Artists and critics regularly enlist theory in the creation and assessment of artworks, but few have scrutinized the art theories themselves. Here, Daniel examines and critiques the norms, assumptions, historical conditions, and institutions that have framed the development and uses of art theory. Spurred by the theoretical claims of Arthur Danto, a leader in the philosophy of the avant-garde, Herwitz reexamines the art and theory of major figures in the avant-garde movement including John Cage, Jean-François Lyotard, Jean Baudrillard, (...) and Andy Warhol. (shrink)

Arthur C. Danto is unique among philosophers for the breadth of his philosophical mind, his eloquent writing style, and the generous spirit embodied in all his work. Any collection of essays on his philosophy has to engage him on all these levels, because this is how he has always engaged the world, as a philosopher and person. In this volume, renowned philosophers and art historians revisit Danto's theories of art, action, and history, and the depth of his innovation as a (...) philosopher of culture. Essays explore the importance of Danto's philosophy and criticism for the contemporary art world, along with his theories of perception, action, historical knowledge, and, most importantly for Danto himself, the conceptual connections among these topics. Danto himself continues the conversation by adding his own commentary to each essay, extending the debate with characteristic insight, graciousness, and wit. Contributors include Frank Ankersmit, Hans Belting, Stanley Cavell, Donald Davidson, Lydia Goehr, Gregg Horowitz, Philip Kitcher, Daniel Immerwahr, Daniel Herwitz, and Michael Kelly, testifying to the far-reaching effects of Danto's thought. Danto brought to philosophy the artist's unfettered imagination, and his ideas about postmodern culture are virtual road maps of the present art world. This volume pays tribute to both Danto's brilliant capacity to move between philosophy and contemporary culture and his pathbreaking achievements in philosophy, art history, and art criticism. (shrink)

The act of remaking one's history into a heritage, a conscientiously crafted narrative placed over the past, is a thriving industry in almost every postcolonial culture. This is surprising, given the tainted role of heritage in so much of colonialism's history. Yet the postcolonial state, like its European predecessor of the eighteenth and nineteenth centuries, deploys heritage institutions and instruments, museums, courts of law, and universities to empower itself with unity, longevity, exaltation of value, origin, and destiny. Bringing the eye (...) of a philosopher, the pen of an essayist, and the experience of a public intellectual to the study of heritage, Daniel Herwitz reveals the febrile pitch at which heritage is staked. In this absorbing book, he travels to South Africa and unpacks its controversial and robust confrontations with the colonial and apartheid past. He visits India and reads in its modern art the gesture of a newly minted heritage idealizing the precolonial world as the source of Indian modernity. He traverses the United States and finds in its heritage of incessant invention, small town exceptionalism, and settler destiny a key to contemporary American media-driven politics. Showing how destabilizing, ambivalent, and potentially dangerous heritage is as a producer of contemporary social, aesthetic, and political realities, Herwitz captures its perfect embodiment of the struggle to seize culture and society at moments of profound social change. (shrink)

Princess Diana, Jackie O, Grace Kelly—the star icon is the most talked about yet least understood persona. The object of adoration, fantasy, and cult obsession, the star icon is a celebrity, yet she is also something more: a dazzling figure at the center of a media pantomime that is at once voyeuristic and zealously guarded. With skill and humor, Daniel Herwitz pokes at the gears of the celebrity-making machine, recruiting a philosopher's interest in the media, an eye for (...) society, and a love of popular culture to divine our yearning for these iconic figures and the role they play in our lives. Herwitz portrays the star icon as caught between transcendence and trauma. An effervescent being living on a distant, exalted planet, the star icon is also a melodramatic heroine desperate to escape her life and the ever-watchful eye of the media. The public buoys her up and then eagerly watches her fall, her collapse providing a satisfying conclusion to a story sensationally told—while leaving the public yearning for a rebirth. Herwitz locates this double life in the opposing tensions of film, television, religion, and consumer culture, offering fresh perspectives on these subjects while ingeniously mapping society's creation (and destruction) of these special aesthetic stars. Herwitz has a soft spot for popular culture yet remains deeply skeptical of public illusion. He worries that the media distances us from even minimal insight into those who are transfigured into star icons. It also blinds us to the shaping of our political present. (shrink)

Introduction and the birth of aesthetics -- Taste and judgment -- Art and experience -- Modern definitions of art and the problem of new media -- Conclusion: Art and truth.

Mozart's _Don Giovanni_ is an operatic masterpiece full of iconic and mythical tensions that still resonate today. The work redefines the terms of power, seduction, and morality, and the resulting conflict between the aesthetic and the ethical is deeply rooted in the Enlightenment and romanticism. _The_ Don Giovanni _Moment_ is the first book to examine the aesthetic and moral legacy of Mozart's opera in the literature, philosophy, and culture of the nineteenth century. The prominent scholars in this collection address the (...) opera's impact on the philosophical visions of Kierkegaard, Goethe, and Williams and its influence on the literary and dramatic works of Pushkin, Hoffmann, Mörike, Byron, Wagner, Strauss, and Shaw. Through a close and careful analysis of _Don Giovanni_'s literary and philosophical reception and its many appropriations, rewritings, and retellings, these contributors treat the opera as a vantage point from which theory and philosophy can reconsider romanticism's central themes. As lively and passionate as the opera itself, these essays continue the spirited debate over the meaning and character of _Don Giovanni_ and its powerful legacy. Together they prove that Mozart's brilliant artistic achievement is as potent and relevant today as when it was first performed two centuries ago. (shrink)

That [John] Cage’s challenge to our musical beliefs, attitudes, and practices is posed from the difficult perspective of a Zen master has often been discussed. What has been neglected both by Cage himself and by others is another equally potent challenge to the ordinary which Cage formulates in a related but distinct voice: that of the philosopher. Through his relentless inquiry into new music, Cage had defined certain radical possibilities for musical change. What is in effect his skepticism about music (...) as we know it contains a cogent analysis of our musical concepts and practices: of what it is for us ordinarily to believe that something is music as opposed to not music, and of how those beliefs about music connect with styles of feeling and treating what we hear when we hear it as music. Indeed it is Cage’s genius to have established the topic of skepticism about music as an issue for philosophy and cultural criticism. Cage’s radical perspective on our musical beliefs allows us to consider both what those beliefs are and whether and how they might be justified. This invitation to philosophical response is an important feature of the avant-garde which Cage shares with Duchamp in plastic art, Gordon Matta-Clarke in architecture, and others. I wish to give it its due by outlining and addressing Cage’s skepticism about music. Daniel A. Herwitz is an assistant professor of philosophy at California State University, Los Angeles. He is currently at work on a book exploring philosophical tendencies in twentieth-century music, art, and architecture. (shrink)

A meditation on the lessons to be learned from South Africa's transformation in the wake of apartheid. Justice, truth, and identity; race, society, and law--all come into dramatic play as South Africa makes the tumultuous transition to a post-apartheid democracy. Seeking the timeless through the timely and trying to find the deeper meaning in the sweep of events, Daniel Herwitz brings the vast resources of the philosophical essay to bear on the new realities of post-apartheid South Africa--from racial (...) identity to truth commissions, from architecture to film and television. A public intellectual's reflections on public life, Herwitz's essays question how the new South Africa has constructed its concepts of reconciliation and return and how its historical emergence has meant a rethinking, reimagining, reexperiencing, relabeling, and repoliticizing of race. Herwitz's purpose is to give a philosophical reading of society--a society already relying on implicitly philosophical concepts in its social and political agendas. Working through these concepts, testing their relevance for reading society, his book itself becomes a part of the politics of definition and description in the new South Africa. (shrink)

Arthur Danto once stood next to Andy Warhol at a gallery opening while Warhol autographed his wife's brochure. For Danto, Warhol embodied the age and its aspirations: a philosophical artist in gel. Danto was also writing autobiographically in describing Warhol's before and after. The before and after made them alike: each became a modernist figure of unparalleled boldness, audacity, and brilliance. A number of critics understood that Warhol was pushing against the limits of art in a way that forced abstract (...) reflection on what art was, is, and could be. Danto reasoned that a cultural background puts in place a set of concepts allowing one thing to be schematized differently from a visually indiscernible counterpart. Warhol's work was to him more like declarative language than anything else: it spoke in virtue of a shared background of concepts, which he called a theory. (shrink)

Francis Fukuyama has argued that history has come to an end. His argument is a philosophical reading of history which derives philosophical implications from empirical views about human economy, society, recent history and the human conditions for self-realization and flourishing. It is this movement between empirical description and philosophical conceptualization that my paper explores, a movement which is both fascinating and problematical. The paper does not seek to “refute” Fukuyama, whose ideas have great currency with significant reason and assumes that (...) there is some thing significant about the idea of the end of history. It is rather concerned to insert a certain skepticism about the dialectic between empirical description and philosophical conceptualization. What the paper comes down against is the assurance that a philosophical structure can be assigned to history. The paper is part of a larger project about philosophical constructions of finality where similar conclusions are drawn. These are drawn in order to suggest that much of the modern/postmodern debate operates within an Hegelian frame work that entitles a philosophical reading of human affairs with respect to their finality, a finality which is supposed to be happening now. (shrink)

Rex Butler _Jean Baudrillard: The Defense of the Real_ London and New Delhi: Sage Publications and Thousand Oaks, 1999 ISBN 0-7619-5833-9 vii + 181 pp.

Gonzales tells Mark Crimmins (1992) that Crimmins knows him under two guises, and that under his other guise Crimmins thinks him an idiot. Knowing his cleverness, but not knowing which guise he has in mind, Crimmins trusts Gonzales but does not know which of his beliefs to revise. He therefore asserts to Gonzales. (FBI) I falsely believe that you are an idiot.

Studies of change blindness indicate that more intentional monitoring of changes is necessary to successfully detect changes as scene complexity increases. However, there have been conflicting reports as to whether people are aware of this relation between intention and successful change detection as scene complexity increases. Here we continue our dialogue with [Beck, M. R., Levin, D. T., & Angelone, B. . Change blindness blindness: Beliefs about the roles of intention and scene complexity in change detection. Consciousness and Cognition, 16, (...) 31–51; Beck, M. R., Levin, D. T., & Angelone, B. . Metacognitive errors in change detection: Lab and life converge. Consciousness and Cognition, 16, 58–62] by reporting two experiments that show participants do in fact intuit that more intentional monitoring is needed to detect changes as scene complexity increases. We also discuss how this dialogue illustrates the need for psychological studies to be grounded in measurements taken from real world situations rather than laboratory experiments or questionnaires. (shrink)