Fern Logan’s collection of photographic portraits documents the emergence of the African American artist into mainstream American art. The Artist Portrait Series captures sixty significant artists from the late twentieth century.

Some recent artists and critics have taken it upon themselves to demystify the notion of stylistic unity. Their task has included the historical reconception of a few “modernist” artists along “postmodern” lines, usually as precursors of current semiotic strategies.11 These artists may have used a set of incompatible styles to expose the artificiality of competing stylistic conventions, or even to challenge the myth that celebrates the authenticity of artistic expressiveness. Pablo Picasso and Marcel Duchamp, otherwise very different artists, have both (...) been seen as having “deconstructed” the concept of authenticity by problematizing basic means of artistic reference.12 But the desire to challenge conventions must not be misconstrued as an enduring element of an iconoclastic artist’s personality. Otherwise, the characterization is merely an updated version of the traditional argument for authorial unity. 11. The terms “modern” and “postmodern” are used in a variety of ways in contemporary criticism. Here, “modern” refers to nineteenth- and twentieth-century artists who embrace the notion of originality, and “postmodern” to those who would attack the notion by exposing the conventionality at its center. Although some critics who profess “modernism” do not mention “originality” by name, most subscribe to it in some form, often with the originality and self-sufficiency of the artist transposed to that of the work. This is especially true of the criticism of Clement Greenburg and Michael Fried.12. Rosalind Krauss rightly uses the semiotic complications of Picasso’s art to object to autobiographical interpretations of his work. In the course of the argument, she refers to Picasso’s semiotics as part of the “proto-history” of postmodernist art. See Krauss, “In the Name of Picasso,” The Originality of the Avant-Garde and Other Modernist Myths , pp. 38-39. Arguments for Duchamp’s protopostmodernism are much more common. For one example, see Krauss, “Notes on the Index: Part 1,” The Originality of the Avant-Garde, pp. 196-209. Margaret Olin is an assistant professor in the department of art history and criticism at the School of the Art Institute of Chicago. She is presently writing a book on the theories of Alois Riegl. (shrink)

In this beautiful book, Margaret Olin explores photography’s ability to “touch” us through a series of essays that shed new light on photography’s role in the world.

This book offers an historical and critical guide to the concepts of the post-modern and the post-industrial. It brings admirable clarity and thoroughness to a discussion of the many different uses made of the term post-modern across a number of different disciplines (including literature, architecture, art history, philosophy, anthropology and geography). It also analyses the concept of the post-industrial society to which the concept of the post-modern has often been related. Dr Rose discusses the work of many theorists in (...) the area, including Hassan, Lyotard, Jameson and the architectural historian Charles Jencks, and also looks at analyses and uses of the concepts of the post-modern and post-industrial by Frampton, Portoghesi, Peter Fuller and others. (shrink)

This book offers an original and challenging study of Marx's contact with the visual arts, aesthetic theories, and art policies in nineteenth-century Europe. It differs from previous discussions of Marxist aesthetic theory in looking at Marx's views from an art-historical rather than from a literary perspective, and in placing those views in the context of the art practices, theories, and policies of Marx's own time. Dr Rose begins her work by discussing Marx's planned treatise on Romantic art of 1842 (...) against the background of the philosophical debates, cultural policies, and art practices of the 1840s, and looks in particular at the patronage given to the group of German artists known as the 'Nazarenes' in those years, who are discussed in relation to both the English Pre-Raphaelites, popular in the London known to Marx, and to the Russian Social Realists of the 1860s. The author goes on to consider claims of twentieth-century Marxist art theories and practices to have represented Marx's own views on art. The book the conflicting claims made on Marx's views by the Soviet avant-garde Constructivists of the 1920s and of the Socialist Realists who followed them are considered, and are related back to the aesthetic theories and practices discussed in the earlier chapters. (shrink)

ABSTRACTThe role of Concrete Utopias in the works of Roy Bhaskar are contrasted with the ‘Real Utopias’ of Erik Olin Wright. Critical Realism treats them as ‘possibilities’ that are real because re...

Reviews : Fredric Jameson, Postmodernism, or, The Cultural Logic of Late Capitalism ; Margaret Rose, The Post-Modern and the Post-Industrial ; Alex Callinicos, Against Postmodernism: A Marxist Critique.

Does the Ship of Theseus present a genuine puzzle about persistence due to conflicting intuitions based on “continuity of form” and “continuity of matter” pulling in opposite directions? Philosophers are divided. Some claim that it presents a genuine puzzle but disagree over whether there is a solution. Others claim that there is no puzzle at all since the case has an obvious solution. To assess these proposals, we conducted a cross-cultural study involving nearly 3,000 people across twenty-two countries, speaking eighteen (...) different languages. Our results speak against the proposal that there is no puzzle at all and against the proposal that there is a puzzle but one that has no solution. Our results suggest that there are two criteria—“continuity of form” and “continuity of matter”— that constitute our concept of persistence and these two criteria receive different weightings in settling matters concerning persistence. (shrink)

In Mourning Becomes the Law, Gillian Rose takes us beyond the impasse of post-modernism or 'despairing rationalism withour reason'. Arguing that the post-modern search for a 'new ethics' and ironic philosophy are incoherent, she breathes new life into the debates concerning power and domination, transcendence and eternity. Mourning Becomes the Law is the philosophical counterpart to Gillian Rose's highly acclaimed memoir Love's Work. She extends similar clarity and insight to discussions of architecture, cinema, painting and poetry, through which (...) relations between the formation of the individual and the theory of justice are connected. At the heart of this reconnection lies a reflection on the significance of the Holocaust and Judaism. Mourning Becomes the Law reinvents the classical analogy of the soul, the city and the sacred. It returns philosophy, Nietzsche's 'bestowing virtue', to the pulse of our intellectual and political culture. (shrink)

Naturalized metaphysicians defend the thesis that science licenses meta- physics, such that only metaphysical results that are based on the best science are to be considered legitimate. This view is problematic, due to the fact that the reasons they identify for such license are apparently self-defeating. Chakravartty defends a revised approach to understanding the licensing relation. I argue that the proposed response is a step forward on behalf of naturalizing metaphysics, but still does not take seriously the contention that science (...) involves, inextricably, a contribution from the a priori. I conclude by considering what options the aspiring naturalized metaphysician is left with. (shrink)

Developing a boundary-crossing ethics by paying attention to our stories, myths, and moral intuition.

A standard view in contemporary philosophy is that belief is involuntary, either as a matter of conceptual necessity or as a contingent fact of human psychology. We present seven experiments on patterns in ordinary folk-psychological judgments about belief. The results provide strong evidence that voluntary belief is conceptually possible and, granted minimal charitable assumptions about folk-psychological competence, provide some evidence that voluntary belief is psychologically possible. We also consider two hypotheses in an attempt to understand why many philosophers have been (...) tempted to view belief as involuntary: that belief is a prototype concept and that belief is a dual character concept. Altogether, our findings contribute to longstanding philosophical debates about the relationship between the will and the intellect, while also advancing scientific understanding of important social judgments. (shrink)

This new volume in the acclaimed Oxford Readings in Philosophy sereis offers a selection of the most important philosophical work being done in the new and fast-growing interdisciplinary area of artificial life. Artificial life research seeks to synthesize the characteristics of life by artificial means, particularly employing computer technology. The essays here explore such fascinating themes as the nature of life, the relation between life and mind, and the limits of technology.

Through the use of particular pedagogies and the adoption of new modes of thinking, physical literacy promises more realistic models of physical competence and ...

Marxism: Crisis or Renewal? It has become commonplace nowadays to speak of a crisis— and even of the end— of Marxism. This dire forecast can hardly be ...

Biological individuality is a notoriously thorny topic for biologists and philosophers of biology. In this paper we argue that biological individuality presents multiple, interconnected questions for biologists and philosophers that together form a problem agenda. Using a case study of an interdisciplinary research group in ecology, behavioral and evolutionary biology, we claim that a debate on biological individuality that seeks to account for diverse practices in the biological sciences should be broadened to include and give prominence to questions about uniqueness (...) and temporality. We show that broadening the problem agenda of biological individuality draws attention to underrecognized philosophical issues and discussions and thereby organizes and enriches the existing debate. (shrink)

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

History is useful when it is used properly: to understand why we and those we must deal with think and react in certain ways. It can offer examples to inform our decisions and guesses about the consequences of our actions. But we should be wary of looking to history for dogmatic lessons.We should distrust those who abuse history when they call on it to justify unreasonable claims to land, for example, or restitution. MacMillan illustrates how dangerous history can be in (...) the hands of nationalistic or religious or ethnic leaders who use it to foster a sense of grievance and a desire for revenge. (shrink)

In this wide-ranging interview Professor Margaret Archer discusses a variety of aspects of her work, academic career and influences, beginning with the role the study of education systems played in...