book's premise is that editing, like other forms of 'making', is mostly invisible and can only be brought into full view through a comparative analysis that includes the insights of practitioners. The argument, laid down in careful layers, is (...) supported by a panoramic historical narrative that tracks the shifts in textual authority from religious and secular institutions to the romanticised self of the digital present. The dangers posed by the anti-editing rhetoric of this hybrid romanticism are confronted head-on. To the traditional perception of editing as the imposition of closure, A Poetics of Editing adds a perspective on a dynamic process with a sense of the possible. (shrink)

Attempts a faithful account of Bruno's thought as expressed in his writings and to give an analysis of his thought as he developed it in regard to the issue of the infinitive.

Tagging is the phenomenon in which regions of a picture, map, or diagram are annotated with words or other symbols, to provide descriptive information about a depicted object. The interpretive principles that govern tagged images are not well understood, due in part to the difficulty of integrating pictorial and linguistic semantic rules. Rather than directly combining these rules, I propose to use the framework of perspectival feature maps as an intermediary representation of content, in which the outputs of pictorial and (...) linguistic interpretation may be assimilated. The result is a simple and compositional semantics for tagged images. (shrink)

A pioneering work in the philosophy of mind, Content and Consciousness brings together the approaches of philosophers and scientists to the mind--a connection that must occur if genuine analysis of the mind is to be made. This unified approach permits the most forbiddingly mysterious mental phenomenon--consciousness--to be broken down into several distinct phenomena, and these are each given a foundation in the physical activity of the brain. This paperback edition contains a preface placing the book in the context of recent (...) work in the area. (shrink)

Humans massively depend on communication with others, but this leaves them open to the risk of being accidentally or intentionally misinformed. To ensure that, despite this risk, communication remains advantageous, humans have, we claim, a suite of cognitive mechanisms for epistemic vigilance. Here we outline this claim and consider some of the ways in which epistemic vigilance works in mental and social life by surveying issues, research and theories in different domains of philosophy, linguistics, cognitive psychology and the social sciences.

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be (...) preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Intellectual character education has been primarily expressed in terms of educating for intellectual virtues (EFIV). This aim of teaching intellectual virtues has received some challenges, such as how it fails to articulate adequate action guidance through exemplarist pedagogy, and how it neglects the pervasiveness of intellectual vice among students. To respond to these challenges, this paper considers the aim of educating against intellectual vices (EAIV) – teaching students not to develop intellectual vices or weakening those that they have already developed (...) – which comes with the emergence of vice epistemology. More specifically, I look at how negative epistemic exemplars can be used as a classroom strategy for EAIV, and demonstrate how this could address the aforementioned weaknesses of EFIV. (shrink)

Driven by the increasing availability and deployment of ubiquitous computing technologies across our private and professional lives, implementations of automatically processable regulation (APR) have evolved over the past decade from academic projects to real-world implementations by states and companies. There are now pressing issues that such encoded regulation brings about for citizens and society, and strategies to mitigate these issues are required. However, _comprehensive yet practically operationalizable_ frameworks to navigate the complex interactions and evaluate the risks of projects that implement (...) APR are not available today. In this paper, and based on related work as well as our own experiences, we propose a framework to support the conceptualization, implementation, and application of _responsible_ APR. Our contribution is twofold: we provide a holistic characterization of what responsible APR means; and we provide support to operationalize this in concrete projects, in the form of leading questions, examples, and mitigation strategies. We thereby provide a scientifically backed yet practically applicable way to guide researchers, sponsors, implementers, and regulators toward better outcomes of APR for users and society. (shrink)

On May 16, 2012, RAND brought together a group of public company directors and executives, chief ethics and compliance officers, and stakeholders from the government, academic, and nonprofit sectors for a series of conversations about organizational culture, as well as to explore the business and policy ramifications of efforts to build better ethical cultures in corporations.

La philosophie de Rosset n'a cessé, pendant près de soixante ans, de voir dans la morale l'un des lieux privilégiés du refus de la réalité, ou du tragique. Dès La philosophie tragique, et jusqu'à ses dernières productions, Rosset a montré comment la morale, plutôt qu'une réflexion, n'exprimait qu'une certaine affectivité. Les jugements moraux ne sont, d'après lui, que des désirs déguisés, ayant tous comme objectif commun de récuser la réalité à laquelle est confronté l'homme. Ce texte, rédigé entre 1960 et (...) 1961, offre, à l'étonnement des lecteurs de Rosset, une "éthique tragique" de la force qui s'oppose avec vigueur à la morale de la faiblesse. Cet inédit est suivi d'une réédition de Le monde et ses remèdes, publié aux Puf en 1964 et réédité en 2014, suite logique et chronologique du Dialogue avec la faiblesse."--Page 4 of cover. (shrink)

Perhaps more than any philosophy written in the past few centuries, the work of Friedrich Nietzsche has given rise to controversy, misunderstanding, and dissent. Today Nietzsche is remembered as the revolutionary author of such polemical ideas as the death of God, the revaluation of values, the will to untruth, and the Übermensch. Yet is Nietzsche’s philosophy as atheistic, relativistic, nihilistic, and immoral as some commentators have claimed? Or ought we perhaps to give more credence to Nietzsche’s own assertion that one (...) writes books “precisely to conceal what one harbors” (BGE, 9, 289)? If “whatever is profound loves masks” (BGE, 2, 40) then might Nietzsche’s more daring claims be interpreted as clever masks behind which he conceals a deeper philosophy and on which he reveals a hidden truth? Is it not possible that the standard readings of Nietzsche are in fact misreadings—that his work invites misreading, that it is intentionally unclear, deceptive, disguised? The goal of this volume is to reread Nietzsche for all that he shows and all that he hides. It is to dig deeper into his work in order to challenge misreadings of old and invite misreadings anew—as, indeed, his work itself calls for and demands. (shrink)

" Quand aurons-nous complètement "dédivinisé" la nature? Quand nous sera-t-il enfin permis de commencer à nous rendre naturels, à nous "naturiser", nous hommes, avec la pure nature, la nature retrouvée, la nature délivrée? " (Gai savoir, Nietzsche). " L'idée de nature apparaît comme un des écrans majeurs qui isolent l'homme par rapport au réel, en substituant à la simplicité chaotique de l'existence la complication ordonnée d'un monde. " Nombre de philosophes depuis l'Antiquité se sont attachés à définir la notion de (...) nature. S'inscrivant dans cette longue tradition, Clément Rosset reprend l'opposition entre nature et artifice, analyse les philosophies artificialistes, des Sophistes à Hobbes, puis les philosophies naturalistes, de Platon à Rousseau. Il termine en soulignant l'actualité philosophique du naturalisme et les aléas modernes de l'idée de nature. " D'une certaine manière, la conclusion de ce livre est de présenter l'artifice comme vérité de l'existence et l'idée de nature comme erreur et fantasme idéologique. ". (shrink)