Artists and critics regularly enlist theory in the creation and assessment of artworks, but few have scrutinized the art theories themselves. Here, Daniel examines and critiques the norms, assumptions, historical conditions, and institutions that have framed the development and uses of art theory. Spurred by the theoretical claims of Arthur Danto, a leader in the philosophy of the avant-garde, Herwitz reexamines the art and theory of major figures in the avant-garde movement including John Cage, Jean-François Lyotard, Jean Baudrillard, (...) and Andy Warhol. (shrink)
Introduction and the birth of aesthetics -- Taste and judgment -- Art and experience -- Modern definitions of art and the problem of new media -- Conclusion: Art and truth.
That [John] Cage’s challenge to our musical beliefs, attitudes, and practices is posed from the difficult perspective of a Zen master has often been discussed. What has been neglected both by Cage himself and by others is another equally potent challenge to the ordinary which Cage formulates in a related but distinct voice: that of the philosopher. Through his relentless inquiry into new music, Cage had defined certain radical possibilities for musical change. What is in effect his skepticism about music (...) as we know it contains a cogent analysis of our musical concepts and practices: of what it is for us ordinarily to believe that something is music as opposed to not music, and of how those beliefs about music connect with styles of feeling and treating what we hear when we hear it as music. Indeed it is Cage’s genius to have established the topic of skepticism about music as an issue for philosophy and cultural criticism. Cage’s radical perspective on our musical beliefs allows us to consider both what those beliefs are and whether and how they might be justified. This invitation to philosophical response is an important feature of the avant-garde which Cage shares with Duchamp in plastic art, Gordon Matta-Clarke in architecture, and others. I wish to give it its due by outlining and addressing Cage’s skepticism about music. Daniel A. Herwitz is an assistant professor of philosophy at California State University, Los Angeles. He is currently at work on a book exploring philosophical tendencies in twentieth-century music, art, and architecture. (shrink)
The act of remaking one's history into a heritage, a conscientiously crafted narrative placed over the past, is a thriving industry in almost every postcolonial culture. This is surprising, given the tainted role of heritage in so much of colonialism's history. Yet the postcolonial state, like its European predecessor of the eighteenth and nineteenth centuries, deploys heritage institutions and instruments, museums, courts of law, and universities to empower itself with unity, longevity, exaltation of value, origin, and destiny. Bringing the eye (...) of a philosopher, the pen of an essayist, and the experience of a public intellectual to the study of heritage, DanielHerwitz reveals the febrile pitch at which heritage is staked. In this absorbing book, he travels to South Africa and unpacks its controversial and robust confrontations with the colonial and apartheid past. He visits India and reads in its modern art the gesture of a newly minted heritage idealizing the precolonial world as the source of Indian modernity. He traverses the United States and finds in its heritage of incessant invention, small town exceptionalism, and settler destiny a key to contemporary American media-driven politics. Showing how destabilizing, ambivalent, and potentially dangerous heritage is as a producer of contemporary social, aesthetic, and political realities, Herwitz captures its perfect embodiment of the struggle to seize culture and society at moments of profound social change. (shrink)
The Don Giovanni Moment is the first book to examine the aesthetic and moral legacy of Mozart's masterpiece in the literature, philosophy, and culture of the nineteenth century.
This volume pays tribute to both Danto's brilliant capacity to move between philosophy and contemporary culture and his pathbreaking achievements in philosophy, art history, and art criticism.
Francis Fukuyama has argued that history has come to an end. His argument is a philosophical reading of history which derives philosophical implications from empirical views about human economy, society, recent history and the human conditions for self-realization and flourishing. It is this movement between empirical description and philosophical conceptualization that my paper explores, a movement which is both fascinating and problematical. The paper does not seek to “refute” Fukuyama, whose ideas have great currency with significant reason and assumes that (...) there is some thing significant about the idea of the end of history. It is rather concerned to insert a certain skepticism about the dialectic between empirical description and philosophical conceptualization. What the paper comes down against is the assurance that a philosophical structure can be assigned to history. The paper is part of a larger project about philosophical constructions of finality where similar conclusions are drawn. These are drawn in order to suggest that much of the modern/postmodern debate operates within an Hegelian frame work that entitles a philosophical reading of human affairs with respect to their finality, a finality which is supposed to be happening now. (shrink)
Rex Butler _Jean Baudrillard: The Defense of the Real_ London and New Delhi: Sage Publications and Thousand Oaks, 1999 ISBN 0-7619-5833-9 vii + 181 pp.
Aestheticians have tended to focus their attention almost exclusively on high art, on museum painting and sculpture, classical music and literature, and architecture, leaving the popular arts to their colleagues in cultural studies. That seems a big mistake, for like it or not, popular movies and television attract enormous audiences everywhere, including very many people who take little interest in high art. This mass art creates stars, actors, and musicians who are so famous that everyone recognizes them. And celebrities such (...) as Princess Diana are also stars. Because stars straddle the boundary between politics and popular art, they deserve attention from our philosophers. Even if your favorite leisure reading .. (shrink)
