Marcel Duchamp is often viewed as an "artist-engineer-scientist," a kind of rationalist who relied heavily on the ideas of the French mathematician and philosopher Henri Poincaré. Yet a complete portrait of Duchamp and his multiple influences draws a different picture. In his _3 Standard Stoppages_ (1913-1914), a work that uses chance as an artistic medium, we see how far Duchamp subverted scientism in favor of a radical individualistic aesthetic and experimental vision. Unlike the Dadaists, Duchamp did more than dismiss or (...) negate the authority of science. He pushed scientific rationalism to the point where its claims broke down and alternative truths were allowed to emerge. With humor and irony, Duchamp undertook a method of artistic research, reflection, and visual thought that focused less on beauty than on the notion of the "possible." He became a passionate advocate of the power of invention and thinking things that had never been thought before. The _3 Standard Stoppages_ is the ultimate realization of the play between chance and dimension, visibility and invisibility, high and low art, and art and anti-art. Situating Duchamp firmly within the literature and philosophy of his time, Herbert Molderings recaptures the spirit of a frequently misread artist-and his thrilling aesthetic of chance. (shrink)

Marcel Duchamp is often viewed as an "artist-engineer-scientist," a kind of rationalist who relied heavily on the ideas of the French mathematician and philosopher Henri Poincaré. Yet a complete portrait of Duchamp and his multiple influences draws a different picture. In his _3 Standard Stoppages_, a work that uses chance as an artistic medium, we see how far Duchamp subverted scientism in favor of a radical individualistic aesthetic and experimental vision. Unlike the Dadaists, Duchamp did more than dismiss or negate (...) the authority of science. He pushed scientific rationalism to the point where its claims broke down and alternative truths were allowed to emerge. With humor and irony, Duchamp undertook a method of artistic research, reflection, and visual thought that focused less on beauty than on the notion of the "possible." He became a passionate advocate of the power of invention and thinking things that had never been thought before. The _3 Standard Stoppages_ is the ultimate realization of the play between chance and dimension, visibility and invisibility, high and low art, and art and anti-art. Situating Duchamp firmly within the literature and philosophy of his time, Herbert Molderings recaptures the spirit of a frequently misread artist-and his thrilling aesthetic of chance. (shrink)

An updated and extended second edition supporting the findings of its well-known predecessor which claimed that courts employ common-sense notions of causation in determining legal responsibility.

Developing a concept briefly introduced in Counterrevolution and Revolt, Marcuse here addresses the shortcomings of a Marxist aesthetic theory and explores a dialectical aesthetic in which art functions as the conscience of society. Marcuse argues that art is the only form of expression that can take up where religion and philosophy fail and contends that aesthetic offers the last refuge for two-dimensional criticism in a one-dimensional society.

Thought, Fact, and Reference was first published in 1978.Against a background of criticism of alternative accounts, Professor Hochberg presents an analysis of thought, reference, and truth within the tradition of logical atomism. He analyzes G. E. Moore's early attack on idealism and examines the influence of Moore on the development of Bertrand Russell's and Ludwig Wittgenstein's logical atomism. He traces an early divergence between Russell and Wittgenstein, on the one side, and Moore and Gottlob Frege on the other, into variants (...) recently advocated by Wilfrid Sellars, Gustav Bergmann, and others. The work will be of interest to professional philosophers, graduate students in philosophy, and linguists with interests in philosophy. (shrink)

Predication and the problems of universals and individuation have preoccupied philosophers from Plato (if not before) to the present. Concerns about relations and the special problems posed by relational predication came later - along with the explicit recognition of facts as purported entities that make a judgment true, rather than false, and resultant questions about the structure of such grounds of truth. The essays in the volume explore aspects of the history of the classic issues raised as well as alternative (...) attempts to deal with such issues. (shrink)

As the idea of culture is conceived in modern times, it has its roots in the ancient teaching on the relation between the Necessary and the Beautiful, and between labor and rest. The stabilizing of modern society, however, ushered in a significant change in the interpretation of this relationship. Cultural values became universally valid and obligatory : each individual, regardless of his place in society, is supposed to share them in equal measure. Culture is cut off from the material processes (...) of social reproduction, as well as from those of civilization, and comes to be regarded as belonging to a higher, purer, better world. The realm of culture comes to be looked upon as the sovereignty of a free moral and intellectual community.The article attempts to indicate the significance of modern culture for the place of the individual in society. For this purpose the author selects some characteristic and fundamental concepts of modern culture : the idea of the soul (the values of the soul receive unconditional preference to the sensual as well as the intellectual values : external conditions and intellectual achievements are less relevant than the inner essence of man), — the idea of beauty (art attains the function of giving to humanity, through the presentation of the beautiful, the enjoyment of a better world),— and the idea of personality (the individual achieves his own happiness only through subordination to the existing order of things). These ideas are analyzed in order to show that culture has absorbed all the forces that were directed towards the achievement of a better existence : humanity, kindliness, solidarity, happiness. Modern culture was the historic framework within which the pursuit of happiness was accomplished in a social order that was without happiness for the majority of mankind.But, by proclaiming all progressive ideas as spiritual or internal ideals, this same culture has distilled from them all their critical, dynamic force. They are taken seriously only as inner spiritual values or as objects of art. In this internalized and transfigured form the human desire for happiness has been diverted from reality and appears to have been set at rest. The individual is trained for renunciation and he has to rationalize in order to believe himself satisfied. In this way, culture serves to take the responsibility for the happiness of the individual from the existing order and to justify the given order of things.In the last period of this development, idealism gives way to a heroic realism of power. In the battle of the authoritarian state against the idealism of the liberal bourgeois culture, the old methods of cultural discipline are to be replaced by more timely ones. The principal function of culture, however, remains unchanged. The hostility of the authoritarian state toward culture in general also serves as a justification for the existing order of things. But in comparison the culture that is being attacked appears as an enlightened, more humane stage of the past ; its progressive tendencies stand forth more clearly in our minds.In conclusion, the idea of bridging the gulf between culture and civilization is outlined : a definite re-incorporation of culture into the general social process, whereby it would lose its justificatory character.L’idée de la culture caractéristique de l’Occident moderne, remonte à la doctrine antique qui a formulé les rapports du nécessaire et du beau, du travail et du plaisir. Avec la stabilisation de la société moderne, intervint un changement décisif dans l’interprétation de ces rapports : les valeurs culturelles deviennent universellement valables et universellement impératives ; chaque individu, quelle que soit sa position sociale, doit également participer à ces valeurs. La culture, monde meilleur, supérieur, plus pur, se détache et du procès matériel de reproduction et de la „civilisation“. Elle est revendiquée comme le règne d’une libre communauté morale et spirituelle.L’étude essaye d’indiquer la répercussion de la culture nouvelle sur la situation de l’individu dans la société. Elle relève quelques-uns des concepts fondamentaux de cette culture : L’idée de l’âme (spiritualisation de la sensibilité), l’idée de la beauté (satisfaction par l’art), et l’idée de la personnalité (accomplissement par le renoncement). La culture a résorbé toutes les forces qui tendaient vers une existence meilleure : humanité, bonté, solidarité, joie. La culture représentait la forme historique sous laquelle le besoin de bonheur trouvait satisfaction dans un ordre social qui privait de bonheur la majorité des hommes. Mais la culture, en hypostasiant toutes les idées progressives en idéals, a dépouillé celles-ci de toute force explosive, qui les eût rendues dangereuses. Elle ne les a prises au sérieux qu’en tant que valeurs intérieures, spirituelles, ou en tant que thèmes de l’art. L’exigence de bonheur trouve sous cette forme intériorisée et transfigurée une satisfaction apparente. Toutes les exigences, l’individu apprend à se les poser à lui-même et à se contenter d’une jouissance rationalisée. Il est élevé en vue du renoncement. Ainsi la culture contribue à décharger et à justifier l’ordre existant.Dans la dernière phase de cette évolution, l'idéalisme de l'intériorité, par un renversement dialectique, devient „réalisme de la force“. Dans le combat de l'État autoritaire contre la culture idéaliste de la bourgeoisie libérale, les vieilles méthodes de discipline culturelle cèdent la place à des méthodes plus adaptées. L'hostilité de l'État autoritaire à la culture est elle- même une justification. Par comparaison, la culture attaquée apparaît comme un passé moins sombre et plus humain : ses tendances progressives s'élèvent plus clairement à la conscience. En conclusion, l'auteur indique l'idée d'un dépassement de l'opposition entre civilisation et culture : la culture, une fois ramenée de façon positive au processus social, perdrait son caractère affirmatif. (shrink)

L’auteur cherche, au moyen d’une analyse de la théorie totalitaire de l’État et de la société, à décrire les fonctions idéologiques de cette conception. Après avoir esquissé les différentes sources de cette théorie et le développement économique qui a précédé l’état autoritaire total qu’elle préconise, il expose ses principaux éléments : l’universalisme, l’organicisme, le „réalisme héroïque44 et l’existencialisme politique (Carl Schmitt). Cette théorie combat le libéralisme comme son grand adversaire. On voit toutefois nettement que son anti-libéralisme cache sa position effective (...) dans la situation actuelle : les bases économiques du libéralisme subsistent comme telles et ne sont qu’adaptées aux nécessités nouvelles de la société monopolo- capitaliste ; l’état autoritaire total organise la société sans modifier sa base d’une manière décisive ; il n’est qu’une auto-transformation de l’état libéral. La théorie de l’état autoritaire total n’est toutefois pas uniquement le résultat d’une manoeuvre idéologique. Par l’état autoritaire et par les pensées qu’il suscite dans un but propagandiste, se développent des forces qui dépassent ses propres formes politiques et tendent vers un autre état de choses.The author attempts by means of an interpretation of the historical and social theory of the totalitarian state to demonstrate its social functions. After sketching the various sources of the new world-outlook and of the economic developments preceding the totalitarian state, the author presents the main points of his analysis : popular universalism, irrational orga- nicism, „heroic realism44 and political existencialism (Carl Schmitt). Liberalism is the great antagonist of this political and social theory. It is clear, however, that the anti-liberalism of the latter conceals the actual attitude in the present situation ; the economic foundations of liberalism remain as they were and are merely adapted to the changed needs of the monopolistic capitalistic society. The totalitarian state organizes society without any real change in its basis ; it is only a self-transformation of the libera- listic state. The totalitarian state is however not merely an ideological adaptation. The dialectics of an historical process emerge within it, and unchain forces which point to something beyond the political forms by which the totalitarian state stabilises social conditions. (shrink)

The paper sets out a version of a correspondence theory of truth that deals with a number of problems such theories traditionally face, problems associated with the names of Bradley, Meinong, Camap, Russell, Wittgenstein and Moore and that arise in connection with attempts to analyze facts of various logical forms. The line of argument employs a somewhat novel application of Russell's theory of definite descriptions. In developing a form of "logical realism" the paper takes up various ontological issues regarding classes, (...) causal laws, modality, predication, negation and relations. It does so in connection with critical discussions of alternative views recently proposed by Armstrong, Bergmann, Lewis and Putnam. (shrink)

Platonic paideia is a mainstream concept in traditional philosophy and humanistic circles generally. It is closely connected with social progress brought about by the dynamics of enlightenment and self-fulfillment, symbolized by the allegory of the cave. The main contention of this paper is that the philosophical grammar of this simile is more precarious than is often recognized. Plato’s apparently intuitive narrative blends together two features that do not easily mix, namely explicit, categorical dualisms, and temporal processes of development. The second (...) feature is superimposed upon the first, more elementary, one, suggesting that a philosopher-teacher can be in charge of mankind’s ascent towards illustrious goals. This line of thought conceals a basic rhetorical move built into Plato’s paideia, namely its initial focus on enchained humans in need of liberation. It is from this bleak view of ordinary, ‘commonsense’ life that the narrative’s drive is derived. How might... (shrink)