“The contemporary” is a phrase in frequent use in artworld discourse as a placeholder term for broader, world-picturing concepts such as “the contemporary condition” or “contemporaneity”. Brief references to key texts by philosophers such as Giorgio Agamben, Jacques Rancière, and Peter Osborne often tend to suffice as indicating the outer limits of theoretical discussion. In an attempt to add some depth to the discourse, this paper outlines my approach to these questions, then explores in some detail what these three theorists (...) have had to say in recent years about contemporaneity in general and contemporary art in particular, and about the links between both. It also examines key essays by Jean-Luc Nancy, Néstor García Canclini, as well as the artist-theorist Jean-Phillipe Antoine, each of whom have contributed significantly to these debates. The analysis moves from Agamben’s poetic evocation of “contemporariness” as a Nietzschean experience of “untimeliness” in relation to one’s times, through Nancy’s emphasis on art’s constant recursion to its origins, Rancière’s attribution of dissensus to the current regime of art, Osborne’s insistence on contemporary art’s “post-conceptual” character, to Canclini’s preference for a “post-autonomous” art, which captures the world at the point of its coming into being. I conclude by echoing Antoine’s call for artists and others to think historically, to “knit together a specific variety of times”, a task that is especially pressing when presentist immanence strives to encompasses everything. (shrink)

Operant psychologists are looking for alternatives to radical behaviorism. Rachlin offers teleological behaviorism, but it may pose as many difficulties as radical behaviorism. There is, however, a less drastic way to defend Rachlin's thesis of It portrays operant principles as relating distal efficient causes to behavioral effects.

If the contemporaneity of difference seems the most striking characteristic of contemporary life today, its conceptual structure continues to elude definition. The same lack of clarity attends a frequently evoked parameter for the most desired resolution of such volatile differences: a cohesive, consensual world picturing, sometimes named “planetarity.” My overall project is a close examination of these two concepts, aimed at finding productive connections between them. Previous attempts to think them, from the confessions of St Augustine to the New York (...) Times columns of Thomas Friedman, reveal a plethora of illuminating insights, but the overall record reveals that both concepts remain inadequately imagined for current circumstances. Temporality and world-being seems to constellate around these concepts: contemporaneity, history, decoloniality, connectivity, artworlds, and planetarity. How might the contemporaneity of difference and the embattled yet emergent planetary commons be imagined in terms appropriate to present need – that is, as contemporaneous, differential and convergent? While this question is obviously of the broadest relevance, my specific goal within the history and theory of art and architecture is to articulate the conceptual structure underlying my recent accounts of the relationships between contemporary art and architecture and contemporary life. (shrink)

Impossible Presence brings together new work in film studies, critical theory, art history, and anthropology for a multifaceted exploration of the continuing proliferation of visual images in the modern era. It also asks what this proliferation—and the changing technologies that support it—mean for the ways in which images are read today and how they communicate with viewers and spectators. Framed by Terry Smith's introduction, the essays focus on two kinds of strangeness involved in experiencing visual images in the modern era. (...) The first, explored in the book's first half, involves the appearance of oddities or phantasmagoria in early photographs and cinema. The second type of strangeness involves art from marginalized groups and indigenous peoples, and the communicative formations that result from the trafficking of images between people from vastly different cultures. With a stellar list of contributors, Impossible Presence offers a wide-ranging look at the fate of the visual image in modernity, modern art, and popular culture. Contributors: Jean Baudrillard Marshall Berman Jeremy Gilbert-Rolfe Elizabeth Grosz Tom Gunning Peter Hutchings Fred R. Myers Javier Sanjines Richard Shiff Hugh J. Silverman Terry Smith. (shrink)

Neo-Skinnerianism differs from Radical Behaviorism in at least three important respects: (1) its willingness to entertain cognitive accounts of the processes underlying behavioral dispositions, (b) its reluctance to assert that the results of animal experiments can be used to predict and control human behavior, and (c) its ability to side step folk psychology's major criticism of operant theory. While eschewing Radical Behaviorism's ambition to transform psychology (and, indeed, human society itself), it nonetheless joins issue with a centuries-old debate over human (...) nature, and may eventually help to resolve it. (shrink)

Radical Behaviorism makes the implausible claim that “the appeal to mind explains nothing at all” (Skinner 1971, p. 186). Clearly, such a claim (if accepted) would lend strong support to the Skinnerian research program, if only because it would eliminate the major competition. But what support remains when such a claim is not accepted? This paper shall argue that the Skinnerian research program need not depend upon the supposition that there is something scientifically illicit or vacuous about the explanations offered (...) by mentalistic psychology. Distinguishing Radical Behaviorism from a position that grows out of Skinner’s writings from 1938 through 1950, it asserts that the latter position provides a conception of the behavior analytic program that is compatible with the basic claims of cognitive and folk psychology.We may give a rough definition of this position by following Cummins (1983) in distinguishing between two types of scientific theory. (shrink)