Much art is committed to political causes. However, does art contribute something unique to political discourse, or does it merely reflect the insights of political science and political philosophy? Here I argue for indispensability of art to political discourse by building on the debate about artistic cognitivism, the view that art is a source of knowledge. Different artforms, I suggest, make available specific epistemic resources, which allow audiences to overcome epistemic obstacles that obtain in a given ideological situation. My goal (...) is to offer a general model for identifying cognitive advantages for artworks belonging to distinct artforms and genres, in a way that can account for each artwork’s historical and cultural specificity. More speculatively, however, my account also comments on the ancient struggle between philosophy and the arts as competing modes of persuasion, and expands our notion of legitimate political discourse to include a greater plurality of discursive genres. (shrink)

This paper argues for a realist position in the metaphysics of aesthetic properties. Realist positions about aesthetic properties are few and far between, though sometimes developed by analogy to realism about colours. By contrast, my position is based on a disanalogy between aesthetic properties and colours. Unlike colours, aesthetic properties are perceived as relatively unsteady properties: as powers that objects have to cause a certain experience in the observer. Following on from this observation, I develop a realist account of aesthetic (...) properties as causally efficient powers, analogous to properties like fragility or poisonousness. To show how such a view can be made ontologically respectable, I draw on recent ‘dispositionalist’ accounts of powers in philosophical metaphysics. I then offer two arguments in favour of this view. First, the view matches the phenomenology of aesthetic judgement. Second, the view offers an explanation of how it is that critics can demand agreement with their aesthetic judgements. (shrink)

The last twenty‐five years have seen a radical shift in the work of politically committed artists. No longer content to merely represent social reality, a new generation of artists has sought to change it, blending art with activism, social regeneration projects, and even violent political action. I assess how this form of contemporary art should lead us to rethink theories of artistic value and argue that these works make a convincing case for an often‐dismissed position, namely, the pragmatic view of (...) artistic value. However, the pragmatic view, when properly applied, sets the bar high indeed—art that tries to change society should be considered good art only when it succeeds in making a tangible difference. (shrink)

How can conceptual art contribute to political discourse? By the late 1960s, New York conceptual artists like Adrian Piper were faced with this difficult question. Conceptual artistic experiments seemed removed from the anti-war, anti-racist and feminist struggles, while personally many artists became increasingly involved in activism. I revisit the knotty relationship between art and politics through a close analysis of Piper's work in this period. Against the received view, I argue that Piper's early work was remarkably devoid of political concerns, (...) however, I also show how Piper’s later, anti-racist work, crucially derived from the rhetorical strategies, which she had developed earlier. Bridging art historical and philosophical approaches, this investigation culminates in a new philosophical view of the relationship between art and (anti-racist) political discourse: art emerges as a creative form of political rhetoric. (shrink)

What role do images play in philosophical persuasion? With the advent of bio-art in the 1990s, a new vista opened up for this age-old puzzle: the possibility of creating images through bioengineering of living matter. Here, I test the critical intentions of bio-artists by setting up a comparison between, on the one hand, bio-art, and on the other, bioethics, a philosophical discipline, which developed at around the same time as this new artform. I argue there is an aspect of ethics--'the (...) difficulty of reality' in Cora Diamond's coinage--which analytic bioethics obscures, and which art can help us come to terms with. I develop my argument by comparing the work of artists Eduardo Kac, Stelarc and Maja Smrekar, with utilitarian bioethics by philosophers like Julian Savulescu. Philosophical concepts of the living presence, the viral image and the pensive image are revisited through this inquiry. (shrink)

In Art Incorporated, you seek to debunk the myth of the artworld as autonomous of the market forces of global capitalism. Instead, you argue, works of art have become yet another commodity. However, one could say that works of art have always been commodities as well as objects of aesthetic appreciation. What makes the problem pertinent now, in the age of artists like Takashi Murakami, Jeff Koons and Damien Hirst?

Art, as discussed in the third book of Arthur Schopenhauer’s The World as Will and Representation, plays a double role in his philosophical system. On one hand, beholding an object of aesthetic worth provides the spectator with a temporary cessation of the otherwise incessant suffering that Schopenhauer takes life to be; on the other, art creates an epistemological bridge between ourselves and the world as it really is: unlike science which only studies relations between things, contemplation of art leads to (...) knowledge of that which is “alone really essential to the world, the true content of its phenomena.” (WWR1: 184) It is this second aspect of Schopenhauer's aesthetics that is both appealing and curious: while Schopenhauer's aesthetics and epistemology are both rooted in his picture of the world as Will, which is (taken at face value) deeply counter-intuitive, it yet seems to me that by assigning epistemic value to art, he manages to capture the quality of profundity with which certain works of art strike us – a profundity that is accounted for neither by reference to mere enjoyment nor by reference to paraphrasable, propositional knowledge. (shrink)

In the field of contemporary continental ontology, Speculative realist thinkers are now grappling with the genealogy of their ideas in the history of modern philosophy. The Speculative Realism movement prompted a debate, criticizing the predominant postmodernist orientation in philosophy, which located its origins in Kantian "correlationism" which supposedly ended the period of early modern naive realist metaphysics by showing that the mind and the outside world can only ever be understood as correlates. The debate over a new kind of realism (...) has attracted many supporters and critics. In order to refocus its specific interpretation of modern philosophy in general and of the Kantian gesture in particular, this volume brings together major authors working on contemporary ontology and historians of ideas. It underlines and illustrates the fact that contemporary continental philosophy is rediscovering its past in original ways by productively re-interpreting some of the key concepts of modern philosophy. The perspectives and accounts of the key concepts of the history of philosophy are different in the views of individual contributors, and sometimes radically so, yet the discussion between contemporary realists and their critics shows that the real battleground of new ideas lies not in developing the philosophical motifs of the end of the 20th century, but rather in rethinking the milestones of modern philosophy. (shrink)

_An exploration of the relationship between contemporary art, politics, and activism, Artists Remake the World introduces readers to the political ambitions of contemporary art in the early twenty-first century and puts forward a new, wide-ranging account of art’s political potential. Surveying such innovations as evidence-driven art, socially engaged art, and ecological art, the book explores how artists have attempted to offer bold solutions to the world’s problems. Vid Simoniti offers original perspectives on contemporary art and its capacity as a force (...) for political and social change. At its best, he argues, contemporary art allows us to imagine utopias and presents us with hard truths, which mainstream political discourse cannot yet articulate. Covering subjects such as climate change, social justice, and global inequality, Simoniti introduces the reader to a host of visionary contemporary artists from across the globe, including Ai Weiwei, Olafur Eliasson, Wangechi Mutu, Naomi Rincón Gallardo, and Hito Steyerl. Offering a philosophy of contemporary art as an experimental branch of politics, the book equips the reader with a new critical apparatus for thinking about political art today. (shrink)

Against recent criticisms of idealism coming from the camp of the so-called New Realists, this volume shows that there is (and always has been) more to idealism than mind-centered ontology. The chapters by a group of both leading and up-and-coming scholars show that idealism can be approached from a plethora of angles, both contemporary and historically inspired, and that this broader view is precisely what may save its reputation in the 21st century.

1. Svet -- 2. Preizkušanje meja izrekljivega.

Že od vsega začetka je dobro znano, da so se po padcu Troje Ahajci surovo znesli nad preživelimi Trojanci, samo proti dvema, Eneju in Antenorju, so se zaradi starega gostinskega prijateljstva in ker sta se zmeraj zavzemala za mir in vrnitev Helene, odpovedali slehernemu vojnemu pravu. Nato je po raznih nezgodah Antenor z množicoEnetov, ki so bili zaradi upora pregnani iz Paflagonije in so, ker so pred Trojo izgubili kralja Pilajmena, iskali voditelja in bivališče, prišel v najbolj notranji zaliv Jadranskega (...) morja. Eneti in Trojanci so pregnali Evganejce, ki so prebivali med morjem in Alpami, in zasedli njihovo ozemlje. Kraj, kjer so najprej stopili na kopno, se imenuje Troja in po njem so poimenovali Trojanski okraj. Vsemu ljudstvu je ime Veneti. (shrink)

The article challenges the first premise of?speculative realism?, according to which, with Kant, the contact with the outside world was lost. Instead, it will be shown that the possibility of realism received its major impulse from two grand figures of German Idealism, from Kant as a precursor of the Romantic period and from Hegel as its, albeit critical, philosophical culmination. Based on three possible relations of knowledge to its outside, three ontologies will be distinguished, the ontology of immediacy, stretching from (...) rationalists to the last empiricists, Kant?s ontology of totalization, and, finally, Hegel?s?ontology of release? or?de-totalization?. As opposed to Descartes?s thing being constantly doubted in its existence, as opposed to Malebranche?s occasion being invariably induced by God, as opposed to Leibniz?s monad being an immediate embodiment of an idea, as opposed to Berkeley?s object vanishing when not perceived, and as opposed to Hume?s world lacking necessity, Kant philosophically warranted a world that does not have to be perpetually verified and can, hence, exist devoid of ideas produced by God and outside the constancy of the human gaze. Kant secured the normal and necessary existence of the world behind our backs and procured us with the common-sense normality of the world, but it was only Hegel?s absolute subjectivism that granted us the first glimpses into the radical meaninglesness of the facticity. It was not until Hegel?s logic of indifference of the notion to its immediate content that an egress of the circle of Kant?s totalization was made possible. nema. (shrink)

As an alternative to speculative realism, this book claims that realism is not a stance that became impossible with Kant but instead represents a concomitant phenomenon of modern reason, however obscure. The realist stance can be claimed only at the precarious pinnacle of the dialectic of totalization and release, where the overarching activity of the subject switches into a mode of de-totalizing release of the world from the constraints of consciousness and language.

Works of literature represent stories, characters, and events: these are the contents of a work. Often, the contents of literary works are fictional; however, it is just as characteristic of works of literature that these contents are narrated in a distinct style of writing, in an author’s distinct literary “voice.” In this paper, I consider whether works of literature might represent something over and above their fictional contents in virtue of their style alone and what consequences this might have for (...) our thinking about aesthetic education. Both of these concerns—with what works of art represent and what kind of knowledge they make available to us—have been central to recent analytic philosophy of art. While I.. (shrink)

The story of Andy Warhol is in many ways a story of an outsider breaking into the mainstream. Born into a working class immigrant family, queer, poor, and deeply self-conscious about his appearance, Warhol turned his fortunes around to become not only a wildly successful artist in the 1960s but one of the era’s arbiters of taste. His best-known dictum was that ‘in the future, everyone will be world-famous for fifteen minutes’, although this was patently untrue of his own art. (...) Celebrities came and went, but his star shone for a long time and is now firmly fixed in the firmament of art history. (shrink)