The doctrine of the arbitrary assertion is a key part of Objectivist epistemology as elaborated by Leonard Peikoff. For Peikoff, assertions unsupported by evidence are neither true nor false; they have no context or place in the hierarchy of conceptual knowledge; they are meaningless and paralyze rational cognition; their production is proof of irrationality. A thorough examination of the doctrine reveals worrisomely unclear standards of evidence and a jumble of contradictory claims about which assertions are arbitrary, when they are arbitrary, (...) and what ought to be done about them when they are. A wholesale rejection of the doctrine is recommended. (shrink)

What is art? The arts establishment has a simple answer: anything is art if a reputed artist or expert says it is. Though many people are skeptical about the alleged new art forms that have proliferated since the early twentieth century, today's critics claim that all such work, however incomprehensible, is art. A groundbreaking alternative to this view is provided by philosopher-novelist Ayn Rand (1905-1982). Best known as the author of The Fountainhead and Atlas Shrugged, Rand also created an original (...) and illuminating theory of art, which confirms the widespread view that much of today's purported art is really not art at all. In What Art Is, Torres and Kamhi present a lucid introduction to Rand's esthetic theory, contrasting her ideas with those of other thinkers. They conclude that, in its basic principles, her account is compelling, and is corroborated by evidence from anthropology, neurology, cognitive science, and psychology. The authors apply Rand's theory to a debunking of the work of prominent modernists and postmodernists--from Mondrian, Jackson Pollock, and Samuel Beckett to John Cage, Merce Cunningham, and other highly regarded avant-garde figures. Finally, they explore the implications of Rand's ideas for the issues of government and corporate support of the arts, art law, and arts education. Table of Contents / Chapter Summaries / Introduction (excerpts) / Endorsements / Reviews & Responses: Choice (Association of College and Research Libraries, 2001); The Art Book (U.K. Association of Art Historians, 2001); and more. Jacques Barzun (1907-2012), Cultural Historian - Bio / Endorsements / Letters from / "In Depth" interview on Book TV [C-SPAN2]: Endorsement. (shrink)

Michelle Marder Kamhi and Louis Torres analyze the scant critical and scholarly attention that has been devoted to Rand 's aesthetic theory by other writers since its publication more than a quarter-century ago. They argue that, with few exceptions, Objectivists and non-Objectivists alike have tended to misinterpret and undervalue Rand 's philosophy of art—which has not been sufficiently distinguished from her theory of Romantic literature. They also point to infelicities of style that have impeded serious consideration of her ideas.

ROBERT L. CAMPBELL finds Tibor Machan's book, Ayn Rand, to be a thoroughgoing introduction to every part of Rand 's system except the esthetics. Machan's presentation is knowledgeable and sympathetic but entirely non-sectarian, it offers several significant criticisms of Rand 's views. Campbell focuses on Machan's discussion of Rand 's philosophical axioms, her ethics, and her antipathy to Immanuel Kant. Certain questions that Machan asks prompt Campbell to inquire whether Rand 's avoidance of cosmology in metaphysics is an example to (...) be followed in epistemology. (shrink)