Since 2008 I have been closely following the conceptual/performance/video work of Daniel Peltz. Gently rendered through media installation, ethnographic, and performance strategies, Peltz’s work reverently and warmly engages the inner workings of social systems, leaving elegant rips and tears in any given socio/cultural quilt. He engages readymades (of social and media constructions) and uses what are identified as interruptionist/interventionist strategies to disrupt parts of an existing social system, thus allowing for something other to emerge. Like the stereoscope that requires two (...) identical images to create an illusion of a three-dimensional image, Peltz sometimes visualizes two separate elements to create an object or moment that requires space and depth to focus on its varied layers. They say your brain has to process and make meaningful sense out of all that visual information before it can accept the illusion. I say your brain has to do a similar thing when looking and seeing the divine, magical, and faithful (social) art making of Daniel Peltz. Daniel Peltz is Associate Professor of Film/Animation/Video at RISD. He divides his time between Rhode Island and Sweden and is currently at work on an exhibition at Botkyrka Konsthall, Stockholm opening February 2013 and a new project to be included in the IASKA: Spaced Biennial (Australia) in 2014. This interview took place on Skype and is part one of a two-part interview. Feliz Lucia Molina: Are you in Providence, RI? Daniel Peltz: I’m at my house in Providence. I’ve been back for six days teaching winter session at RISD and doing this workshop series—these investors’ drum circles with a group of wealth managers. a client of the firm, 2013, photo Shirin Adhami FLM: The wealth managers were all drumming together? DP: They were all drumming in response to the performance of their retirement portfolios. FLM: Is this part of the “Unrealized Gain/Loss” piece? DP: Yes, it’s part of a show I’m working on in Sweden. I can show you because it was just today. I’ll show you some of this. Lets see—share screen [click, click, click]. This is the room. I’ve been using the camera system that’s already installed in the conference rooms to record them. So the video is being recorded directly by the wealth management office’s tech staff. These are the people I worked with in the last workshop. This conference table is less wondrous. They’ve been learning to drum in response to their retirement portfolios. I started by bringing in my little bit of wealth for them to propose a management strategy, I came to the follow-up meeting with a counter proposal, which was this workshop. So they agreed to do this series of workshops instead of managing my wealth. FLM: Does everybody in the room manage your wealth? That’s kind of a lot of people. DP: That woman in the back there and Craig —they handle new client business. So when you come there with your wealth, they sit down with you and suggest to you how they would manage it. They’re very nice, responsible people. FLM: And where is this? DP: This is in Providence and the one I was showing you is in Waltham, where I was today. Then I’m going to Newport for the last one on Friday. So I will have done four of them. This is the group in Waltham that I just played with today. I played directly with the two groups in Providence and I’m working with an ethnomusicologist at Brown, Asha Tamarisa, who is facilitating the last two. She’s helped develop the workshop in terms of figuring out how to train a group to do this and thinking about the compositional challenges of working in response to retirement portfolio data. FLM: Screensharing helps me to figure out tiny bits here and there about the project. DP: I might even be able to play you a little of the audio I’ve also been working with a group of professional percussionists on what will become a quarterly public investors’ drum circle event. Their stuff was really nice, but I want you to hear what we sounded like in the workshops. They’ve all been recorded by the a/v system in the offices. We use a simple structure where the drummer investors interpret the sensation of gain or loss as embellishments to a base heartbeat rhythm. The group holds the heartbeat and, as each person experiences gain or loss, they embellish that rhythm. "Screensharing helps me to figure out tiny bits here and there about the project" FLM: Is the process all very spontaneous? DP: Its actually quite structured. We produce a custom stock ticker that shows the performance of their collective portfolios. In advance of the workshop each participant submits assets in their retirement portfolio. Then we make a stock ticker that shows the real-time performance of their assets so that they can respond to almost live data. FLM: Are they reading the stock ticker projected up on the screen in the room? Do people drum in correspondence to the visual live data of the performance of their assets? DP: Exactly. They’re looking at the stock ticker as opposed to each other, so it’s a slightly shifted drum circle. They’re looking at the ticker but they’re listening to each other—that’s what we’re practicing. For example, NVO—the price is 172.08 but it’s down -1.16 and as that moves across the screen, the person who’s retirement is invested in that asset starts to embellish when that arrow first appears, based on their experience of loss. They stop when it exits the screen and return to the heartbeat. You could have one ticker for each retirement portfolio, but the way the workshop is constructed is that we just isolate one asset from each person’s portfolio so that everyone in the group is represented in a single ticker. So they’re drumming and looking at the ticker, but they’re hearing each other experience gain and loss. We’ve removed direct visual engagement from the social structure of a drum circle but the oral engagement is still there. FLM: So they had their own sound interpretation of gain and loss? DP: Yeah and that part is quite spontaneous as you were saying. In some of the preparatory exercises we’ve been working to give the participants more strategies for interpreting the sensations of gain and loss. We’re trying to develop their capacity to embellish a heartbeat or base rhythm but I’m not invested in having a melodious result. I’m quite curious about what this kind of structure will result in without any desire for a particular result. FLM: For context, can you talk about the project you did a couple years ago in Bali, “Unrealized Gain/Loss” in relation to this current wealth management project? DP: The workshops I’ve been doing use a similar strategy to the other components in this project. It started in Indonesia on my sabbatical and I was really trying to understand where I was physically and where I was being on sabbatical—this kind of strange jubilee structure where every seventh year you’re supposed to renew your self. And it was around the time of the global financial crisis. I was on sabbatical for the global financial crisis. I remember watching my father, in particular, respond to the financial crisis by monitoring his retirement portfolio and trying to make sense of it. I realized on a visit to their home that he checked his retirement portfolio every single day and I was really struck by that because in some way our parents are mysteries to us as children, especially their moods. We know how important their moods are but we don’t know what governs them. And somehow it was like I’d figured it out, it’s the performance of the DOW! So I think there was something in that. Then I was in Indonesia and I had been drawn there by an interest in their highly ritualized Hindu culture, where so much of life is driven by a ceremonial calendar. I was interested in Bali as this predominantly Hindu pocket within a predominantly Islamic country and life there being organized by this ritual calendar functioning as a kind of resistance to the dominant global religion of free-market capitalism. So I started to explore that correlation between the ways in which this culture that I was living in was sort of “living for the afterlife” and this idea within certain segments of American society of “living for the afterwork life”. The idea that your wellbeing in the “afterwork life” is tied to forces that are unseen and largely beyond your control has strong similarities to many religious understandings of the universe. So I started to explore that and the crafts and materials that were around me were primarily Batik and percussion. Percussion is a huge part of daily life in Bali. These gamelan troupes were everywhere. And I also happened to be there for Nyepi, the day of silence, which is preceded by a very elaborate procession and construction of demonic statues. These were the things that were around me and I started studying Batik with one of the Batik artists there and also started a conversation with two master Batik artists, one who is American and her Indonesian husband. I developed these patterns that were based on symbols from the performance of my retirement portfolio and worked with the batik artists to produce two sarongs. d. peltz - 2012 In producing the designs, I treated the performance of my retirement portfolio since my arrival at RISD [7 years] as a significant interval and then I looked at the ways in which decisions are made within retirement portfolios as having an extension outwards from the individual assets that underlie the retirement portfolio, which are kind of like the base elements of the retirement world. Then there’s the allocation of your assets, which is a global way of understanding an individual according to typologies, which are often referred to in terms of risk—this notion of a ‘risk profile’. What type of ‘person’ you are is determined by your attitude towards risk, or potentiality, and I found that to be a really fascinating way of understanding the universe. I remember looking at the tabs in my retirement portfolio and finding this one for viewing ‘Unrealized Gain/Loss’ and that’s often how I work—is just going through the Cambridge Parking Code, for example, and finding this section of the code that was called ‘Crossing Non-Signalized Locations’ and just feeling “I can’t do any better than that,” you know? That’s what I was talking about in terms of ready-mades that exist in the social sphere. So I found that tab, actually, a long time ago, and I pulled it out of a journal when I was there [in Bali] working on these pieces and I wound up making these two sarongs and later on a series of porcelain vessels for holding one’s unrealized gains and losses. At the time, I knew that I wanted a performance to come out of them, but I wasn’t sure what it was. I was inspired very much by this sort of thing: Pulls out a TIAA-CREF brochure with a man in a suit seated at a table. This guy is probably an actor, and [the brochure] says “TIAA-Cref announces “Individual counseling sessions at the Rhode Island School of Design. Individual counseling sessions at no additional cost to you. You can discuss your personal financial situation with an experienced TIAA consultant on a confidential basis. We are available to help you discuss how to achieve your financial goals by investing in financial solutions such as mutual funds, brokerage, life insurance, and annuities...etc....What retirement benefits best fits your situation?” Often I encounter this and I think O.K., this is one way to prepare for the after-work life and it seems inadequate to me. But, I also find it really inspiring. I really like the visual language of it. I kind of want to be that man. I’d like to see if I could maybe buy his clothes. FLM: What it is about the man on the brochure that interests you? DP: He’s offering personalized objective advice and a detailed evaluation of everything you need to know and do. Who wouldn’t want that? But he’s also something of a contemporary priest or priestess, mediating between the unseen all-powerful universe of global capitalism and the common worker. So I started off developing Unrealized Gain/Loss directly from the charts that represent the performance of my retirement portfolio. Then I came home and I wanted to use those. I had this word in my journal “unrealized gain/loss vessel.” I had this notion of vessels that would contain unrealized gains and losses. That felt really important to me that they would have somewhere to go. I had been thinking a lot about altars and making offerings—that somehow this really fickle, massive, difficult-to-comprehend-universe of the financial world—that somehow it might be nice if you could making an offering to it. [In Bali] they made such beautiful elaborate offerings. So I studied offering making as well with one of the women there and she taught me some of the standard forms created by folding leaves and the significance of the floral arrangements. I started working in clay and then moved to porcelain and I made these unrealized gain/loss vessels. I made a few of them, they have holes on either side that you can’t get your fingers in. But something can go in there and something can go out of there. It’s a nice size for putting on an altar. Then I got this commission from Artists in Context who was interested in my doing something for this project “Artists Perspectives for the Nation” project. I proposed initiating these investors’ drum circles as a new public performance form. I’m interested in bringing together those two symbols—the symbol of the djembe and the drum circle. unrealized gain/loss vessel - d.peltz - 2012 FLM: I can imagine the public digital stock ticker performing like a soft fleeting stream of information, a kind of (meaningless) illusory comfort blanket. DP: In some way you have to understand its relevance outside of the obvious, right? Because the obvious is illogical. Nobody is actually using that data to day trade, for example. People aren’t sitting there with their computers watching the market data in Times Square or setting up an outdoor office and being like “OK it’s up 3 points or it’s up 1.56, trade! Ok now buy, Ok now sell!” That would be a kind of a nice performance, actually. But actual day traders would want more up to date data than that. To understand what that data is doing is really important. And that’s something I’ve realized—that I’m interested in a particular kind of data visualization, which is not about what data can tell people, but what data can tell people who are visualizing it. For example, in the Cambridge Project “Crossing Non-Signalized Locations” I was interested in the 10,000 excuses archive of data recording five years worth of excuses for why people thought they shouldn’t have received their parking ticket. I was not interested in making that excuse wall so that the public could see and understand this data. Inevitably the data will be seen by others but I was really interested in what the action of visualizing the data told those who were visualizing it. The parking attendants themselves were writing those excuses on the wall—I was interested in what that kind action of writing the excuses on the wall told them about the data. Similarly, I’m interested in designing a way to allow people to pass this data from the unseen universe of the market, through their own bodies, which happens through the merging of the drum and the stock ticker. I’m interested in those two also as symbols; the drum as this symbol of the earth, the body and a pagan counterculture, and the stock ticker referring to the ethereal world of global markets—bringing those two together and making them dependent. I’m often drawn to conceptual propositions that I become invested in testing in a sincere way—at first they often they sound humorous to others, but I have to remember that there is humor in them. I don’t sit around and laugh about these things. I stop finding them funny at all. I’m interested in the proposition that we could know something about the after-work life by drumming in response to our retirement portfolio. So then I become really interested in how to craft that into a viable performance form for myself and others. FLM: The aspect of using sound in “Unrealized Gain/Loss” as a way of embodying the information to the asset holder is really intriguing—using sound as a means of embodying the asset data. Was sound a medium that made sense to use immediately or were you considering other means of attempting to embody it? DP: Well I do use other mediums within the project like textile, ceramic, and batik patterns. I was first drawn to the history of Batik patterns as a socio-economic stratification system and the vessels as a way of embodying or manifesting this data of unrealized gain and loss. My first approach was to work with meditation actually—a meditation workshop with my colleagues. I was going to offer this “Unrealized Gain/Loss” workshop where you would explore the sensations of gain and loss by adapting the way yogi-nidra brings you into contact with your physical surroundings and stretches your perception. FLM: At Naropa University there are/were business & compassion workshops—a sort of mash-up of business and compassion and how compassion could be incorporated into a business model. This process and engagement of “embodying data” also has to do with “Participatory Democracy and the Future of Karaoke” you created at the DNC in Denver in 2008. DP: That kind of appropriation and instrumentalization of spiritual practice could be disturbing and thus compelling as a strategy. For various reasons, I’ve come to be drawn to both the form of a quarterly public performance and the established performance form of a drum circle. Its something I’ve seen myself do before, that is to mess up a really good functional social system like a drum circle or karaoke. I remember I was developing language for the karaoke project and started calling it “Participatory Democracy and the Future of Karaoke” and one of my assistants on the project, who’s an incredible artist, said, “but don’t you think the future of karaoke is guitar hero?” and I realized that maybe he thought I was trying to improve the form. I’m just trying to get people to have this shifted embodied experience, I need to craft the performance context so that they can do that. In the case of the karaoke project, for example, what did I need in order to be able to do this [a person to stand up in front of a bar and deliver a karaoke speech]? I realized that the body is very vulnerable so I built a podium so that the speaker can feel secure enough to do this, otherwise you couldn’t get to this state achieved by passing these speeches through the body. Then I was, like, well you need to be able to practice the lyrics because you don’t know all the “songs” by heart, which became an insert to the massive track books carried by most karaoke VJs. And then sometimes the crowd in the bar isn’t there with me, so I needed to extract the voice of the crowd cheering from the original venue and I needed the local audience to cheer if they wanted to. I’m interested in both where the form succeeds and fails. In particular, one of the most interesting things is this auditory gap between the space where you are, the reduced scale of applause in your own little bar, and this grand scale of applause at the convention center where the speech was originally delivered. FLM: How did the concept of “Participatory Democracy Karaoke” come about and why did you use karaoke as a means of engaging what was happening at the DNC in 2008? DP: I was looking at a lot of different readymade media infrastructures within the city at the time. I was interested in the emergency broadcast systems and I developed a proposal to repurpose that system and karaoke became an important symbol because it was this populist form that was already engaged in exploring the sensation of celebrity but also visualizing the gap between ourselves and those with more power and influence. So it had this readymade capacity to play with power and celebrity and I felt like the Obama presidential campaign, the first one in particular, had some very curious overlaps with this culture of celebrity. Obama of course rose to power partly based on his oratory abilities and I was interested in how karaoke as a vehicle was so adept at offering people all that was left of authentic expression in a political speech. Managing a politician and constructing their identity is such a developed practice that it becomes, kind of automatically, a metaphor for the way that our own identities are constructed. Of course the Obama campaign was very hip and savvy and deploying this notion of grassroots. It was really pioneering in its use of social media and this deployment of notions of populism. I was interested at that time in the capacity of karaoke to track speech patterns, precise tempos of anyone’s delivery, and that to me was a way of thinking about what might be left of the authentic self. I was interested in karaoke’s capacity to extract that authentic component and offer it to others. So not just to stand up and be them, but to [literally] pass their speech patterns through your own body. A long time ago, it started to strike me as odd that one would make media at all. It struck me as a kind of un-contemporary way of going about making art in an age of media overflow. That logic extended into my thinking on delivery devices and installation as well. Why would one buy a screen or even set one up when there are so many out there? And the way in which these media displays function in karaoke bars and bars in general is very interesting to me. I’m drawn to this passive consumption of media where your primary social interaction is with the bartender or a few other individuals but these screens are around you and your attention is shifting back and forth between these spaces. So much political rhetoric is spoken to a half-listening audience. I was interested in what was happening in the slippage and that karaoke was a kind of slippage amplifier. So if you put people in a bar and they are delivering a Kucinich speech and Kucinich comes up on a screen then your getting a sound bite of Kucinich and an image of Kucinich and your friend is talking to you— FLM: A kind of magic takes place in that incongruency between sound and image and the karaoke participant who’s relaying the speech-text at the same time. DP: Exactly and there’s some kind of truth in that experience of reality. FLM: Yeah, there’s something uncanny about seeing the body close-up like that as though it can’t lie to you in that moment or context. It’s a weird moment of luminous clarity. The work you’ve done and all of what you’re saying about karaoke is so very interesting to me. Growing up, my dad and uncles sang karaoke a lot (and still do) and being first-generation Filipino American is a different cultural subtext entirely. I’m also seeing it from the position of witnessing family members who are carriers of these stories and songs. And seeing them cherish these Tony Bennett, Frank Sinatra, Elvis Presley songs so much, I also see how their bodies are literal vessels of popular music that signifies something greater—it signifies their cultural and socioeconomic place in the world. The way that they cherish these American 1950s and 1960s pop songs is similar to having a certain kind of reverence for their spiritual faith or Catholicism. It’s a similar kind of care, focus, and attention exerted in karaoke and Catholicism—that these two structures and systems give something to focus on. Setsuko, Seiji and Hitoshi in Obama, Japan as Obama in Indiana — d. peltz — 2008 DP: Sure there something about the relationship we have to our candidate or the way we go about choosing a candidate, which is very similar to a deity or idol. I learned a lot about karaoke culture through this project. I’d never done karaoke. I’d never been interested in it as a form and then I travelled to Japan as part of the project when I made “Setsuko, Seiji and Hitoshi in Obama, Japan as Barack Obama in Indiana” and it was quite fascinating because my image of karaoke had always been this very public forum in a karaoke bar and then I discovered there’s this whole other world of karaoke where people even go on their own, they go and rent a room or cubicle and sing, or they go on a date—just the two of them go and sit in a room and do karaoke together. FLM: I’m interested in issues that take place within or as a result of specific karaoke culture(s). In the Philippines within the last several years there’s been occurring the “My Way Killings” phenomenon. Apparently baklas or gay men are employed by karaoke establishments to help “smooth over conflicts over karaoke singing”—these social forms of conduct, or lack thereof that arise out of the infrastructures of this social sport. In this one rural part of the Philippines there’s a village karaoke machine that the whole village shares—the Aeta indigenous people have an appointed “keeper” of the karaoke machine. I also see karaoke as a proxy to the confessional box in Catholicism where one goes to pour out their sins (minus the penance and redemption). The karaoke machine enables one to literally sing out whatever’s going on internally, but through highly saturated popular song lyrics. While karaoke is a public and social sport, it can also be a private one. Karaoke is a means of communion with each other. DP: Right, this preference for this kind of mediated communication. In Japan I was trying to organize people to work on this project and I was talking about throwing a party and they were like, well, we have to rent a karaoke machine because what else are we going to do? And I think its kind of serving that function of surrogacy—emotional surrogacy. FLM: And karaoke tools can be read as ritual tools—the magic mic that holds everything. There’s got to be some overlap at some point—between religious ceremony and devotion to the karaoke machine. DP: The way I designed the piece was so that it could slip right on top of the ready-made karaoke infrastructure. There was a flat-packed podium and it was made of a single sheet of plywood with no fasteners that slotted into itself. Those were sent out to a network of karaoke bars that I invited to become “karaoke convention centers.” The local VJs downloaded our custom-made, speech-extracted tracks that were designed to play on their existing equipment. In this sense the piece is a permanent installation. If you go to Denver today, some of the VJs still have the tracks in their library of offerings, the Ramones and Romney. It was this notion of re-purposing readymade infrastructure to create a distributable populist form. Obama was coming and the convention was in the Pepsi Center and 30,000 people were coming including 10,000 journalists. The impetus behind the larger art project that commissioned international artists to make works in Denver, was that local people weren’t going to have much access to this convention. It was like an invasion, the city was being descended upon, but if you lived a block away from the site, you had the same access as people in Zimbabwe&mash;30 second media bits excerpted from the speeches. So it seemed to me that the fundamental gesture was how do I take that signal, which was travelling out of the convention center, and create a local interruption? FLM: Is that what you mean by ‘intervention’? The term is frequently used to help describe your work. DP: It depends on the day. Around that karaoke project I had a conversation with Krzysztof Wodiczko and he was proposing that maybe rather than intervention, we should consider the word interruption. Because intervention is kind of an overused term in the field of art and it has militaristic and therapeutic associations outside of the art context. Fundamentally, the idea of intervening speaks to the readymade social world as your primary material. So it’s basically suggesting a kind of subtractive process, which gets back to this question: what is the role of the contemporary media artist in a world that’s so saturated with media? You can’t work additively in a saturated field. If you want to make a visible mark you have to work subtractively. That’s what intervention is about to me, just another way of saying “to work subtractively.” FLM: So the interventions or interruptions aren’t necessarily adding or subtracting, but are they putting orange cones there? What are they doing exactly? DP: I think you’re right about that, they’re not really subtracting. They’re adding to the scope of possibility. I’ve been thinking (with this exhibition I’m mounting next month) about the work as explorations and expansions of social possibility. Maybe it’s more insertion. I started calling the pieces ‘insertions’ that I was making in Rejmyre—a small town in Sweden where I’ve been working for six years now. My favorite site to install there is the tourist bureau. I started calling the video pieces that I made for the tourist bureau, video insertions. This idea that you’re inserting something into the readymade media infrastructure of the world resonates with me. Insertion leverages a context, creating a possibility that the inserted object might be naturalized in the process — that someone can encounter my video in Rejmyre as tourist information. And then all of a sudden tourist information can include some American guy prostrating through town and it can include really bad relationship advice. Maybe insertion is a better word. tourist information – d. peltz 2009-present  . (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Readymades, Monochromes, Etc.:Nominalism and the Paradox of ModernismJ. M. Bernstein (bio)If Schopenhauer's thesis of art as an image of the world once over bears a kernel of truth, then it does so only insofar as this second world is composed out of elements that have been transposed out of the empirical world in accord with Jewish descriptions of the messianic order as an order just like the habitual order (...) but changed in the slightest degree.—T. W. Adorno, Aesthetic TheoryAdorno's philosophy as a whole, and his aesthetic theory in particular, is irrevocably bound to the tradition and achievements of high modernism. Although Adorno himself did not recognize American Abstract Expression as the apotheosis of high modernism in painting, that judgment now hardly seems contentious.1 And that raises a problem: it is the problem of R. Mutt, again, the problem of the porcelain urinal called Fountain, which was refused admittance to the Society of Independent Artists' Exhibition in April 1917 in spite of the Society's proclaimed democratic slogan "No jury, no prizes"—the work whose life or after-life begins with the beautiful photograph of it by Stieglitz set against the background of Marsden Hartley's The Warriors and that appeared shortly thereafter in the new avant-garde journal The Blind Man. Whatever the immediate repercussions of Fountain, there can be little doubt that much of what is most vital in art in the second half of this century is unthinkable without it; Duchamp's readymade offers an exemplary alternative to the tradition of high modernist painting that has continued to be generative. For a modernist like Adorno, for whom authentic art is that which best rises to the demands and necessities of artistic materials, for whom internal consistency and rigor would appear to be everything, for whom, finally, aesthetic form is the "objective organization within each artwork of what appears as bindingly eloquent" [AT 143; emphasis mine], Duchamp's gesture of simply naming or claiming artistic status for an ordinary bathroom fixture must be anathema. In this respect, Adorno's aesthetic theory would seem to be in the same predicament as Clement Greenberg's modernism: inextricably bound to a tradition that history has left behind. And while the option of refuting the claim of Fountain is certainly possible, and should not be too quickly suppressed (there is something in the claim that will forever be skeptically self-defeating), nonetheless there does appear to be an exemplariness to Fountain that exceeds the narrow provocation of Duchamp's nominalist gesture; something in the readymade, in fact, seems (art historically? aesthetically? conceptually?) irresistible. If so, then modernist [End Page 83] formalism must either find a way of accommodating the readymade without departing from its internal logic or find its claim to our attention forfeited.After laying out the bold outlines of Adorno's formalism, the remainder of this essay will seek to uncover an account of the readymade in the context of what I will eventually call "the paradox of modernism" in order to locate in what way the readymade can be accommodated to a defense of Adorno's late modernism. For the purposes of this argument, I am going to assume that the best overall defense of Duchamp's gesture, which makes it foundational for the understanding of modern art, is that offered by Thierry de Duve in his Kant after Duchamp. My elaboration of Adorno's late modernism will hence proceed, in part, through a charting of some of the fault lines in de Duve's Duchamp. My contention shall be that the generativity of Fountain as readymade not only belongs within modernism, but is only intelligible within a wholly modernist and formalist frame of reference.Adorno's Formalism and the Material MotiveAdorno opens the section of Aesthetic Theory entitled "Coherence and Meaning" with the drastic sounding thesis that "Although artworks are neither conceptual nor judgmental, they are logical" [AT 136]. He continues:In them nothing would be enigmatic if their immanent logicality did not accommodate discursive thought, which criteria they nevertheless regularly disappoint. They most resemble the form of a syllogism and its prototype in empirical thought. That in the temporal... (shrink)

In 1963 Duchamp described his vertical installation of three Readymades at the Pasadena Art Museum as “readymade talk of what goes on in the Large Glass.” Elsewhere, he spoke of the Readymades as “vehicles for unloading ideas,” and during the years 1912-15 his mind was filled with ideas as he invented the “playful physics” for his techno-scientific allegory of quest, The Bride Stripped Bare by Her Bachelors, Even [The Large Glass]. This essay argues that the “ideas” being unloaded in (...) the Readymades were rooted in his extensive study of contemporary science and technology as well as the biographical experience of his stay at Herne Bay on the English seacoast during August 1913. Readymades addressed include the Bicycle Wheel, With Hidden Noise, Paris Air, and Fresh Widow. Central themes include string or thread, traced from his preoccupation with tennis during his holiday, and the impact of the electrical spectacle of the illuminated Pier Pavilion at Herne Bay. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reflections on DuchampBergson ReadymadeFederico Luisetti (bio)Translated by David Sharp[I]nside the person we must distinctly perceive, as through a glass, a set-up mechanism.—Henri Bergson, Laughter: An Essay on the Meaning of the Comic (1901)In spite of the enormous critical attention paid to Marcel Duchamp’s art and theoretical background, the dialogue with Bergsonism is mostly confined to scattered references and erudite observations.1 Paradoxically, the major obstacle to this encounter has been (...) the immense popularity of Henri Bergson’s philosophy since the initial decade of the twentieth century. Such success has come with a price, however, for the proliferation of neutralizing schematizations has progressively suffocated the specificity of his thought and subsequently impeded the understanding of his epistemological radicalism, so cherished by Duchamp and the historical avant-garde.2Consider, for example, how the specter of Bergson constantly hovers over Linda Dalrymple Henderson’s authoritative discussion of Duchamp’s scientific sources. Although Henderson recognizes the diffuse presence in Duchamp of various Bergsonian motives, because she regards Bergson as the antiscientific philosopher of the “inner self” and of “profound self-expression,”3 Bergsonian notions seem to her incompatible with the artistic revolution prompted by Duchamp. A historiographical exorcism is therefore needed in order to heal the consequences of the traumatic Bergson-Duchamp incest. Herein lies Henderson’s solution: since Duchamp rejects the aesthetic principles of the Puteaux Cubists, he also abandons Bergsonism, which represents their philosophical matrix. Thus, the Bergsonian ideas “undoubtedly” present in Duchamp’s artistic lexicon are nothing but debris accumulated in the course of his battle with the Cubist disciples of Bergson.4To counter these approaches, in the following pages I will map Duchamp’s absorption and creative distortion of Bergsonism,5 concentrating on key terms of both Bergson’s philosophy and Duchamp’s speculations on art: space, “readymade,” delay, body, virtual, circuit, machine.6 I will then discuss the theoretical implications of Duchamp’s Bergsonism and place the readymade7 within its proper context: the deconstruction of the Western metaphysics of reflection. [End Page 77]SpaceBeginning with Time and Free Will (1889), Bergson distinguishes between two types of multiplicities: on the one hand, “duration” (durée), “an internal multiplicity of succession, of fusion, of organization, of heterogeneity, of qualitative discrimination... a virtual and continuous multiplicity that cannot be reduced to numbers,” and on the other, “a multiplicity of exteriority, of simultaneity, of juxtaposition, of order, of quantitative differentiation... a numerical multiplicity, discontinuous and actual.”8 This opposition is generally understood as a clear-cut differentiation between the inner experience of time and the objective consistence of space. In Time and Free Will and Matter and Memory (1896), there are several passages that can be read accordingly, since duration is often described as a continuous, indivisible temporal experience, and space as that which “by definition, is outside us.”9Yet for Bergson space and time are mixed terms, and their internal complexity does not coincide with the semantic distinction between the two multiplicities. Deleuze has clearly formulated the central difficulty that a reductionist theory of space and time would imply, a problem of which Bergson is fully aware. Since the concept of duration has an ontological span, space must find a place within time and vice versa: “If things endure, or if there is duration in things, the question of space will need to be reassessed on new foundations. For space will no longer simply be a form of exteriority.... Space itself will need to be based in things... to have its own ‘purity’” [Deleuze, Bergsonism 49]. Hidden behind the motif of the “spatialization of time,” Bergson has devised a stratified theory of space, whose origins we can trace back to his philosophical apprenticeship [see Heidesick 29–42].Departing from Kant, Bergson introduces a boundary between the “perception of extension” and the “conception of space,” between qualitative space, which he calls “extensity” (étendue), and “abstract,” “homogeneous” space: “We must thus distinguish between the perception of extensity and the conception of space.... [S]pace is not so homogeneous for the animal as for us... determinations of space, or directions, do not assume for it a purely geometrical form” [Bergson, Time... (shrink)

Departing from Duchamp’s advice in 1961 of finding the “com- mon factor” between the non-representative and the representa- tive, translated here into modernism and avant-garde, this article seeks to understand the readymades as objects that have passed metaphorically through Duchamp’s magnum opus, the unfinished Large Glass. More precisely, the readymades are seen as mass-produced utensils that have been stripped bare of their usual function, i.e. their actualization, in order to regain potentiali- ty. Mapping Giorgio Agamben’s interpretation of Herman Melville’s short (...) story Bartleby, the Scrivener onto the readymades, this shrink-to-expand strategy is understood as a skeptical suspen- sion of judgment, epoché, comparable to Bartleby’s polite refusal to work. Moreover, it is seen as equivalent to the down-scaling of dimensionality observed in the Large Glass, where transparency in one go eliminates the representation of spatial circumstances and opens up the objects toward the ever-changing physical surround- ings, thereby exposing more of those 4-dimensional projections, which are normally suppressed in our reduced 3-dimensional per- ception of the world. (shrink)

The readymades conceived and selected by Marcel Duchamp be- tween the years 1914–1917 have, with very few exceptions, not survived until the present day as ‘original.’ A variety of forms, in- cluding documentary photos, objects chosen and approved later by Duchamp as well as remakes of the historical objects comprise the readymades’ legacy. Duchamp’s remakes of his readymades as a limited edition of multiples from 1964, commemorating the 50-year anniversary of his selection of the Bottle Dryer in 1914, mark the (...) beginning of the second half of the “Readymade Century.” In contrast to their widespread visibility, the paradoxical ‘construct- edness’ of these objects is rarely discussed. The representational impact and the conceptual specificity of these multiples goes far beyond the oeuvre of Marcel Duchamp, and can be seen as a pre- monition of artistical appropriation strategies from the 1980s to the present day. (shrink)

Derridada explores the affinities between the work of Marcel Duchamp and the discipline of deconstruction. It is the first text to explore Duchamp's work in the context of the theories of Derrida and deconstruction.

Derridada explores the affinities between the work of Marcel Duchamp and the discipline of deconstruction. It is the first text to explore Duchamp's work in the context of the theories of Derrida and deconstruction.

Ancient Greek philosophers claimed that the particular task of art was mimesis. This kind of view about the relation between art and the world was dominant until the beginning of the 19th century. The theory of genius rethought this relation, and it did not presume that art needs to mirror the world. On the contrary, it expected originality, that is, the creation of a new world. Since the beginning of the 20th century, the artworld operates under a wider notion of (...) the ‘work of art’, e.g. Duchamp’s “readymade” and “institutional readymade”, which are linked to outsider art. In both cases, the creation of an object and the creation of an art piece are separate actions performed by different individuals. This paper attempts to tackle these problems and prove that the contemporary art does not relate primarily to the world, but mainly to the artworld. Thus, the path from art to the world goes through the artworld. (shrink)

Taking as the focus of enquiry the engagements of Félix Guattari with Marcel Duchamp, namely, those rare passages in Schizoanalytic Cartographies and Chaosmosis, the question of the encounter is posed in the field of the sign, but of a sign ‘destructured’ (as Duchamp du signe), in the sense also that Guattari started by destructuring Lacan (from Psychoanalysis and Transversality to Anti-Oedipus). Introduced by the relationships between Guattari and Foucault to better play in between the early and the late Guattari, Guattari’s (...) key insight into the Bottle Rack readymade as an existential function is critically discussed from a reopening to enunciation through the ‘Duchamp effect’. If the latter seems to privilege language contrary to Guattari’s own semiotics, it is to derail it as a machinic unconscious. Duchamp’s writings on his readymades and other machinations are analysed, with the role of Raymond Roussel for Duchamp (and Deleuze-Guattari via Foucault), as well as the implications of a trans-Duchamp, his alter-ego Rrose Sélavy, as an opening to a machinic alterity undoing and queering gender binarity and phallic centricity, recovering the singularity of the bachelor machine and its rupture of subjectivation. The article shows how it could be transversally returned to the very middle of the Guattarian trajectory. (shrink)

We can note three phases in the tradition of the readymade and appropriation since Duchamp’s Bicycle Wheel of 1913. First, they include early enactments in which the readymade posed an onto- logical challenge to artworks through the equation of commodity and art object. Second, practices in which readymades were de- ployed semantically as lexical elements within a sculpture, paint- ing, installation or projection. In a third phase, which most directly encompasses the global, the appropriation of objects, images, and (...) other forms of content challenges sovereignty over the cultural and economic value linked to things that emerge from particular cultural properties ranging from Aboriginal painting in Australia to the ap- propriation of Mao’s cult of personality in 1990s China. This essay considers the most recent phase of the readymade in terms of its century-long history. (shrink)

This article owes a lot to Arthur C. Danto's heuristic writings about the Artworld, which have shown us, that the ontological status of works of art is, at least when we discuss some current, maybe even dominating trends in contemporary art, dependent on our more or less philosophical interpretations of them. The effects of the Dantoan atmosphere of theory and art historical consciousness are, still, decisive for just some contemporary art. Danto's interest in the philosophical side of contemporary art makes (...) his philosophy of art exclusive in relation to art which is less philosophically appealing than the readymade tradition, to the extent that Danto did not, for a long time, even try to incorporate problems of beauty, aesthetic experience, and formal qualities, to his theory of the Artworld. (Opening paragraph.). (shrink)

Within half a century, the status of Duchamp’s readymades changed from iconoclastic object to iconic sculpture. This contribution focusses on two of Duchamp’s readymades, one from 1915 and thus dated at the very beginning of Duchamp’s occupation with this subject matter, while the other is dated 1967, the very last object to enter this particular category within Duchamp’s oeuvre. André Breton remarked that “future generations can do no less than make a systematic effort to go back the stream of Duchamp’s (...) thought and carefully describe its meanderings in search of the hidden treasure which was his mind.” It is with these suggestions in mind that, after the examination of an heretofore unknown readymade from the 1910’s and his collage Pollyperruque from the year before he passed away, final observations will examine the 100th anniversary of Duchamp’s Fountain to reassess the readymade’s potential as an analog object and social media phenomenon in the digital realm. (shrink)

This article explores the relationship between automatic and involuntary language in the work of Samuel Beckett and late nineteenth-century neurological conceptions of language that emerged from aphasiology. Using the work of John Hughlings Jackson alongside contemporary neuroscientific research, we explore the significance of the lexical and affective symmetries between Beckett’s compulsive and profoundly embodied language and aphasic speech automatisms. The interdisciplinary work in this article explores the paradox of how and why Beckett was able to search out a longed-for language (...) of feeling that might disarticulate the classical bond between the language, intention, rationality and the human, in forms of expression that seem automatic and “readymade”. (shrink)

This chapter challenges the view that perceptual illusions are mistakes, by first of all emphasizing how the concept of illusions-as-mistakes relies on perspectives unavailable within illusory experiences and introduces norms fixed outside such experiences. A study of ‘rubber hand illusions’ suggests how illusions are not mistaken perceptions, but cases in which perceived objects makes a different kind of sense—in virtue of a norm that is not a fixed, objective standard but is ongoingly engendered within the dynamics of living, perceptual behaviour. (...) This leads to the view that perception is not founded on readymade norms that stand as a past fixed outside living dynamics. Rather, norms are rather a past that ongoingly emerges within living behaviour—they are what I call temporal spandrels of living temporality. (shrink)

For Kristeva, in a world immersed in readymade images, art or aesthetic experience is a practice that constitutes both a subject & an object that is able to transform meaning & consciousness. This book examines key ideas in her work to show how they are most relevant to artists, & how they can be applied in interpreting artworks.

The purpose of this paper is to offer some theoretical clarification of the word art in the wake of the reception of Duchamp's readymades and their acknowledgment by art history.It became clear in the sixties that it is now both technically possible and institutionally legitimate to make art from absolutely anything whatever.To this a priori possibility would like to give the term art in general. After which shall define three other terms which may help clarify our usage of the word (...) art in the post-Duchamp situation: art, period; art altogether; and art itself. Their articulation is intended to lay the ground for an aesthetic theory of art adapted to our times. (shrink)

According to Arthur Danto, the crisis of modern art is not the abandonment of representation, nor an attempt at intentional “uglification,” but a struggle to escape the aesthetic objectification of artworks.1 This attempt at escape has led modern artists to hold an indifferent attitude toward beauty, an attitude that has resulted in the readymade: in Duchamp’s famous urinal and snow shovel, and Warhol’s perhaps more famous soup can. Danto’s account of this crisis in art is plausible—for what is one (...) to say vis-à-vis the beauty of objects in art galleries whose twins reside in washrooms and cupboards?—and if accepted identifies a related crisis in philosophy. From Plato to Schopenhauer, philosophers have largely .. (shrink)

In Interplay of Things Anthony B. Pinn theorizes religion as a technology for interrogating human experiences and the boundaries between people and other things. Rather than considering religion in terms of institutions, doctrines, and creeds, Pinn shows how religion exposes the openness and porousness of all things and how they are always involved in processes of exchange and interplay. Pinn examines work by Nella Larsen and Richard Wright that illustrates an openness between things and traces how pop art and readymades (...) point to the multidirectional nature of influence. He also shows how Ron Athey's and Clifford Owens' performance art draws out inherent interconnectedness to various cultural codes in ways that reveal the symbiotic relationship between art and religion as a technology. Theorizing that antiblack racism and gender- and class-based hostility constitute efforts to close off the porous nature of certain bodies, Pinn shows how many artists have rebelled against these attempts to counter openness. His analyses offer a means with which to understand the porous, unbounded, and open nature of humans and things. (shrink)

This paper considers the line drawn between art and the everyday; and some attempts to erase it by artists and art theorists. We look at the sensibility of artists who notice and make work from everyday experience. In modernity the conscription of everyday materials and objects to collage and assemblage develops this sensibility within an aesthetic conception of visual art. Looking at Duchamp’s readymades, we consider his claim that these objects are chosen with indifference to their aesthetic properties. We then (...) consider the aesthetic requirements of a medium that directs response to works of art. Briefly, with our conception of a medium in mind, we deliberate upon Modernism, Minimalism, and Conceptualism; and the border between the poetic and poetry. We conclude with a lesson to be drawn from Jim Jarmusch’s 2016 film, Paterson. Along the way, we cling to some of Kant’s insights concerning the fine arts. (shrink)

Critical reception of Marcel Duchamp since the 1970s has tended to elevate him into the very figure of the Artist he sought to attack. One aspect of this domestication has involved neglecting Duchamp’s fin de siècle ‘eroticism’ with its sexual innuendos and double-entendres. Yet this very readymade vulgarity allows us to recover a Duchamp still capable of disrupting the genres of Art and the gendered Artist, by revealing a theory embedded in his work which continually reverses and displaces phallocentrism (...) in a game consisting of the confusion of genders and genres. We argue that Duchamp’s disruption of the discursive typologies of the genre of art can be profitably read through this apparently trivial sexualized wordplay, particularly in the transgender passage into Rrose Sélavy. Reading this aspect of Duchamp after, i.e. within and against, Lacan demonstrates how Duchamp’s singular regime of signs governed by equivocity and indetermination subverts the ‘phallic function’ of the signifier. (shrink)

Abstract: What follows is a contribution to the field of user modeling for adaptive teaching and learning programs especially in the medical field. The paper outlines existing approaches to the problem of extracting user information in a form that can be exploited by adaptive software. We focus initially on the so-called stereotyping method, which allocates users into classes adaptively, reflecting characteristics such as physical data, social background, and computer experience. The user classifications of the stereotyping method are however ad hoc (...) and unprincipled, and they can be exploited by the adaptive system only after a large number of trials by various kinds of users. We argue that the remedy is to create a database of user ontologies from which readymade taxonomies can be derived in such a way as to enable associated software to support a variety of different types of users. (shrink)

Les analyses du ready-made, qui ont considérablement renouvelé la philosophie de l’art, ignorent souvent, ou feignent d’ignorer, que pour Marcel Duchamp le ready-made est indissociable de son titre. N’importe quel objet usuel ne peut devenir un readymade, il doit au moins pouvoir supporter « une inscription ». Duchamp précise dans À propos des ready-made que les titres sont destinés « à emporter l’esprit du spectateur vers d’autres régions plus verbales ». Le titre ne supporte donc pas seulement une opération (...) de transfiguration du banal, en emportant le spectateur vers d’autres régions plus verbales, il institue celui-ci en lecteur d’une phrase possible qu’il appartiendrait au lecteur-spectateur de reconnaître. (shrink)

Ernest Becker described society as a symbolic action system designed to serve as a vehicle for earthly heroism. He advocates for a 'creative solution', which suggests that heroism can manifest itself objectively, through artworks. By further developing this idea, I argue that some things can become heroic when being archived or put on display. Like heroic individuals, heroic objects are privileged things that distinguish themselves among stuff that goes unnoticed, while also being the central points of earthly heroic systems. Instead, (...) heroic objects constrain the individuals to relate to them in a specific contemplative way, gaining cult value through exhibition. This used to be the case for relics and hero remains, but also the standard metre bar, which Marcel Duchamp cleverly ridiculed, underlining the contingent nature of cultural archived truths. Therefore, after broadly discussing heroic objects, I will narrow it down to the case of the standard metre and the readymades, further developing the idea of things becoming heroic objects. (shrink)

The first round about ‘The myth of ASCOT and its rival ASCO2.T: tech-noetic vs. techno-logic’ exposed the hazard in colliding obsolete disciplinary categories under outdated procedures. The orthodox jurisdiction of Ars Electronica and CERN in Collide@CERN, one of the most prominent ongoing programmes of this kind, does not eliminate the risk of missing the target by operating with categories of artists and scientists. Art is one of those disciplines with a long expired warranty, but with decay on its periphery that (...) is turning into fertile forefront territories. Fresh temporary categories are marking and spreading over these uncharted territories and sensibly interconnecting with peripheries of other disciplines. The ex-artist that is reborn in this peripheral transdisciplinary zone can be provisionally categorized as a polyphibian for its features to be carefully studied. Like amphibians, a polyphibian can coherently transcend from one medium to another, in between and beyond the disciplines. In order to research the implications of such ‘categorical’ mutations, a readymade was submitted to the organization of Collide@CERN under the licence of R. Mutt. Namely, the readymade ASCOTT (Apparatus with Super COnducting Thought Transduction) dubbed also ASCO2.T is needed as the second-order upgrade of the existing plan for ASCOT (Apparatus with Super COnducting Toroids) invented by the scientists for CERN. As is expected from the reputation of R. Mutt’s readymades – this submission was ignored and refused in just the same quiet manner as his most notorious one. But if society would not provide salons for the refused artists (Salon des Refuses) right next to the salons under the scrutiny of academically established artists, there would be no mutations and no evolution in art. Such mutations of the artist into a ‘complex and widely distributed system’ at the dispersing fringes of decomposing art was already predicted by R. Ascott. Polyphibians are the species surviving the ripening metamorphosis of disciplines by taking refuge in the unexplored transdisciplinary buffer zone. This is the only zone where a confrontation of ASCOT technology with tech-noetics of ASCO2.T is possible. The refused unknown demands not a Salon but the Interval of Suspended Judgement. In the sequel to the first round of this debate, the Interval of Suspended Judgement will be investigated. (shrink)

This dissertation examines the practice of categorizing works of art and its relationship to art criticism. How a work of art is categorized influences how it is appreciated and criticized. Being frightening is a merit for horror, but a demerit for lullabies. The brushstrokes in Monet's "Impression, Sunrise" (1874) look crude when seen as a Neoclassical painting, but graceful when seen as an Impressionist painting. Many of the judgments we make about artworks are category-dependent in this way, but previous research (...) has rarely examined in depth the ontological structure of art categories, how they are generated and maintained, and how they function. This dissertation fills this gap. The proposal of this dissertation can be summarized as follows. Categories (especially genres) should be analyzed as clusters of rules that regulate the responses and behaviors of agents in the artworld. The visual mundaneness is a critical reason to consider Duchamp's "Comb" (1916) provocative, given the existence of the readymade as a set of rules that justifies such reasoning. The critical and appreciative practice of which categorization is a part is a social practice of making, declaring, proposing, reforming, and developing rules of appreciation. How we appreciate artworks, and how criticism guides our appreciation, is sensitive to how we categorize artworks. How we categorize artworks is sensitive to what categories have been set up in our community and which categories are active regarding each artwork. (shrink)

Ian Shapiro proposes a representative government that bases its understanding of truth on mature enlightenment philosophy. He examines various enlightenment and anti-enlightenment theories to substantiate his arguments in favour of verifiability as the criterion for defining truth. Contending such a concept of truth he specifies that it is possible only within a representative democracy as it can systematically undermine socially built readymade systems. To examine Shapiro’s fallibilist approach to truth, this paper critically analyses his concept of truth-telling for legitimizing (...) a government and contrasts it with Plato’s explanation of truth-telling. It argues that Shapiro’s procedural mechanisms that override social background presuppose uniform rationality backed by power systems. (shrink)

In Beyond Art (2014), Dominic Lopes proposed a new theory of art, the buck passing theory. Rather than attempting to define art in terms of exhibited or genetic featured shared by all artworks, Lopes passes the buck to theories of individual arts. He proposes that we seek theories of music, painting, poetry, and other arts. Once we have these theories, we know everything there is to know about the theory of art. This essay presents two challenges to the theory. First, (...) this essay argues that Lopes is wrong in supposing that theories of arts were developed to deal with the ‘hard cases’ – developments such as Duchamp’s readymades and conceptual art. This is a problem since Lopes holds that the buck passing theory’s capacity to deal with the hard cases is one of its virtues. Second, this essay argues that the buck passing theory has no account of which activities are arts and no account of what makes some activity an art. (shrink)

In this interview, Jacques Rancière describes the character of the aesthetic regime and the relationship between politics and aesthetics in his work, along with the role of artistic practices, technological innovations, and the institution of the museum in the redistribution of the sensible and the similarities and differences between his theories and Walter Benjamin’s work on modernity. Rancière argues that the aesthetic regime entails both a rupture with what came before it and the possibility of recycling and reinterpreting works of (...) the past, what Benjamin described as the surrealist practice of evoking the outmoded. While emphasizing the political and military preconditions to the aesthetic regime over technological or economic considerations, Rancière also warns against drawing strict parallels between aesthetic regimes and political presuppositions of equality or inequality. Furthermore, Rancière refuses to privilege Marcel Duchamp’s readymades in the aesthetic regime’s redistribution of the sensible, pointing, instead, to Emile Zola’s Le ventre de Paris and the creation of the modern institution of the museum as key moments that broke with preexisting distributions of the sensible. Rancière also distinguishes his discussion of novelistic realism and narration from Benjamin’s characterization of modernity as the decline in the ability to narrate experience, critiquing Benjamin’s nostalgia for the past while recognizing as fruitful his linking of new possibilities in aesthetic experience to the creation of new technologies. (shrink)

The paper explores Latour?s conception of political ecology and its theoretical and political implications. The first part of the paper shows Latour?s critique of theoretical frameworks of scientific and political practices, which, in his opinion, constrain a true discussion on ecological crises by simplifying them and putting them into readymade interpretative models. The second part of the paper examines the notions - the collective, representation, propositions, articulation, and parliament of things - central to understanding Latour?s idea of involvement of (...) humans and non-humans in politics. Finally, the paper explores the potentials and constraints of Latour?s idea of political community of new political subjects, which is constituted in controversies and through controversies. (shrink)

Although his positions on gender were neither particularly radical nor particularly representative of his age, Hegel proved counterintuitively central to early German philosophers elaborating openly feminist positions. The Young Hegelians' critique of religion offered a readymade way to critique traditional modes of grounding and vindicating gender roles. But it also, especially among more materialist thinkers like Ludwig Feuerbach, tended to rely on supposedly “natural” bases for gender inequality. This article traces a line of women thinkers beginning in Hegel's age, (...) stretching through the immediate aftermath of Hegel's death, all the way to the fin-de-siècle, who sought to destabilize the very idea of nature that lay behind both Hegelian and Young Hegelian accounts. Thinkers like Bettina Brentano-von Arnim (1785–1859), Louise Dittmar (1807–1884), and Helene von Druskowitz (1856–1918) charted a path between Hegel himself, Hegel's critics, renewers, and overcomers, to arrive at strikingly modern position. In particular von Druskowitz, critic of Feuerbach and Comte, interlocutor to Nietzsche and Hartmann, ended up with a philosophical position on nature that was nearly identical to the most radical feminist proposals of the 1960s: the end of human nature, even if it meant the end of the species. (shrink)

In 1973, the philosopher George Dickie proposed an ingenious new answer to the old question: what is art? Arthood, he suggested, is not an intrinsic property of objects, but a status conferred upon them by the institutions of the art world. He accordingly attached an exemplary significance to works like Duchamp's urinal, whose very lack of intrinsic distinction focuses our attention upon their institutional context. But his theory was about art in general, and not just readymades. ‘I am not claiming (...) that Duchamp and his friends invented the conferring of the status of art; they simply used an existing institutional device in an unusual way.’. (shrink)

This is the second of two special issues, and the articles are grouped according to two themes: The previous, first issue featured articles that shared the theme Technologies and the Political, while this second issue is focused on the theme of Subjectivities. In this second, somewhat expanded, introduction, the “sky’s the limit.” This introduction canvasses various theoretical and conceptual-empricial perspectives that the articles of both issues touch on and further tries to open many doors through which readers are invited to (...) go on their own rather than give readymade answers. This introduction is written not only to give both an overview of some of the most important conceptual, methodological, and empirical contexts that the two special issues evoke but also to create invitations for many further conversations to be had from here on forward by beginning the interrogating and troubling of the intercourse between “science” and “science fiction”: beause all of this has happened before and will happen again. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Taking Up Space:Museum Exploration in the Twenty-First CenturyTiffany Sutton (bio)Museums have become a crucible for questions of the role that traditional art and art history should play in contemporary art. Friedrich Nietzsche argued in the nineteenth century that museums can be no more than mausoleums for effete (fine) art.1 Over the course of the twentieth century, however, curators dispelled such blanket pessimism by showing that what keeps historical art (...) museums, both comprehensive and modern, "alive" and relevant in the modern art world are the things that curators do with the artworks in their collections.2 In certain cases, I will argue in this article, the focus on artworks and the relationship between them can be rewardingly shifted onto the spatial aspect of the museum. I will try to show what such a shift of focus entails, show that it involves a gestalt shift (in Wittgenstein's terms, the "dawning of an aspect"), and illustrate the limits within which this can arise.3 The foremost of these limiting factors is museum architecture, and I will discuss this to the extent that it determines the limits of what curators can do. How architects do things with museums, however, lies outside the scope of this article.An Art Historical Heuristic Gets a Curatorial MakeoverNineteenth-century art museums typically were vast, labyrinthine, and built to assume the shape of a comprehensive art historical narrative, so they were easy targets for ideologues drawn to vibrant modern artworks and the controversy surrounding them. At the turn of the twentieth century new commercial galleries developed a distinctively modern mode of display in which individual artworks were showcased with plenty of space around them.4 Had existing museums changed their ways to accommodate these developments, the momentum of a new aesthetic of flatness, surface, [End Page 87] and yet purer forms of conceptualism would have been lost. It was not a time for absorption and deflation: new museums, no less monumental and historical but smaller and with fewer volumes, were commissioned to give modern art the appearance of a fresh start.5 The weightless upward mobility of Frank Lloyd Wright's Guggenheim Museum in Manhattan, modeled in 1945 and opened to the public in 1959, consummated this trend of the first half of the twentieth century and gave it its purest form. What the building spurt revealed was that as art changes, it demands to be reflected in its surroundings, not merely accommodated. That the response was to build new museums rather than new wings suggests the inner workings of the principle—call it "curatorial heuristic one"—that, whereas art history is fluid and simply flows forward with new developments, museums are not of this nature; they can become effete.The curatorial revision of this heuristic was a century in coming. As often happens when emerging movements are yet underdetermined, modernism suppressed in its beginnings the background factor that would seem to entail the end of modern art when finally brought into focus: the very context of display that had once set it apart. Duchamp's Readymades (1913) gave the initial nod (or wink) to the gallery context; it was, however, ignored, as a suppressed punch line, until art history was ready to concede the importance of the context of display—not in the gallery, but in the museum—to a site-specific artwork by Richard Serra: his Splashing and Prop (1968). With the museum's framing context and, concomitantly, the importance of the curator's work conceded, the barrier that had kept lesser masterpieces in the basement (or out of the museum) were removed. Unearthed, these began to circulate, and attention centered on the relation in which they stood to better-known artworks, either as suppressed alternates or as descendants of an artistic lineage. So postmodern sprawl began, with the display of multiple alternative art histories drawing, as modernism had, on available display conventions for periodizing according to internal principles (period, school, genre, style) such that detection of them devolved upon the viewer.When public uses for the new public museums began to diversify (from an historical/educational focus to aesthetic/educational and cultural/political ones), principles for ordering artworks were... (shrink)

Os chamados manuscritos C, recentemente publicados, têm um interesse especial para a clarificação da constituição do mundo na medida em que mostram como, a partir de um mundo primordial ou quasi-mundo correlato à pré-intencionalidade, se atinge o mundo plenamente intersubjetivo constituído por uma intencionalidade de interesses desde uma práxis comunicativa. Seguindo os manuscritos, este artigo tem um propósito quádruplo: 1) tentar discernir diferentes caracterizações do mundo como horizonte universal, representação-mundo, todo, forma, idéia e fundamento; mostra-se, assim, o papel da temporalidade (...) na raiz desses traços de mundanidade; 2) níveis de constituição do mundo são desvelados a fim de diferenciar um fundamento previamente dado de um fundamento que se desenvolve através dos estágios do mundo egóico, mundo da casa, mundo da vida e mundo-em-si; desvela-se aqui um encaixamento desses horizontes um no outro; 3) uma análise posterior dos níveis é dada através do questionamento retroativo na primalidade (Urtümlichkeit) como um retrocesso que revela o desenvolvimento de um pré-mundo a um mundo genuíno; uma gênese permanente, antes de uma gênese do passado, é realçada; 4) finalmente, mostrar- se-á como antecipações da fenomenologia póshusserliana nos remetem a uma abertura originária do mundo em sua mundanidade, um âmbito que é anterior à manifestação de um mundo de objetos e uma ordem de manifestação diferente daquela do mundo. PALAVRAS-CHAVE – Fenomenologia genética. Husserl. Manuscritos C. Mundo. Temporalidade. ABSTRACT The recently published C-manuscripts hold special interest for the clarification of the constitution of the world by showing how, starting from a primal or quasiworld correlated with preintentionality, it advances to the full intersubjective world constituted by an intentionality of interests within communicative praxis. Following the manuscripts, this paper has a fourfold purpose. First, it attempts to discern different characterizations of the world as universal horizon, world-representation, whole, form, idea, and ground. The role of temporality at the roots of these traits of worldliness is shown. Second, levels of constitution of the world are disclosed in order to differentiate a readymade ground from a ground that develops through the stages of egoical world, homeworld, lifeworld, and world-in-itself. An encasement of these horizons one-in another is displayed. Third, a further analysis of levels is given through the inquiry back into primality (Urtümlichkeit) as a retrogression that reveals the development from a pre-world to a genuine world. A permanent genesis rather than a past genesis is brought out. Finally, anticipations will be shown of post-Husserlian phenomenological views regarding an originary openness of the world in its worldliness, a realm that is prior to the manifestation of a world of objects, and a different order of manifestation than that of the world. KEY WORDS – Genetic phenomenology. Husserl. C-manuscripts . World. Temporality. (shrink)

Os chamados manuscritos C, recentemente publicados, têm um interesse especial para a clarificação da constituição do mundo na medida em que mostram como, a partir de um mundo primordial ou quasi-mundo correlato à pré-intencionalidade, se atinge o mundo plenamente intersubjetivo constituído por uma intencionalidade de interesses desde uma práxis comunicativa. Seguindo os manuscritos, este artigo tem um propósito quádruplo: 1) tentar discernir diferentes caracterizações do mundo como horizonte universal, representação-mundo, todo, forma, idéia e fundamento; mostra-se, assim, o papel da temporalidade (...) na raiz desses traços de mundanidade; 2) níveis de constituição do mundo são desvelados a fim de diferenciar um fundamento previamente dado de um fundamento que se desenvolve através dos estágios do mundo egóico, mundo da casa, mundo da vida e mundo-em-si; desvela-se aqui um encaixamento desses horizontes um no outro; 3) uma análise posterior dos níveis é dada através do questionamento retroativo na primalidade como um retrocesso que revela o desenvolvimento de um pré-mundo a um mundo genuíno; uma gênese permanente, antes de uma gênese do passado, é realçada; 4) finalmente, mostrar- se-á como antecipações da fenomenologia póshusserliana nos remetem a uma abertura originária do mundo em sua mundanidade, um âmbito que é anterior à manifestação de um mundo de objetos e uma ordem de manifestação diferente daquela do mundo. PALAVRAS-CHAVE – Fenomenologia genética. Husserl. Manuscritos C. Mundo. Temporalidade. ABSTRACT The recently published C-manuscripts hold special interest for the clarification of the constitution of the world by showing how, starting from a primal or quasiworld correlated with preintentionality, it advances to the full intersubjective world constituted by an intentionality of interests within communicative praxis. Following the manuscripts, this paper has a fourfold purpose. First, it attempts to discern different characterizations of the world as universal horizon, world-representation, whole, form, idea, and ground. The role of temporality at the roots of these traits of worldliness is shown. Second, levels of constitution of the world are disclosed in order to differentiate a readymade ground from a ground that develops through the stages of egoical world, homeworld, lifeworld, and world-in-itself. An encasement of these horizons one-in another is displayed. Third, a further analysis of levels is given through the inquiry back into primality as a retrogression that reveals the development from a pre-world to a genuine world. A permanent genesis rather than a past genesis is brought out. Finally, anticipations will be shown of post-Husserlian phenomenological views regarding an originary openness of the world in its worldliness, a realm that is prior to the manifestation of a world of objects, and a different order of manifestation than that of the world. KEY WORDS – Genetic phenomenology. Husserl. C-manuscripts. World. Temporality. (shrink)

Frankfurt School critical theory is perhaps the most significant theory of society to have developed directly from a research programme focused on the critique of political authoritarianism, as it manifested during the interwar decades of the 20th century. The Frankfurt School’s analysis of the persistent roots – and therefore the perennial nature – of what it describes as the ‘authoritarian personality’ remains influential in the analysis of authoritarian populism in the contemporary world, as evidenced by several recent studies. Yet the (...) tendency in these studies is to reference the final formulation of the category, as expressed in Theodor Adorno and co-thinkers’ The Authoritarian Personality, as if this were a theoretical readymade that can be unproblematically inserted into a measured assessment of the threat to democracy posed by current authoritarian trends. It is high time that the theoretical commitments and political stakes in the category of the authoritarian personality are re-evaluated, in light of the evolution of the Frankfurt School. In this paper, I review the classical theories of the authoritarian personality, arguing that two quite different versions of the theory – one characterological, the other psychodynamic – can be extracted from Frankfurt School research. (shrink)

This timely, in-depth examination of the educational experiences and needs of mixed-race children focuses on the four contexts that primarily influence learning and development: the family, school, community, and society-at-large. The book provides foundational historical, social, political, and psychological information about mixed-race children and looks closely at their experiences in schools, their identity formation, and how schools can be made more supportive of their development and learning needs. Moving away from an essentialist discussion of mixed-race children, a wide variety of (...) research is included. Life and schooling experiences of mixed-raced individuals are profiled throughout the text. Rather than pigeonholing children into a neat box of descriptions or providing readymade prescriptions for educators, _Mixed-Race Youth and Schooling_ offers information and encourages teachers to critically reflect on how it is relevant to and helpful in their teaching/learning contexts. (shrink)

How did first millennia Indian Buddhists understand the emotions? What are the theoretical resources, methodologies and vocabularies they used to account for emotive phenomena, and how do these relate, if at all, to contemporary philosophy of the emotions? This essay focuses, as a case study, on the notion of ascetic solitude (viveka) presented by the Buddhist thinker and poet Aśvaghoṣa’s (second century CE) in his poetical work the Saundarananda. Approaching Aśvaghoṣa’s work as a lens through which to examine the broader (...) Buddhist philosophical conception of the emotions, it is demonstrated that solitude, far from being conceived as a physical withdrawal from the world (into an interior subjective space), is seen as a mode of engagement with the world, a dynamic and transformative experiential process. This understanding, it is argued, is set within a broader Buddhist philosophical conception of emotions primarily in terms of a shifting evaluative perceptual content. Within the Saundarananda, emotions are akin to “ways of seeing”—a matter of perceptual modes and patterns of salience and what they experientially pick and leave out. Outlining some of the features of this theory that are distinctively Buddhist, this essay join the scholarly critique of the practice of applying readymade contemporary emotive categories to the study of Indian Buddhist texts, and advocate the need to account for these texts as much as possible in their own terms. (shrink)

Prikazani su elementi koji olakšavaju orijentaciju u prostoru »kontaminiranom« znanstvenim prisvajanjem istina, vrijednosti, »krunskih« dokaza i konačnih interpretacija. Iz spektra modernih disciplina »izvučena« je molekulska biologija kao model za razumijevanje mehanizama kojim prirodne znanosti privatiziraju sadržaje i područja koja pripadaju široj zajednici, odnosno čitavome društvu. U bogatome arsenalu molekulske biologije posebno se ističe metoda rekombinantne DNK koja je omogućila razvoj GMO-a.GMO-i su »klasična« znanstvena kontroverza u kojoj jedna strana prepoznaje »mutante« kao nepotrebne i defektne izume, dok ih druga strana predstavlja (...) gotovim receptom za rješavanje problema okoliša, prehrane i zdravlja.Razmotrena su četiri prigovora kojima se pokušava demistificirati znanstveni hvalospjev o GMO-u.This manuscript presents elements which enable better orientation in the area “contaminated“ with scientific confiscation of facts, values, crucial evidences, and final interpretations. From the spectrum of modern disciplines, molecular biology is selected as a model for understanding of mechanisms underlying scientific privatization of contents and areas which belong to local community and the whole society as well. The recombinant DNA method, which enabled development of GMO-s, is specifically emphasized in the rich arsenal of molecular biology.GMO-s present “classical” scientific controversy in which one side recognizes these “mutants” as unnecessary and flawed inventions, while the other side introduces them as readymade recipe for solving environment, food and health related problems.Four objections are considered in order to demystify scientific hymn about GMO. (shrink)