Theodor Adorno's Aesthetic Theory offers one of the most powerful and comprehensive critiques of art and of the discipline of aesthetics ever written. The work offers a deeply critical engagement with the history and philosophy of aesthetics and with the traditions of European art through the middle of the 20th century. It is coupled with ambitious claims about what aesthetic theory ought to be. But the cultural horizon of Adorno's Aesthetic Theory was the world of high modernism, and much has (...) happened since then both in theory and in practice. Adorno's powerful vision of aesthetics calls for reconsideration in this light. Must his work be defended, updated, resisted, or simply left behind? This volume gathers new essays by leading philosophers, critics, and theorists writing in the wake of Adorno in order to address these questions. They hold in common a deep respect for the power of Adorno's aesthetic critique and a concern for the future of aesthetic theory in response to recent developments in aesthetics and its contexts. (shrink)

It is the persistence of social suffering in a world in which it could be eliminated that for Adorno is the source of the need for critical reflection, for philosophy. Philosophy continues and gains its cultural place because an as yet unbridgeable abyss separates the social potential for the relief of unnecessary human suffering and its emphatic continuance. Philosophy now is the culturally bound repository for the systematic acknowledgement and articulation of the meaning of the expanse of human suffering within (...) technologically advanced societies that are already committed to liberal ideals of freedom and equality. (shrink)

Arguably, the most promising and compelling route to demonstrating the significance of Hegel’s thought to contemporary philosophy has been the series of recent readings that construe Hegel as continuing and completing Kant’s Copernican turn. Paul Redding explicitly locates his interpretation within this program, seeing the hermeneutic dimension of Hegel’s thought as providing for the possibility of continuing the Kantian project. Kant’s Copernican turn can be loosely stated as the procedure of reflectively uncovering unexperienced conditions of experience that contribute to the (...) nature of experience in ways that require its further re-determination and re-description. What a hemeneutic take on this reflective procedure adds is that foremost among those conditions are contexts of intersubjective or dialogical relations—structures of recognition. While perhaps disappointing to anyone interested in the problem of textual interpretation, there is finally nothing more to Redding’s account of Hegel’s “hermeneutics” than the establishing of recognitive structures as forming the ultimate horizon of human experience. I take Redding’s relentless tracking of the problem of recognition to be one of his book’s virtues. (shrink)

Following the lead of Annette Baier, this essay argues that trust relations provide the ethical substance of everyday living. When A trusts B, A unreflectively allows B to approach sufficiently close so as to be able to harm A. In order for this to be possible, A practically presupposes that B perceives A as a person and will hence act accordingly. Trust relations are relations of mutual recognition in which we acknowledge our mutual standing and vulnerability with respect to one (...) another. A robust account of trust assumes: first, trust relations are primary and practical, and while monitored by reason, they are not rationally constituted; second, trust can sustain its practical primacy over moral reason because it is developmentally prior to reason; and third, trust relations can be the bearers of our worth and vulnerability because they are the developmental products of first love. (shrink)

This 2002 volume brings together major works by German thinkers, writing just prior to and after Kant, who were enormously influential in this crucial period of aesthetics. These texts include the first translation into English of Schiller's Kallias Letters and Moritz's On the Artistic Imitation of the Beautiful, together with translations of some of Hölderlin's most important theoretical writings and works by Hamann, Lessing, Novalis and Schlegel. In a philosophical introduction J. M. Bernstein traces the development of aesthetics from its (...) still rationalist and mimetic construction in Lessing, through the optimistic construal of art and/or beauty as the appearance of human freedom in the work of Schiller, to Hölderlin's darker vision of art as the memory of a lost unity, and the variations of that theme - of an impossible striving after the lost ideal - which are found in the work of Schlegel and Novalis. (shrink)

[This is a revised and expanded version of an article of the same name published in the Journal of the British Society for Phenomenology, October 2000: 31(3), 277–299.].

Neurocognitive enhancement, or cosmetic neurology, offers the prospect of improving the learning, memory and attention skills of healthy individuals well beyond the normal human range. Much has been written about the ethics of such enhancement, but policy-makers in the USA, the UK and Europe have been reluctant to legislate in this rapidly developing field. However, the possibility of discrimination by employers and insurers against individuals who choose not to engage in such enhancement is a serious threat worthy of legislative intervention. (...) While lawmakers should not prevent individuals from freely pursuing neurocognitive enhancement, they should act to ensure that such enhancement is not coerced. This paper offers one model for such legislation, based upon a proposed US law, the Genetic Information Nondiscrimination Act of 2008, to address precisely this particular pitfall of the impending neuroscience revolution. (shrink)

John and Mary have fully consensual sex, but they do not want to have a child, so they use contraception with the intention of avoiding pregnancy. Unfortunately, although they used the contraception in the way in which it is supposed to be used, Mary has become pregnant. The couple decides to have the baby, whom they name ‘Ernie’. Now we fill in the story a bit. The universe is causally deterministic, and 30 years later Ernie performs some action A and (...) thereby brings about event E. We also stipulate that Ernie meets plausible compatibilist conditions for acting freely . That is, we suppose that there are no uncontroversially freedom- and responsibility-undermining conditions present in the context in which Ernie performs A, and, further, that Ernie meets plausible compatibilist conditions for acting freely. Let us say, for example, that one adopts the theory according to which the freedom-relevant condition on moral responsibility is that the agent exhibits ‘guidance control’ of his action and . On this approach, one acts freely in so far as one acts from one's own, suitably reasons-responsive mechanism. We can then simply stipulate that, in the relevant context, Ernie acts from his own, suitably reasons-responsive mechanism . If one prefers a different set of compatiblist-friendly conditions for acting freely, one can simply stipulate that Ernie meets them; indeed, the plausible compatibilist-friendly conditions seem to be compatible with each other, and thus Ernie could presumably meet all of them in the relevant context. In such a case, and given that the epistemic condition on acting freely and moral responsibility is met, I am inclined to say that Ernie …. (shrink)

What is the relation between philosophical categories and everyday experience? Can an effectively first-person account of an historical experience rise to the level of a philosophical argument? This essay argues that Jean Amery’s account of his sufferings under the Nazis intends to generate a justificatory argument, a transcendental deduction of sorts, for the category of ”resentment’ against its philosophical critics, most importantly, Nietzsche.

Adorno contends that something of what we think of knowing and rational agency operate in ways that obscure and deform unique, singular presentations by relegating them to survival-driven interests and needs; hence, in accordance with the presumptions of transcendental idealism, we have come to mistake what are, in effect, historically contingent, species-subjective ways of viewing the world for an objective understanding of the world. And further, this interested understanding of the world is deforming in a more radical way than just (...) obscuring what is there for the sake of interested needs and purposes; these instrumental ways of knowing and acting, are broadly self-interested, in the interest of survival, without effective concern for the well-being and worth of others; by becoming generalized and exclusive, hegemonic, by driving out modes of encountering things and persons that support their differences and independence, their needs and interests, these instrumental practices are the deepest cause of t. (shrink)

Infertility affects 15 per cent of the world's couples. Research at Edinburgh University has been directed at transplanting fetal ovarian tissue into infertile women, thus enabling them to bear children. Fetal ovary transplantation (FOT) has generated substantial controversy; in fact, one ethicist deemed the procedure 'so grotesque as to be unbelievable' (1). Some have suggested that fetal eggs may harbour unknown chromosomal abnormalities: however, there is no evidence that these eggs possess a higher incidence of genetic anomaly than ova found (...) in a healthy adult female. There is also concern that fetal egg children will be psychologically harmed by the knowledge of their special conceptual status. It will be demonstrated that special conceptual status in and of itself does not determine developmental success. Rather, psychological well-being is dependent upon how the family and child cope with the unique challenges inherent in FOT. Lastly, though considering FOT a legitimate method of family building, given the global population crisis the wisdom of procreational rights will be challenged. Inherent to this challenge is a re-evaluation of the treatment of infertility as a significant disease necessitating remedy. (shrink)

In the Preface to Negative Dialectics, Adorno states that the primary ambition of the book is to find a substitute for the “supra‐ordinated” concept and to “break through the deception of constitutive subjectivity.” For a book whose ambition is to renew the Marxist idea of critique, these are puzzling claims. The notions to be criticized are Kant's in The Critique of Pure Reason ; Adorno, from his earliest studies with Siegfried Kracauer, had taken Kant's theoretical philosophy as expressing the deepest (...) conceptual and normative commitments of capital. This chapter attempts to specify what the expressive relation between idealist conceptuality and capital is; why Adorno took the transcendental unity of apperception to express a society that was unconscious about itself; and precisely how negative dialectics is throughout key to a critique of Kant's philosophy. (shrink)

The goal of Hegel's Phenomenology of Spirit is to achieve absolute knowing. Minimally, knowing can be absolute only if it is unconditioned or unlimited; that is, only if it is not essentially contrasted with some other possible knowing—say, God's—or is not restricted such that it necessarily does not pertain to certain items—say, freedom of the will, the immortality of the soul, or God. Knowing can be absolute only if these items, appropriately interpreted, are within its scope. However, if it can (...) be shown that human knowing is not limited or restricted in either of these two ways, it would then follow that we cannot contrast our conceptual scheme—human knowing as such—with the world, and, hence, we cannot even notionally contrast human knowledge of appearances with things in themselves. Initially, it is in this quite narrow sense that Hegel's project in the Phenomenology is to transform Kant's subjective or limited idealism into objective or absolute idealism by showing that items Kant took to be necessarily extrinsic to human knowing are intrinsic and constitutive of it. Thus, if we were to translate Hegel's dictum that the ground of science in general is "pure self-recognition in absolute otherness" back into Kant's lexicon, it would state that we achieve full apperceptive self-awareness, full categorial selfawareness of ourselves as knowers, only in the thing in itself. Within Hegel's own system, achieving the standpoint of absolute knowing is a necessary condition for doing logical science, and, by implication, the first part of the system as a whole, because only by demonstrating that the necessary conditions of human knowing cannot, even notionally, be contrasted with the world in itself is it possible to then work out a system of logical categories that are simultaneously categories of thought and categories of being. (shrink)

This essay originated as a reply to Richard Rorty's ”Habermas, Derrida, and the Functions of Philosophy“. In it, I contest Rorty's deployment of the categories of private selfcreation and the collective political enterprise of increasing freedom, first developed in Contingency, Irony and Solidarity, to demonstrate that the philosophical projects of Habermas and Derrida are complementary rather than antagonistic. The focus of my critique is two-fold: firstly, I contend that so-called critiques of metaphysics are always simutaneously engaging with some form of (...) social domination or disintegration (e.g. nihilism or societal rationalization); secondly, I argue that the fault-line in Rorty's thought that structures his categories is his, Davidson inspired, naturalized philosophy of language. This philosophy of language falls afoul of Heidegger's analysis of the present-to-hand. (shrink)

Deleuze's philosophy of cinema departs from the standard conception of modernist aesthetics that sees art withdrawing from representation in order to reflect upon the specificity of its medium. While ambitious and influential, Deleuze's attempt fails. Overdetermined by its own metaphysics, it forsakes the real importance of the movies. It is unable to explain how they function and why they matter. This essay pursues three lines of criticism: Deleuze cannot account for the aesthetic specificity of cinema because he deposes the primacy (...) of action in the movement-image in favour of the primacy of belief. This failure is connected to the fact that a cinema of the virtual depends on the very Bazinian realism it is meant to displace. Realism must be acknowledged as the cinematic condition and truth of virtuality. Further, Bazinian realism is the cinematic form of philosophical modernism, preferable for many reasons to Deleuze's philosophy, which returns to pre-modern cosmology in its desire to escape the agent-based, anti-metaphysical commitments of modernism. I apply these criticisms to my analysis of Resnais's Hiroshima mon amour, a movie that prima facie looks made to fulfil the terms of Deleuze's theory but which I argue is an object lesson in realism. (shrink)

After recently meeting with his biological parents, the author--a 29-year-old-married male--learned he had been an hour away from being aborted, being 'saved' only by extraordinary circumstances. In the paper the author reflects upon previous strong pro-choice beliefs and reasserts his commitment to a pro-choice philosophy, integrating his new personal experience. The paper pays particular attention to the biological mother's experience and how her fresh insights have reinforced the author's views on abortion.

Arguably, there is no gesture more typical to philosophy than its repudiation, the sense that philosophical endeavor is a symptom of the pathologies or dislocations of everyday life it seeks to remedy. Throughout the nineteenth century—in the writings of the German Romantics, Young Hegelians, Marx, Kierkegaard, and Nietzsche—the repudiation of philosophy is a constant. Sometimes this repudiation takes a reflective form in which traditional philosophical claims are translated into another vocabulary, or are deflated ; sometimes alternative methods are adopted that (...) attempt to undermine, explain away, what is thought of as uniquely philosophical; sometimes rhetorical strategies are adopted that aim to bring about a “conversion” in the reader away from philosophy and toward a more fully immanent or existential self-understanding; and sometimes that more everyday self-understanding that is to be the antidote to philosophical reflection is construed as not yet available but would come to be in an ideal or utopian future if particular radical transformations of current practices were accomplished. Apart from Kierkegaard, these attempts typically construe themselves as continuous with the critique of religion, as if philosophy were nothing but religious excess in rational dress, and thus continuous with modernity’s drive toward secularity. Because the stakes of repudiation are inevitably normative—the protest against philosophy for the sake of a more “realistic,” more truly natural or historical, conception of what is rational or good—the critique of philosophy becomes, despite itself, philosophical, burdened with presuppositions it can neither sustain nor forgo. In brief, this is the lesson of Daniel Brudney’s meticulous and patient excavation of the writings of the young Marx. (shrink)

In “The Philosophical Disenfranchisement of Art,” Arthur Danto argues that there were two stages to the platonic critique of the arts: ephemeralization and takeover. Danto's philosophy of art sought a rescue by detaching art from the philosophy of art in a manner that would give back to the arts the very dangerousness that so alarmed Plato in the first instance. This chapter draws Danto's theory into conversation with Stanley Cavell's and T.W. Adorno's philosophies of modernism. Ugliness or terribleness is constitutive (...) of how these artworks mean to sustain the acts of visual attention they invite. Art can only fail to demonstrate the authority of art's own forms and modes of claiming because being mere art is the historical mechanism of art's continuing disenfranchisement, which explains why one school of the intractable avant‐garde sought the immediate re‐unification of art with everyday practice in order to end art. (shrink)