Joseph Beuys, Andy Warhol, Yves Klein, and Marcel Duchamp form an unlikely quartet, but they each played a singular role in shaping a new avant-garde for the 1960s and beyond. Each of them staged brash, even shocking, events and produced works that challenged the way the mainstream art world operated and thought about itself. Distinguished philosopher Thierry de Duve binds these artists through another connection: the mapping of the aesthetic field onto political economy. Karl Marx provides the red thread tying (...) together these four beautifully written essays in which de Duve treats each artist as a distinct, characteristic figure in that mapping. He sees in Beuys, who imagined a new economic system where creativity, not money, was the true capital, the incarnation of the last of the proletarians; he carries forward Warhol’s desire to be a machine of mass production and draws the consequences for aesthetic theory; he calls Klein, who staked a claim on pictorial space as if it were a commodity, “The dead dealer”; and he reads Duchamp as the witty financier who holds the secret of artistic exchange value. Throughout, de Duve expresses his view that the mapping of the aesthetic field onto political economy is a phenomenon that should be seen as central to modernity in art. Even more, de Duve shows that Marx—though perhaps no longer the “Marxist” Marx of yore—can still help us resist the current disenchantment with modernity’s many unmet promises. An intriguing look at these four influential artists, _Sewn in the Sweatshops of Marx_ is an absorbing investigation into the many intertwined relationships between the economic and artistic realms. (shrink)

Washed away -- On the road -- The knight's move.

A study of the development of Eisenman's architectural theory, taken from the 'texts' which he himself wrote every time he designed a house.

Anorexia nervosa and obsessive–compulsive disorder are commonly reported to co-occur and present with overlapping symptomatology. Executive functioning difficulties have been implicated in both mental health conditions. However, studies directly comparing these functions in AN and OCD are extremely limited. This review provides a synthesis of behavioral and neuroimaging research examining executive functioning in AN and OCD to bridge this gap in knowledge. We outline the similarities and differences in behavioral and neuroimaging findings between AN and OCD, focusing on set shifting, (...) working memory, response inhibition, and response monitoring. This review aims to facilitate understanding of transdiagnostic correlates of executive functioning and highlights important considerations for future research. We also discuss the importance of examining both behavioral and neural markers when studying transdiagnostic correlates of executive functions. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Professor’s DesireAnca Parvulescu (bio)Roland Barthes. THE NEUTRAL. Trans. Rosalind E. Krauss and Denis Hollier. New York: Columbia UP, 2005. Trans. of Le Neutre. Paris: Seuil, 2002.I add: a reflection on the Neutral, for me: a manner—a free manner—to be looking for my own style of being present to the struggles of my time.—Roland Barthes, The NeutralWhat I am looking for, during the preparation of this course, (...) is an introduction to living, a guide to life (ethical project): I want to live according to nuance.—Roland Barthes, The NeutralLe Neutre reaches us late. Like an echo, it needed time, and it took its time to come. The second of the three courses Roland Barthes gave at the Collège de France between 1977 and 1980, Le Neutre was published in 2002 by Éditions du Seuil, following the editorial work of Thomas Clerc, under the direction of Éric Marty.1 Rosalind E. Krauss and Denis Hollier’s translation as The Neutral brought it to life in English in 2005. After thirty years, Le Neutre comes indeed late, but perhaps its lateness, the time of the echo, is part of its very scene.Barthes did not conceive of Le Neutre as a book. It was a course, to happen as a onetime affair and then be put aside: “We’ll have to hold on to the unsustainable for thirteen weeks: after that, it will fade” [13]; “This course is made to die on the spot” [250]. As such, the course is not only an attempt to do justice to a “subject,” to which, Barthes insists, we should not hold on once the course is over, but also to meditate on the very situation of teaching.2 The course on the neutral offers the occasion to ask, What is it to teach? And teaching, we soon find out, is a matter of desire: the course should have been called The Desire for the Neutral. The teacher follows his desire and, in doing so—Barthes is reminded by a student—inflects and curbs the student’s desire. What is it, then, that one desires when one desires the neutral? The teacher is pressed to offer something by way of definition:I define the Neutral as that which outplays [déjoue] the paradigm, or rather I call Neutral everything that baffles the paradigm. For I am not trying to define a word; I am trying to name a thing: I gather under a name, which here is the Neutral.[6]The neutral is a “thing” (no qualifying adjective) that outplays, baffles, or dodges the “implacable binarism” of language as seen through Saussurian linguistics: in order to [End Page 32]produce meaning, one is in the same breath choosing A and refusing B. The search here is for a ”thing” that might suspend, thwart, or elude the paradigm, what Barthes calls its arrogance. Indeed, what would it mean to escape the necessity of choosing, say—this is Barthes’s first example—between je ris (I laugh) and je lis (I read)?A problem for the teaching theater unfolds: the moment one names the “thing,” one brings it into the paradigm, constructing an opposition between the neutral and arrogance. The scene of teaching performs an aporia: “Neutral = impossible; to speak it is to defeat it but not to speak it is to miss its ‘setting up’ [...] to speak this cacophony, I need a course” [29]. There is an obvious tension between teaching, its demands for clear and transparent meaning-making and inherent institutional arrogance, and the neutral. “Arrogance”: “the taking of too much upon oneself as one’s right; the assertion of unwarrantable claims in respect of one’s own importance; undue assumption of dignity, authority, or knowledge” [OED]. The teacher is inevitably occupying the place of arrogance. Indeed, foregrounding its righteousness and authority, arrogance is standing, a position Barthes associates with a certain kind of fascism. The neutral teacher struggles to dodge the arrogance inherent to the teaching scene. Sitting, he stammers, cacophonizes. One speaks, but one accompanies speaking with a continuous performance of an apology for speaking.3 The teacher does not offer an anchor in... (shrink)

Lorazepam has been repeatedly shown to induce memory impairments. The effects of this benzodiazepine on the processes involved in the strategic regulation of memory accuracy have not as yet been explored. An experimental procedure that delineates the role of monitoring and control processes was used. Fifteen lorazepam and 15 placebo subjects were examined using a semantic memory task that combined both a forced- and a free-report option and a no-incentive and an incentive condition. Memory accuracy was lower in the lorazepam (...) than in the placebo group. Lorazepam impaired control sensitivity (the extent to which volunteering of answers is affected by the confidence judgments). While the absolute aspect of monitoring was impaired (calibration scores), both the discriminative aspect (the ability to distinguish between correct and incorrect answers) and the response criterion setting (the confidence threshold set for volunteering a report) were spared. The pharmacological dissociation between monitoring effectiveness and control sensitivity indicates that these two components involve distinct processes. (shrink)

O artigo analisa a recontextualização da minimal art apresentada pelas teorias do pós-modernismo na arte. Especificamente, analisa o pluralismo crítico dos autores da revista October como Rosalind Krauss e Hal Foster, críticos que recontextualizam o minimalismo e a neovanguarda em direção às práticas do pós-modernismo. A partir dessa recontextualização, serão analisadas as contribuições da fenomenologia e do estruturalismo para o debate sobre a arte minimalista.

Abstract.Mandatory risk assessment is intended to reassure concerned citizens and introduce reason into the heated European controversies on genetically modified crops and food. The authors, examining a case of risk assessment of genetically modified oilseed rape, claim that the new European legislation on risk assessment does nothing of the sort and is not likely to present an escape from the international deadlock on the use of genetic modification in agriculture and food production. The new legislation is likely to stimulate the (...) kind of emotive reactions it was intended to prevent. In risk assessment exercises, scientific uncertainty is turned into risk, expressed in facts and figures. Paradoxically, this conveys an impression of certainty, while value-disagreement and conflicts of interest remain hidden below the surface of factuality. Public dialogue and negotiation along these lines are rendered impossible. The only option left to critics is to resort to claims of fear and to call for new risk assessments to be performed, on and on again. Science is allowing itself to be abused by accepting the burden of proof in matters more suited to reflection and negotiation. The specific challenge to science would be to take care of itself – rethinking the role and the limitations of science in a social context, and, thereby gaining the strength to fulfill this role and to enter into dialogue with the rest of society. Scientific communities appear to be obvious candidates for prompting reflection and dialogue on this issue. (shrink)

For more than 20 years, research has proven the beneficial effect of natural frequencies when it comes to solving Bayesian reasoning tasks (Gigerenzer & Hoffrage, 1995). In a recent meta-analysis, McDowell & Jacobs (2017) showed that presenting a task in natural frequency format increases performance rates to 24% compared to only 4% when the same task is presented in probability format. Nevertheless, on average three quarters of participants in their meta-analysis failed to obtain the correct solution for such a task (...) in frequency format. In this paper, we present an empirical study on what participants typically do wrong when confronted with natural frequencies. We found that many of them did not actually use natural frequencies for their calculations, but translated them back into complicated probabilities instead. This switch from the intuitive presentation format to a less intuitive calculation format will be discussed within the framework of psychological theories (e.g., the Einstellung effect). (shrink)

This article explores gender inequities and sexual double standards in teens’ digital image exchange, drawing on a UK qualitative research project on youth ‘sexting’. We develop a critique of ‘postfeminist’ media cultures, suggesting teen ‘sexting’ presents specific age and gender related contradictions: teen girls are called upon to produce particular forms of ‘sexy’ self display, yet face legal repercussions, moral condemnation and ‘slut shaming’ when they do so. We examine the production/circulation of gendered value and sexual morality via teens’ discussions (...) of activities on Facebook and Blackberry. For instance, some boys accumulated ‘ratings’ by possessing and exchanging images of girls’ breasts, which operated as a form of currency and value. Girls, in contrast, largely discussed the taking, sharing or posting of such images as risky, potentially inciting blame and shame around sexual reputation (e.g. being called ‘slut’, ‘slag’ or ‘sket’). The daily negotiations of these new digitally mediated, heterosexualised, classed and raced norms of performing teen feminine and masculine desirability are considered. (shrink)

According to commentators like Rosalind Krauss, Briony Fer, Caroline Jones, and Michael Fried, Clement Greenberg’s formalist/positivist device of “medium-specificity” debars errant affective aesthetic experiences that are embodied; despite significant differences in how these theorists arrive at this conclusion, one shared point of emphasis is Greenberg’s inheriting Kant’s disinterested conception of pleasure in reflective judgments of beauty. Offering a textualist review of Kant’s Analytic of the Beautiful, I seek to demonstrate that neither Greenberg, nor Greenberg’s critics, are correct in (...) their account of Kant’s judgments of beauty.1 Specifically, I argue that Greenberg conflates Kant’s conception of judgments of free beauty (pulchritudo vaga) with merely adherent beauty (pulchritudo adhaerens). In formulating a rejoinder to Greenberg and the misplacement of Greenberg as a Kantian, and following Diarmuid Costello, I hope to save a path for a Kantian aesthetics of the present, much in the spirit of other broadly Kantian art historians and philosophers of art/aesthetics (e.g., Thierry de Duve, Paul Guyer, Ido Geiger, etc.). (shrink)

Adults who give proxy consent for medical treatment for adolescents must decide how much weight to give to adolescents' own preferences. There is evidence that some adolescents choose treatments different from what adults see as most reasonable. It is argued that adolescents choose according to age-specific values, i.e. values they hold, as adolescents, and which fulfil important developmental needs. Because not fulfilling these needs may do serious psychological damage, it is urged that proxies give weight to these values, up to (...) the limit where it would endanger or profoundly limit future life. (shrink)

In teaching statistics in secondary schools and at university, two visualizations are primarily used when situations with two dichotomous characteristics are represented: 2×2 tables and tree diagrams. Both visualizations can be depicted either with probabilities or with frequencies. Visualizations with frequencies have been shown to help students significantly more in Bayesian reasoning problems than probability visualizations do. Because tree diagrams or double-trees (which are largely unknown in school) are node-branch-structures, these two visualizations (compared to the 2×2 table) can even simultaneously (...) display probabilities on branches and frequencies inside the nodes. This is a teaching advantage as it allows the frequency concept to be used to better understand probabilities. However, 2×2 tables and (double-) trees have a decisive disadvantage: While joint probabilities (e.g., P(AB)) are represented in 2×2 tables but no conditional probabilities (e.g., P(A|B)), it is exactly the other way around with (double-) trees. Therefore, a visualization that is equally suitable for the representation of joint probabilities and conditional probabilities is desirable. In this article, we present a new visualization—the frequency net—in which all absolute frequencies and all types of probabilities can be depicted. In addition to a detailed theoretical analysis of the frequency net, we report the results of a study with 249 university students that shows that “net diagrams” can improve reasoning without previous instruction to a similar extent as 2×2 tables and double-trees. Regarding questions about conditional probabilities, frequency visualizations (2×2 table, double-tree, or net diagram with natural frequencies) are consistently superior to probability visualizations. The frequency net performs as well as the frequency double-tree. Only the 2×2 table with frequencies—the only visualization that participants were already familiar with —led to higher performance rates. If, on the other hand, a question about a joint probability had to be answered, all implemented visualizations clearly supported participants’ performance, and no uniform format effect becomes visible. Participants reached the highest performance in the versions with probability 2×2 tables and probability net diagrams. Furthermore, after conducting a detailed error analysis, we report interesting error shifts between the two information formats and the different visualizations and give recommendations for teaching probability. (shrink)

In "the principles of mathematics" russell accepts (a) that word meaning (e.G., That 'fido' means fido) is irrelevant to logic and (b) that such sentences as 'all men are mortal' do not express quantified propositions but are about things (in this case, The class of men). If we note these confusions, And also that (b), Though not (a) has been abandoned by 'on denoting', We see what denoting is and how russell relates to frege on sinn and bedautung.

In the present paper we empirically investigate the psychometric properties of some of the most famous statistical and logical cognitive illusions from the “heuristics and biases” research program by Daniel Kahneman and Amos Tversky, who nearly 50 years ago introduced fascinating brain teasers such as the famous Linda problem, the Wason card selection task, and so-called Bayesian reasoning problems (e.g., the mammography task). In the meantime, a great number of articles has been published that empirically examine single cognitive illusions, theoretically (...) explaining people’s faulty thinking, or proposing and experimentally implementing measures to foster insight and to make these problems accessible to the human mind. Yet these problems have thus far usually been empirically analyzed on an individual-item level only (e.g., by experimentally comparing participants’ performance on various versions of one of these problems). In this paper, by contrast, we examine these illusions as a group and look at the ability to solve them as a psychological construct. Based on an sample ofN= 2,643 Luxembourgian school students of age 16–18 we investigate the internal psychometric structure of these illusions (i.e., Are they substantially correlated? Do they form a reflexive or a formative construct?), their connection to related constructs (e.g., Are they distinguishable from intelligence or mathematical competence in a confirmatory factor analysis?), and the question of which of a person’s abilities can predict the correct solution of these brain teasers (by means of a regression analysis). (shrink)

The bulk of this book is made up of four substantial papers, originally presented at a conference in 1966, followed by comments from fellow-symposiasts. Three of the papers are formal and/or technical; the fourth is an excellent piece of analysis by Donald Davidson followed by illuminating remarks from the late E. J. Lemmon.

La ideación artística y arquitectónica está en gran medida configurada a partir de un concepto o metáfora que rige los diseños como síntesis de nuestro pensamiento y que, posteriormente, se ve confrontada con el lugar, creando con ello una cierta tensión entre paisaje e intervención proyectual. Este artículo explora el concepto de «corte» de Sverre Fehn, tomado como elemento simbólico de resistencia ligado al tiempo, al lugar y a la memoria, como idea generatriz, basada en analogías conceptuales que el artista (...) aplicaba en sus proyectos. Así, un simple gesto, una grieta, una hendidura o incluso un vacío en el terreno, es tomado como memoria pues, de algún modo, configura la idea del lugar que recorremos con la mirada y remite al testimonio de otro tiempo mientras lo experimentamos en diálogo permanente con el paisaje en el que se inscribe. Se crea así una relación intensa entre luz, espacio, materia y memoria con el horizonte paisajístico, como límite de la obra. Este artículo realiza un recorrido por diferentes obras artísticas, arquitectónicas e incluso patrimoniales. Su denominador común es el concepto «corte», un elemento de permanencia que facilita una lectura integradora desde el proyecto, en un intento por cruzar e, incluso, vincular el lenguaje empleado entre las disciplinas para diluir las fronteras, traspasar los límites, recobrar la memoria y establecer, como diría Rosalind Krauss, un nuevo «territorio expandido». (shrink)

This article calls for a new understanding of the relationship between classicizing and Christian discourses of exemplarity through a close reading of the figure of Scipio Nasica in Livy, Ab urbe condita Book 29 and Augustine, De ciuitate Dei Books 1–2. Nasica, whose selection as a uir optimus by the Senate in 204 b.c.e. has puzzled modern scholars, was a source of historiographical difficulty for Livy that prompted him to reflect upon exemplarity, mythmaking and the tenuous relationship between past and (...) present. For Augustine, on the other hand, Nasica was a pagan, and thus imperfect, realization of Christian pietas and restraint from luxurious behaviour. Although differing in their interpretations of the Republican exemplum, both Livy and Augustine point to the complexities inherent in invocations of paradigmatic Roman maiores. The close study of Scipio Nasica thus reveals the classicizing precedent lingering behind the supposedly ‘Christian’ rejections of pre-Christian Roman culture in the De ciuitate Dei. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 80-87 [Access article in PDF] The Beauty of Henri Matisse David Carrier Because beauty has for a long time now been politically incorrect (at least among certain influential critics and academic historians) the art of Henri Matisse has recently suffered from a kind of benign neglect. His goals were luxury, calm, and voluptuousness, not social critique. He painted female nudes, and was (...) preoccupied with artistic tradition. Celebrated in his own lifetime, he died a rich man. Matisse's famous identification of the work of art with a good armchair is another provocation. His paintings, after all, are very expensive armchairs. Liberated from any vital connection with everyday life, they often seem merely escapist. In her recent book, On Beauty and Being Just, Elaine Scarry remarks, "Matisse never hoped to save lives. But he repeatedly said that he wanted to make paintings so serenely beautiful that when one came upon them, suddenly all problems would subside."1 That some of Matisse's paintings succeed in being serenely beautiful seems self-evident to Scarry, to me, and to a great many other art lovers. What is perhaps worth exploring at greater length, however, is precisely how Matisse's paintings succeed in achieving their unfashionable goal. What is it that makes the work of Matisse so serenely beautiful?To start, consider The Painter and His Model (1918-1921), made just after his move from Paris to Nice. Like other works from this period of his career, this picture raises special problems, even for many commentators who admire his earlier experimentation. At the left, we see the painter working on a canvas of a nude. "Expression, for me," Matisse wrote, "does not reside in passions glowing in a human face."2 Like most of his models, this one appears expressionless. She poses at the center of the picture, beneath a window that admits the light filling the room. A flowering palm, a symbol of fertility, is the only object visible from the world outside the studio.Leaving behind his family and the luxury of his Paris home, Matisse lived and worked in a small room like this one. The entire picture is filled [End Page 80] with patterns — a red tablecloth on the left, orange wallpaper on the right, blue stripes on the painter's shirt, a red grid on the floor. A dark painting hangs above flowers on the table. The Painter and His Model shows the artist hard at work, but the composition appears effortlessly spontaneous. Matisse, who lived only to paint during his time in Nice, concealed the endless effort required to make his beautiful pictures. A man from North France, he discovered the power of light. There is nothing special about this room, but under the spell of his model Matisse makes it appear ravishing. Intense Mediterranean sunlight transforms ordinary patterns into a world of visual luxury.We know that The Painter and His Model is beautiful because we get great pleasure seeing the model in the golden room. Her skin is close in tone to, or in harmony with the colors of the walls; her curves harmonize with the two vases, and play against the spreading linear grids. As we move our eyes easily from the model to the entire picture, we experience a kind of sublimated erotic pleasure. In "Notes of a Painter," Matisse gave an apt description of his approach in The Painter and His Model. Suppose I want to paint a woman's body: first of all I imbue it with grace and charm, but I know that I must give something more. I will condense the meaning of this body by seeking its essential lines. The charm will be less apparent at first glance, but it must eventually emerge from the new image which will have a broader meaning, one more fully human. (MA, 36) He does not use the word "beauty," but speaks instead about expression and harmony. When he published this manifesto, Matisse was painting very different sorts of pictures — portraits, scenes of nudes in utopian settings, and... (shrink)

Machine generated contents note: Introduction: The Rise of Philosophical Art Criticism 1 -- Chapter 1. In the Beginning Was Formalism 17 -- Chapter 2. The Structuralist Adventure 33 -- Chapter 3. The Historicist, Antiessentialist Definition of Art 55 -- Chapter 4. Resentment and Its Discontents 71 -- Chapter 5. The Deconstruction of Structuralism 87 -- Afterword: The Fate of Philosophical Art Criticism 111.

How might philosophers and art historians make the best use of one another's research? That, in nuce, is what this special issue considers with respect to questions concerning the nature of photography as an artistic medium; and that is what my essay addresses with respect to a specific case: the dialogue, or lack thereof, between the work of the philosopher Stanley Cavell and the art historian-critic Rosalind Krauss. It focuses on Krauss's late appeal to Cavell's notion of (...) automatism to argue that artists now have to invent their own medium, both to provide criteria against which to judge artistic success or failure and to insulate serious art from the vacuous generalization of the aesthetic in a media-saturated culture at large.1 Much in the spirit of ‘Avant-Garde and Kitsch’, paying attention to the medium is once again an artist's best line of defence against the encroachment of new media, the culture industry, and spectacle. That Krauss should appeal to Cavell at all, let alone in such a Greenbergian frame of mind, is surprising if one is familiar with the fraught history of debate about artistic media in art theory since Greenberg. Cavell's work in this domain has always been closely associated with that of Michael Fried, and the mutual estrangement of Fried and Krauss, who began their critical careers as two of Greenberg's leading followers, is legendary.2I have written about the close connection between Fried's and Cavell's conceptions of an artistic medium before.3 Whereas Fried's and Cavell's early conception of an artistic medium was in a sense collaborative, emerging from an ongoing exchange of ideas at Harvard in the latter half of the 1960s, Krauss's much later appeal to the ideas of automatism and the automatic underpinning Cavell's conception of the photographic substrate of film from the early 1970s is not. In what follows, I try to clarify both the grounds of this appeal and its upshot. Does Krauss's account shed new light on Cavell's, or is she trying to press his terms into service for which they are ill-served? Both could of course be true, the former as a consequence of the latter perhaps. Conversely, do the art historical and philosophical accounts pass one another by? Note that even if the latter were true, its explanation might still prove instructive in the context of an interdisciplinary volume seeking to bring art historians and philosophers into dialogue around the themes of agency and automatism, which is precisely what Krauss's appeal to Cavell turns on. (shrink)

There can be no doubt that discrimination based on sex, race, ethnicity, religion or beliefs should not be tolerated in academia. Surprisingly, however, in recent years, policies of Diversity, Inclusion and Equity (DIE), officially introduced to counteract discrimination, have increasingly led to quite the opposite result: the exclusion of individuals who do not share a radical 'woke' ideology on identity politics (feminism, other gender activisms, critical race theory, etc.), and to the suppression of the academic freedom to discuss such dogmas. (...) This subversion of academia — disguised Trojan-horse style as universal human rights advocacy — is unacceptable because academia must be politically neutral and protect freedom of speech, a cornerstone of professional scholarly activity without which universities as we know them will slowly but surely suffocate. Our purpose here is to put together some particularly illustrative cases of such repression in a single book, testifying to a ubiquitous trend within western culture, irreducible to a few isolated complaints. The essays contained here illustrate the abuse of power, censorship and witch-hunts at many universities and research centres in the name of DIE. List of coauthors in alphabetical order: Dorian Abbot, Tomonori Agoh, Gerhard Amendt, Ivar Arpi, David Benatar, Peter Boghossian, Civitas Research Team, David Díaz Pardo de Vera, Pedro Domingos, Janice Fiamengo, Étienne Forest, Jorge Gibert Galassi, Norman Goldstuck, José L. González Quirós, Lawrence M. Krauss, Patrick LaBelle, Martín López Corredoira, Heather Mac Donald, Martin Malmgren, Jordan Peterson, Constantin Polychronakos, Erik. J. Olsson, Philip C. Salzman, Alessandro Strumia, Tom Todd, Andrei Yafaev. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:russell: the Journal of Bertrand Russell Studies n.s. 33 (winter 2013–14): 173–90 The Bertrand Russell Research Centre, McMaster U. issn 0036–01631; online 1913–8032 c:\users\kenneth\documents\type3302\rj 33,2 114 red.docx 2014-01-31 8:29 PM oeviews MODES AND LEVELS OF PERPLEXITY I. Grattan-Guinness Middlesex U. Business School Hendon, London nw4 4bt, uk [email protected] John Ongley and Rosalind Carey. Russell: a Guide for the Perplexed. London: Bloomsbury, 2013. Pp. ix, 212. isbn: 978-0-8264-9753-6. £45 (...) (hb), £14.99 (pb); us$80 (hb), us$24.95 (pb). i his book is the 41st in a series of guides to the work of various philosophers and philosopher groups, written at a level of readability for students. The authors survey the course of Bertrand Russell’s philosophical career, starting out with his work on logic and mathematics. The main philosophical tools are presented: in logic, they are term, proposition, proposition function, relation, paradox, and first- vis-à-vis higher-order logic. Then, moving on to epistemology, the principal philosophical notions are presented, such as sense-data, facts related to language, Russell’s overriding preference for positivistic philosophies and suspicions of metaphysics, knowledge by acquaintance and by description, theories of truth, logical atomism, percept, events, meaning, and inference in the context of scientific theories. It is nice to have many of the principal components of Russell’s philosophy exhibited together, including the later works An Inquiry into Meaning and Truth and Human Knowledge. The perplexed reader would like to be given precise references for Russell’s assertions on various points, especially when he was so prolific. A cited short item does not need more precision; but the two main chapters that cover the logic and epistemology story often seem to invoke The Principles of Mathematics or Principia Mathematica and yet contain only one precise citation of a longer text in their 64 pages (p. 85). The other chapters of the book are somewhat better in this respect. The index is excellent, though W. V. Quine was missed at pp. 29–30. The table of contents would have benefited from including the titles of the sections. q= 174 Reviews c:\users\kenneth\documents\type3302\rj 33,2 113 red.docx 2014-01-15 10:04 ii Much ground is covered; however, the account is mitigated by the failure to provide a biographical factual survey that should have constituted the opening chapter. Little or no description or explanation is given of, among others, Cambridge University, its mathematical tripos, Russell’s research fellowship in 1895, the philosophical journals Mind and The Monist, Russell’s conversion from neo-Hegelian to positivistic philosophy following G. E. Moore around 1899, the start of personal contacts with Giuseppe Peano in 1900, the gradual involvement of A. N. Whitehead from around 1902, the financial rescue of Principia Mathematica by the grant from the Royal Society in 1909, the serious mistake in Volume 2 detected by Whitehead in 1911 while it was in press, the initial contact with Ludwig Wittgenstein from 1911, Russell’s switch from logic to epistemology in the early 1910s, Whitehead’s intentions for the fourth volume of Principia that was abandoned in 1918, the circumstances of the second edition published in the mid-1920s, Russell’s partial return to serious philosophical writings from the mid-1930s onwards, or the Trinity fellowship from 1944. Presumably the authors have made most of these omissions intentionally ; but the target audience is the loser. The opening “introduction” does mention some of these events and publications ; but its purpose is to provide a preliminary look at some of the main features of Russell’s logic, including the comprehension axiom “that every predicate defines a class” (p. 3), type theory, definite descriptions, “the noclass theory of classes” (p. 10), and the status and role of “analysis”. Why do these features need prologues when the others do not? When they are re-discussed in the later chapters on logic and epistemology, several near-repetitions occur. Furthermore, quantification does not receive sufficient consideration in the book; and the logical connectives and rules of inference none at... (shrink)

Questo studio costituisce la prima monografia italiana su una delle più complesse pensatrici dell’ultimo millennio. Filosofa dal pensiero formidabile, così ne parlò Sarah Boxer sul New York Times, Gertrude Elizabeth Margaret Anscombe, moglie di Peter Geach e madre di sette figli, ha sempre battagliato per la verità. In lei vita, passione e filosofia sono un tutt’uno e in tale unità si cela l’irriducibilità e il fascino del suo pensiero. In compagnia dei classici dell’antichità, dei moderni e di quei filosofi del (...) panorama contemporaneo con cui era solita dialogare, in primis Ludwig Wittgenstein, ella arrivò a elaborare un pensiero del tutto personale quale risposta ai diversi problemi sollevati in ambito sociale. Non a caso, come osserva Jane O’Grady, talvolta venne soprannominata la Dragon Lady di Oxford. Basti citare la sua opposizione pubblica al conferimento della laurea honoris causa al presidente Truman, o alle sfide che fronteggiò in campo morale. Autrice di numerosissime pubblicazioni, nel 1958 stilò il famoso scritto Modern Moral Philosophy, poi divenuto il manifesto della rinascita di un’etica di tipo neo-aristotelico. Il volume si conclude con una breve raccolta di testimonianze di persone, docenti, allievi e amici che hanno avuto occasione di incontrarla. E come ricorda Rosalind Hursthouse, Anscombe era una “filosofa straordinaria, e del tutto eccezionale”. (shrink)

Argumento que precisamos mudar de perspectiva na elucidação da referência a Mauthner no Tractatus. A pergunta a ser feita não é “Quais são as semelhanças ou diferenças entre os projetos de Mauthner e do Tractatus?”, mas “Por que Wittgenstein se deu ao trabalho de negar que sua Sprachkritik poderia ter alguma relação com Mauthner?”. A significatividade da negação em “não no sentido de Mauthner” (TLP 4.0031) não se encontra em um problema comum para o qual Mauthner e Wittgenstein teriam suas (...) respostas, como pensavam Janik e Toulmin, mas no fato da Sprachkritik de Mauthner figurar, dentro do Círculo Kraus, como expressão da superficialidade moral da Europa no início do século XX.AbstractThe paper argues that we need to change our perspective to elucidate the reference to Mauthner in the Tractatus. The question is not “What are the similarities or major differences between Mauthner’s views and the Tractatus?” but “Why did Wittgenstein bother to deny that his Sprachkritik could have anything to do with Mauthner’s?” The significance of the negation in “not in Mauthner’s sense” (TLP 4.0031) is not found in a common problem to which Mauthner and Wittgenstein had different answers, as Janik and Toulmin thought, but in the fact that Mauthner’s Sprachkritik is seen within the Kraus Circle as an expression of the moral superficiality of European culture at the beginning of the 20th century. (shrink)

In the late 1990s, Rosalind Krauss, one of the principal theorists of post-modernism in the arts, began using the term "post-medium" in her work. It was a nod to the American "ordinary language" philosopher Stanley Cavell, who had been thinking through a concept of medium in art for 30 years. Today with the decline of post-modernism, Stanley Cavell has emerged as one of the most important figures for thinking again about the visual arts, film and theatre. Stanley Cavell (...) and the Arts looks at Cavell's extensive writings on a wide variety of artforms and at a number of writers (Michael Fried, William Rothman) influenced by his work. Over a 50-year career, Cavell wrote about visual art, photography, classical music, Shakespeare, the plays of Samuel Beckett and perhaps most notably Hollywood cinema. Stanley Cavell and the Arts offers an overview of Cavell's writings on the arts, situating them within his wider philosophical practice, analysing in detail his treatment of particular art forms and looking at the work of those he has deeply shaped. (shrink)

In all the arts a war is being waged between modernists and postmodernists. Radicals have tended to side with the modernists against the forces of conservatism. Postmodern Culture is a break with this tendency. Its contributors propose a postmodernism of resistance - an aesthetic that rejects hierarchy and celebrates diversity. Ranging from architecture, sculpture and painting to music, photography and film, this collection is now recognised as a seminal text on the postmodernism debate.The essays are by Hal Foster, Jürgen Habermas, (...) Kenneth Frampton, Rosalind Krauss, Douglas Crimp, Craig Owens, Gregory L. Ulmer, Fredric Jameson, Jean Baudrillard, and Edward W. Said. (shrink)

For the past thirty years, Hal Foster has pushed the boundaries of cultural criticism, establishing a vantage point from which the seemingly disparate agendas of artists, patrons, and critics have a telling coherence. In The Anti-Aesthetic, preeminent critics such as Jean Baudrillard, Rosalind Krauss, Fredric Jameson, and Edward Said consider the full range of postmodern cultural production, from the writing of John Cage, to Cindy Sherman's film stills, to Barbara Kruger's collages. With a redesigned cover and a new (...) afterword that situates the book in relation to contemporary criticism, The Anti-Aesthetic provides a strong introduction for newcomers and a point of reference for those already engaged in discussions of postmodern art, culture, and criticism. Includes a new afterword by Hal Foster and 12 black and white photographs. (shrink)

Rudolf Arnheim’s theory of perception has been used to challenge the highly influential account of synthetic Cubism as a sign-like process of Rosalind Krauss and Yve-Alain Bois. While the use of Arnheim’s idea of perceptual substitution works in a theoretical sense, it is less successful as a historical argument, because unlike Picasso’s art dealer, Daniel-Henry Kahnweiler, who is discussed by Bois, Arnheim’s ideas weren’t formulated until the 1950s. This article enriches the theoretical argument made on behalf of Arnheim (...) by supplying the theory of Gustaf Britsch as a historical link that fed Arnheim’s later rigorous theory. Britsch articulated an early theory of perceptual substitution, a kind of Gestalt-perception, that is capable of accounting for the innovations of Synthetic Cubism. (shrink)

The article discusses the theoretical background of some postmodern art practices of appropriation. In the writings of art critics' like Douglas Crimp, Craig Owens, or Rosalind Krauss, as well as in some artists' statements (Peter Halley, Sherrie Levine), there was a strong repudiation of the so-called "modern" concepts of originality, immediacy of meaning or authorship. As a result of the influence of poststructuralist theories, such concepts of modern art as the idea of original expressivity of medium and form, (...) together with the search to go beyond conventional codes, were replaced by ideas of intertextuality, iterability, there is no way to go beyond conventional codes of communication resulted in turning towards another strategy, i.c. a play with the code. In the works of some theoretically informed postmodern artists' this criticism towards the "utopian" ideas of modern art assumed the form of pastiche and appropriation of celebrated works of modern art, so that the fact of cultural mediation in our reading of artworks was comming well apparent. The modern concept of "pure visuality" was replaced by textual attitudes and the concept of allegory which was drawn from Walter Benjamin. However, thinking about visual works in terms of textuality only may be a too narrow view. Textual categories seem to suit well those works which came under the strong influence of conventionalist theories, but it may be claimed that images put a demand for a more complex and specific theoretical attitude, like for example one proposed by Barthes in his text "The Third Meaning". (shrink)