The ArgumentIt is often observed by historians of postwar American art that painters and sculptors of the 1960s sought a more mechanized “look” for their art. I argue that the changes reflected in the art have their source in a deeper shift – a shift at the level of production, expressed in new studio practices as well as in the space of the artworks themselves.In the period immediately before, during, and after World War II, the dominant topos of the American (...) artist was that of a solitary genius, alone in his studio, sole witness to the miraculous creation of his art. I demonstrate that artists of the 1960s, against this backdrop of heroic modernism, engaged in a different rhetoric and practice, one based on the models of industry and business. The studio of Andy Warhol, named the “Factory,” is viewed as apodictic of this great change, with its rudimentary assembly line and highly social mode of production.The change in practice instantiated in Warhol's Factory is significant in and of itself, but I argue further that it expressed itself in the “place of knowledge” – the space within Warhol's paintings and objects, and the newly social space in which they signify. The context for that signification thus becomes crucial to our understanding of the “Warhol phenomenon” celebrated in popular and arthistorical texts. The ambivalencies embedded in Warhol's Factory, where the artist's role oscillated between manager and proletarian worker, are seen as a function of their context. Conflicting signals are also broadcast by the works of art, which speak in the dialect of mass production with the accent of the irreplaceably unique. (shrink)

Experience offers a reading experience like no other. A heat-sensitive cover by Olafur Eliasson reveals words, colors, and a drawing when touched by human hands. Endpapers designed by Carsten Holler are printed in ink containing carefully calibrated quantities of the synthesized human pheromones estratetraenol and androstadienone, evoking the suggestibility of human desire. The margins and edges of the book are designed by Tauba Auerbach in complementary colors that create a dynamically shifting effect when the book is shifted or closed. When (...) the book is opened, bookmarks cascade from the center, emerging from spider web prints by Tomas Saraceno. Experience produces experience while bringing the concept itself into relief as an object of contemplation. The sensory experience of the book as a physical object resonates with the intellectual experience of the book as a container of ideas. Experience convenes a conversation with artists, musicians, philosophers, anthropologists, historians, and neuroscientists, each of whom explores aspects of sensorial and cultural realms of experience. The texts include new essays written for this volume and classic texts by such figures as William James and Michel Foucault -- Provided by the publisher. (shrink)

Hesperides Press are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.

Type II DNA topoisomerase activity is required to change DNA topology. It is important in the relaxation of DNA supercoils generated by cellular processes, such as transcription and replication, and it is essential for the condensation of chromosomes and their segregation during mitosis. In mammals this activity is derived from at least two isoforms, termed DNA topoisomerase IIα and β. The α isoform is involved in chromosome condensation and segregation, whereas the role of the β isoform is not yet clear. (...) DNA topoisomerase IIβ was first reported in 1987. Here we review the research on DNA topoisomerase IIβ over the last 10 years. BioEssays 20:215–226, 1998.© 1998 John Wiley & Sons, Inc. (shrink)

Recent literature on J. G. Fichte's ethical philosophy has tended to focus on a handful of interpretive issues while simultaneously emphasizing his under-appreciated relevance to contemporary moral theory. In this regard, Kosch's book on Fichte's ethics is similar to other recent publications. In almost every other way, however, it is unique. Kosch uses her talent for clear argumentation to propose several theses that have little precedent in Fichte scholarship.Her book's goal is two-fold: first, to fill a "yawning gap" in Fichte (...) scholarship by addressing aspects of Fichte's ethical system that have been misinterpreted or overlooked, and second, to present Fichte's ethical work to philosophers "who would be... (shrink)

Fichte’s Ethical Thought follows a format familiar to those who have read Allen Wood’s books on the ethical thought of Immanuel Kant and G. W. F. Hegel: Wood integrates Johann Gottlieb Fichte’s work into topical chapters, each discussing an important component of Fichte’s ethical system. The text he focuses on, of course, is Fichte’s 1798 System of Ethics, but Fichte scholars will likely be pleased to find that Wood discusses a wide range of Fichte’s Jena-era writings. Wood makes use of (...) Addresses to the German Nation, The Closed Commercial State, and earlier works such as Some Lectures Concerning the Scholar’s Vocation, especially in the final two chapters, which cover Fichte’s thought on public life, the... (shrink)

Discussion about whether adolescents ought to be able to consent for their own vaccines long predates the COVID-19 pandemic. Providers have been counseling self-identified vaccine skeptics for year...

It is a matter of suprise to some that St. Thomas ever wrote implicitly concerning education. That he touched educational matters incidently we know, as in his possibly unexcelled theory of play which Dr. Leibell has included in his "Readings in Ethics." But De Magistro is different. It descends immediately to the bed rock of education, and should remind modern man of his place in the educational scheme.

This interview with David Kleinberg-Levin, Professor Emeritus in the Department of Philosophy at Northwestern University, concerns his recent trilogy on the promise of happiness in literary language. Kleinberg-Levin discusses the relationship between and among philosophy, phenomenology, and literature. Among others, he addresses questions regarding literature’s ability to offer redemption, its response to suffering and justice, literary gesture, the ethics of narrative logic, and the surface of the text.Cet entretien avec David Kleinberg-Levin, Professeur émérite au département de philosophie de la Northwestern (...) University, est consacrée à sa récente trilogie sur la promesse du bonheur dans le langage littéraire. Kleinberg-Levin examine les relations réciproques et internes de la philosophie, de la phénoménologie et de la littérature. Entre autres, il pose des questions sur la capacité de la littérature à offrir une rédemption, sur sa réponse à la souffrance et à la justice, sur le geste littéraire, sur l’éthique de la logique narrative et sur la surface du texte.L’intervista a David Kleinberg-Levin, Professore Emerito presso il Dipartimento di Filosofia della Northwestern University, è dedicata alla sua recente trilogia sulla promessa di felicità nel linguaggio letterario. Kleinberg-Levin esplora il rapporto tra filosofia, fenomenologia e letteratura. In particolare egli affronta le questioni che riguardano la capacità della letteratura di offrire redenzione, la sua risposta alla sofferenza e alla giustizia, il gesto letterario, l’etica della logica narrativa, e la superficie del testo. (shrink)

This article examines Maurice Merleau-Ponty’s reference to Franz Kafka’s “The Metamorphosis” and “Investigations of a Dog” in his lecture on gesture and reconciliation, “Man Seen from the Outside.” Given the centrality of gesture in Kafka’s work, this essay considers the connections between the two figures and the likely influence of Kafka on Merleau-Ponty’s concept of gesture and intentionality. It compares their respective philosophies of gesture as they relate to meaning, reliability, silence, music, and intention. Finally, Kafka’s gestural motif of the (...) springing body is suggested as a significant example of Merleau-Ponty’s “escaping intentions,” expressing a powerful will to intend toward others.Cet article examine la référence de Maurice Merleau-Ponty à La Métamorphose et aux Recherches d’un chien de Franz Kafka dans sa « causerie » sur le geste et la réconciliation : « L’homme vu du dehors ». Étant-donnée la centralité du geste dans l’oeuvre de Kafka, cet article examine les liens entre les deux auteurs et la possible influence de Kafka sur les concepts merleau-pontiens de geste et d’intentionnalité. Nous comparerons leurs philosophies du geste dans leur manière de se rapporter au sens, à la fiabilité, au silence, à la musique et à l’intention. Enfin, le motif gestuel du corps jaillissant chez Kafka sera proposé comme un exemple significatif des « intentions fuyantes » de Merleau-Ponty, exprimant un puissant désir de se diriger vers les autres.Quest’articolo esamina i riferimenti merleau-pontiani a “La Metamorfosi” e a “Indagini di un cane” di Franz Kafka nella sua conferenza sul gesto e la riconciliazione, “L’uomo visto da fuori”. Data la centralità del gesto nell’opera di Kafka, questo saggio si propone di esaminare le connessioni tra i due autori e la possibile influenza di Kafka sulla concezione merleau-pontiana del gesto e dell’intenzionalità. L’articolo confronta le loro rispettive filosofie del gesto nella misura in cui si riferiscono al significato, alla veridicità, al silenzio, alla musica e all’intenzione. Da ultimo, il motivo gestuale del corpo elastico in Kafka è indagato come significativo esempio delle “intenzioni fuggevoli” merleau-pontiane che esprimono una volontà tesa verso gli altri. (shrink)