Bhabha, Georges Didi-Huberman, David Morgan and Lee Siegel, as well as a series of focused contributions by Yve-Alain Bois, Wendy Doniger, Kenneth Frampton, Martin E. Marty, John Hallmark Neff, Annemarie Schimmel, and Helen Tworkov consider how rapture resonate's both in a cultural context and within the experience of a single human being.

Deux ouvrages croisent la création des femmes artistes et les luttes féministes, liés à deux expositions à Los Angeles et à New York. Le premier dresse pour les années 1960 et 1970 un bilan rétrospectif des rapports entre la création des femmes et les mouvements féministes aux États-Unis et en Europe occidentale, le second partant des années 1990 jusqu’à aujourd’hui se veut tourné vers l’avenir et ouvert aux autres cultures. Wack! Art and the Feminist Revolution : le titre exclamatif (...) entend... (shrink)

Since the 1960s, many artists have incorporated ecological concerns into their work, an endeavor that has required new strategies in art-making. To explore recent American manifestations of these interests, the David and Alfred Smart Museum commissioned new projects from artists Mark Dion, Peter Fend, and Dan Peterman, each focusing on interrelationships between particular organisms—human beings-and a specific group of sites—a museum building, a river landscape, and a university campus. The results, exhibited at the Smart Museum during the (...) summer of 2000, evoke the varied scales, from the microscopic to the global, at which human actions affect the environment. This catalog documents each of the artists' projects through an array of images and words: Smart Museum Associate Curator Stephanie Smith provides an introduction and brief overviews of the three projects, each of the artists contribute statements, and photographers Susan Anderson and Tom van Eynde document—in over 100 images—the processes and projects that comprise the exhibition. (shrink)

Accompanying an exhibition organized by the Whitney Museum of American Art, New York, this book is the most comprehensive catalogue on the work of this internationally recognized architectural firm.

Patina is the word used for the green or brown film formed on the surface of old bronze, an excess of which can mask the true characteristics of the original masterpiece. Filippo Baldinucci used the word patina in a modern sense for first time in his book “Tuscan Vocabulary of the Art of Design”. Metaphors have been part of philosophical speech since the time of Plato. This figure of speech is used to attempt to provide a sensitive presence of an (...) idea to improve understanding and to make a more vivid perception of that concept. On analysing the creative process of contemporary re-search on health topics and its further dissemination, we defend the epistemological thesis that there is always some degree of patina on an original article and this may obscure the underlying scientific work. Conclusion: We consider that patina in scientific papers is very different from the concept of epidemiological bias. We think that any researcher who reads an original article acts as a restorer of knowledge. If a reader is aware of the existence of scientific patina, that reader will know how to look through it and see the masterpiece hidden underneath. (shrink)

Collecting ethnographic items for the Estonian National Museum has been linked to the practice of buying objects during fieldwork. Often we can find metaphors or expressions connected with trading in the Komi fieldwork diaries. Comparing ethnographers with merchants is a stereotypical way of describing the activities of Estonian researchers in the field. If ethnographers use, in their diaries, metaphors and expressions connected to trading, it may be just a spontaneous phrasing or inter-textual play of words. Inside the community of (...) Estonian ethnologists there exists some kind of discourse style, which is followed in the fieldwork diaries, more or less consciously. This style of narration is also connected to the specific social and historical context in which ethnographers act. At the same time, even satiric inter-textual quotations do not exclude the possibility that some of this discourse is related to a deeper level of human consciousness. (shrink)

Collecting ethnographic items for the Estonian National Museum has been linked to the practice of buying objects during fieldwork. Often we can find metaphors or expressions connected with trading in the Komi fieldwork diaries. Comparing ethnographers with merchants is a stereotypical way of describing the activities of Estonian researchers in the field. If ethnographers use, in their diaries, metaphors and expressions connected to trading, it may be just a spontaneous phrasing or inter-textual play of words. Inside the community of (...) Estonian ethnologists there exists some kind of discourse style, which is followed in the fieldwork diaries, more or less consciously. This style of narration is also connected to the specific social and historical context in which ethnographers act. At the same time, even satiric inter-textual quotations do not exclude the possibility that some of this discourse is related to a deeper level of human consciousness. (shrink)

In the museum context, curators and conservators often play a role in shaping the nature of contemporary artworks. Before, during and after the acquisition of an art object, curators and conservators engage in dialogue with the artist about how the object should be exhibited and conserved. As a part of this dialogue, the artist may express specifications for the display and conservation of the object, thereby fixing characteristics of the artwork that were previously left open. This process can (...) make a significant difference to the visual appearance of the work, the nature of the audience's experience, and how the work should be interpreted. I present several case studies in which the nature of the artwork has been shaped by such dialogues, and discuss principles for resolving cases in which there is a conflict between instructions specified by the artist and those adopted by the museum. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Pragmatist Aesthetics and New Visions of the Contemporary Art Museum:The Tate Modern and the Baltic Centre for Contemporary ArtAngela Marsh (bio)John Dewey mandated the repositioning of our experience of art within the realm of the everyday, and recognized the importance of art objects principally with regard to how they operate within an experience as "carriers of meaning."1 In this quote from Art as Experience, Dewey illustrates (...) the segue between art and the perceiver, and his belief that within the profound art experience, lived dichotomies are healed:In art as an experience, actuality and possibility or ideality, the new and the old, objective material and personal response, the individual and the universal, surface and depth, sense and meaning, are integrated in an experience in which they are all transfigured from the significance that belongs to them when isolated in reflection.2Although the ephemeral nature of Dewey's definition of art-as-experience — hinged upon immediacy and the subjective heuristics of the perceiver — may seem difficult to capture and apply, the practicality of the concept, Richard Shusterman argues, lies in its "transformative potential," as a way to reconceive the place of art and its function in our world:Defining art as experience, I argue, also has value in widening the realmof art by challenging the rigid definition between art and action that is supported by definitions that define art as mimesis, poiesis, or the narrow practice as defined by the institutional art world. In other words, I argue that Dewey's definition of art as experience has a very fruitful transformational potential.3By defining art as experience, Dewey also sought to dissolve the binary structures of aesthetic rifts: art and life, high art and low art, body and mind, subject and object, self and world, emphasizing the holistic action in our engagement with art.4 But according to Dewey, the divisor of art from life and thus to blame for the aesthetic barrenness of our lived reality is the museum institution, as Shusterman describes: [End Page 91]The compartmentalization and spiritualization of art as an elevated "separate realm" set "upon a far-off pedestal," divorced from the materials and aims of other human effort, has removed art from the lives of most of us, and thus impoverished the aesthetic quality of our lives.(PA, 19)However, we must keep in mind that Art as Experience was published in 1934. Today, new approaches towards encounter and engagement within public museums are taking form and gaining momentum, with unprecedented directorial visions and mandates designed to nurture and make accessible art-based experiences among diverse audiences — where art and life can meet via multiple approaches. Theoretical synchronicities between pragmatist approaches to aesthetics and fruitful museum experiences can be suggested upon consideration of various innovative programs and approaches initiated at the Tate Modern in London and the Baltic Center for Contemporary Art in Gateshead. The overwhelming success of both venues could signify a reengagement of the general public with contemporary art, fed by "democratic," participatory approaches to exhibiting and programming art that make the museum more accessible to the various mixed publics it serves. In light of these new museological developments, Dewey's polemic oppositions between his conceptualizations of the museum experience and "art-as-experience" should be reexamined and possibly redefined.Dewey was entirely opposed to the concept of "art for art's sake." By exonerating art of any functional value — deeming it "fine" — art was elevated to a position separate from life, and thus rendered impotent to effect a lived aesthetic experience (which is how, Dewey would argue, the arts function most powerfully — as the purveyors of heightened experience). As Shusterman describes:The underlying motive for such attempts to purify art from any functionality was not to denigrate it as worthlessly useless, but to place its worth apart from and above the realm of instrumental value...and this freedom from use would be its defining and ennobling feature.(PA, 9)Dewey (and Shusterman) thus maintained that the very power construct that put the "fine" in art did so by removing the aspect of function from it. As previously stated, Dewey blamed museum institutions for removing art from its... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Pragmatist Aesthetics and New Visions of the Contemporary Art Museum:The Tate Modern and the Baltic Centre for Contemporary ArtAngela Marsh (bio)John Dewey mandated the repositioning of our experience of art within the realm of the everyday, and recognized the importance of art objects principally with regard to how they operate within an experience as "carriers of meaning."1 In this quote from Art as Experience, Dewey illustrates (...) the segue between art and the perceiver, and his belief that within the profound art experience, lived dichotomies are healed:In art as an experience, actuality and possibility or ideality, the new and the old, objective material and personal response, the individual and the universal, surface and depth, sense and meaning, are integrated in an experience in which they are all transfigured from the significance that belongs to them when isolated in reflection.2Although the ephemeral nature of Dewey's definition of art-as-experience — hinged upon immediacy and the subjective heuristics of the perceiver — may seem difficult to capture and apply, the practicality of the concept, Richard Shusterman argues, lies in its "transformative potential," as a way to reconceive the place of art and its function in our world:Defining art as experience, I argue, also has value in widening the realmof art by challenging the rigid definition between art and action that is supported by definitions that define art as mimesis, poiesis, or the narrow practice as defined by the institutional art world. In other words, I argue that Dewey's definition of art as experience has a very fruitful transformational potential.3By defining art as experience, Dewey also sought to dissolve the binary structures of aesthetic rifts: art and life, high art and low art, body and mind, subject and object, self and world, emphasizing the holistic action in our engagement with art.4 But according to Dewey, the divisor of art from life and thus to blame for the aesthetic barrenness of our lived reality is the museum institution, as Shusterman describes: [End Page 91]The compartmentalization and spiritualization of art as an elevated "separate realm" set "upon a far-off pedestal," divorced from the materials and aims of other human effort, has removed art from the lives of most of us, and thus impoverished the aesthetic quality of our lives.(PA, 19)However, we must keep in mind that Art as Experience was published in 1934. Today, new approaches towards encounter and engagement within public museums are taking form and gaining momentum, with unprecedented directorial visions and mandates designed to nurture and make accessible art-based experiences among diverse audiences — where art and life can meet via multiple approaches. Theoretical synchronicities between pragmatist approaches to aesthetics and fruitful museum experiences can be suggested upon consideration of various innovative programs and approaches initiated at the Tate Modern in London and the Baltic Center for Contemporary Art in Gateshead. The overwhelming success of both venues could signify a reengagement of the general public with contemporary art, fed by "democratic," participatory approaches to exhibiting and programming art that make the museum more accessible to the various mixed publics it serves. In light of these new museological developments, Dewey's polemic oppositions between his conceptualizations of the museum experience and "art-as-experience" should be reexamined and possibly redefined.Dewey was entirely opposed to the concept of "art for art's sake." By exonerating art of any functional value — deeming it "fine" — art was elevated to a position separate from life, and thus rendered impotent to effect a lived aesthetic experience (which is how, Dewey would argue, the arts function most powerfully — as the purveyors of heightened experience). As Shusterman describes:The underlying motive for such attempts to purify art from any functionality was not to denigrate it as worthlessly useless, but to place its worth apart from and above the realm of instrumental value...and this freedom from use would be its defining and ennobling feature.(PA, 9)Dewey (and Shusterman) thus maintained that the very power construct that put the "fine" in art did so by removing the aspect of function from it. As previously stated, Dewey blamed museum institutions for removing art from its... (shrink)

Over a decade ago, Arthur Danto announced that art ended in the sixties. Ever since this declaration, he has been at the forefront of a radical critique of the nature of art in our time. After the End of Art presents Danto's first full-scale reformulation of his original insight, showing how, with the eclipse of abstract expressionism, art has deviated irrevocably from the narrative course that Vasari helped define for it in the Renaissance. Moreover, he leads the way to a (...) new type of criticism that can help us understand art in a posthistorical age where, for example, an artist can produce a work in the style of Rembrandt to create a visual pun, and where traditional theories cannot explain the difference between Andy Warhol's Brillo Box and the product found in the grocery store. Here we are engaged in a series of insightful and entertaining conversations on the most relevant aesthetic and philosophical issues of art, conducted by an especially acute observer of the art scene today.Originally delivered as the prestigious Mellon Lectures on the Fine Arts, these writings cover art history, pop art, "people's art," the future role of museums, and the critical contributions of Clement Greenberg--who helped make sense of modernism for viewers over two generations ago through an aesthetics-based criticism. Tracing art history from a mimetic tradition through the modern era of manifestos, Danto shows that it wasn't until the invention of Pop art that the historical understanding of the means and ends of art was nullified. Even modernist art, which tried to break with the past by questioning the ways of producing art, hinged on a narrative.Traditional notions of aesthetics can no longer apply to contemporary art, argues Danto. Instead he focuses on a philosophy of art criticism that can deal with perhaps the most perplexing feature of contemporary art: that everything is possible. (shrink)

Contemporary art can seem chaotic: it may be made of toilet paper, candies you can eat, or meat that is thrown out after each exhibition. Some works fill a room with obsessively fabricated objects, while others purport to include only concepts, thoughts, or language. Immaterial argues that, despite these unruly appearances, making rules is a key part of what many contemporary artists do when they make their works, and these rules can explain disparate developments in installation art, conceptual (...) art, time-based media art, and participatory art. -/- Sherri Irvin shows how rules are now an artistic medium: they are part of the work's structure and shape what it expresses. Rules are meaningful in themselves and help to activate the meanings of non-art materials and found objects, so audiences need to know about the rules to get the most out of their art experiences. Loss of information about the rules, like loss of a chunk of marble, can seriously damage the work, and preserving rules as well as objects is reshaping how museums maintain their collections. Where rules collide with real-world circumstances, they may be broken maliciously, mistakenly, or for good reasons, threatening the work's meanings and sometimes its very existence. -/- Should we celebrate the prominence of rules in contemporary art? Irvin argues that, while rules aren't always used well, they can be used to create distinctive meanings and provide powerful immersive experiences not achievable through any other means. (shrink)

In recent years, a keen interest has emerged in the world of science regarding the relationship between the biological and the psychological aspects of the mind. How can the neural activity of the brain create thoughts, memory, feelings, and emotions? The answer to this question is the subject of this book. Jorge Angel M.D. posits that, although the mind is the byproduct of the firing of neurons in different parts of the brain, it is also the organizing principle of brain (...) activity. The brain and the mind have a symbiotic relationship that is present throughout the life span of the individual. In an effort to find answers to the riddle of the mind-brain relationship, Dr. Angel describes his personal experiences of many years in the practice of the healing arts, and he draws on a lifetime of study into the biology of the brain. The author maintains that the mind is much more than consciousness. Consciousness has been described metaphorically as the small tip of an iceberg floating in a sea of unconsciousness. Dwelling on the evolutionary development of the brain, he explains how intellectual experience arises from the activity of cell aggregates in the residual reptilian, residual mammalian, and rational parts of the brain that we have inherited from our animal ancestors through billions of adaptive trade-offs over millions of years. The human mind is one of the last unresolved mysteries in the world of science. This book provides a meaningful insight into the nature and function of the mind in normal subjects and their ability to think, feel, and remember. It also portrays in detail the changes that can be brought on the mind of humans by an assortment of psychological and neurological disorders. (shrink)

In this essay, I argue that pronatalism—a social bias in favor of gestational motherhood—and geneticism—a social bias in favor of genetic motherhood—are conceptually and operationally distinct social forces that influence some women's reproductive decision making. Each of these social forces shapes the reproductive landscape, relates differently to women's identities, and causes different social stigmatization and harm. Pronatalism and geneticism warrant feminist concern because they can compromise some women's reproductive autonomy and well-being. I suggest that combating pronatalism and geneticism will require (...) different sets of media, policy, education, and health care practice strategies. (shrink)

This paper examines the ethics of contemporary managerial compensation in the context of executive stock options. Economic considerations would dictate that executive stock options should be adjusted to eliminate the effect of overall stock market movements which are beyond the control of the executive. However, in practice, most executive stock options are not adjusted to control for these outside factors. Agency considerations are the most likely culprit. Adjusting for the influence of outside factors, such as a generally rising stock (...) market, from executive stock options sets a higher bar for managers to reach. Furthermore, traditional accounting standards permitted firms that did not adjust options to avoid reporting options as expenses. This presents CEOs and boards of directors with a major ethical dilemma. On the one hand, their duty to their shareholders and stakeholders dictates that executive stock options should be adjusted to eliminate outside noise from unrelated movements in the overall stock market. However, financial statements are presented in the language of accounting. If the overwhelming majority of the users of a language define a particular item in one way, then to deviate from the norm implies that the recipient of such a deviant statement may not properly interpret the statement. Likewise, if the standard practice is for firms to use unadjusted options and thus under-report expenses, to deviate from this industry norm risks that users of financial statements would not properly interpret the financial statements, with perhaps negative consequences for the shareholders. In short, if "everyone else does it," then it could be wrong for an individual firm to deviate from the norm as that would harm the shareholders. (shrink)

First, some say that core physicalism is not anti-religion. I argue that this seems to be incorrect. Physical completeness is a core element of contemporary physicalism; (the evidence for physical completeness is strong); and physical completeness both logically and not strictly logically rejects many central religious views. Consequently, there is a sense in which core physicalism is, in an important way, anti-religion. Second, physical completeness positively supports one significant religious view; and physical completeness permits one to hold two others. (...) The view that physical completeness supports states that there is no natural grounding of the ordinarily taken boundary of the human body. The two views that physical completeness permits one to hold state that a person can be contrastlessly blissful in an ongoing way, and that a person can experience something like light circulating through the ordinary body in an ongoing way. It is further maintained that physicalism allows religious systems to develop in new forms. (shrink)

I argue that truth is relative (in the sense recently defended by some prominent analytical philosophers) by focusing on some semantic issues raised by Einstein's theory of relativity together with our ordinary attributions of truth.

This paper defends a Wittgenstein-inspired conception of the nature of mind and self-knowledge. Thus, it is claimed that the mind is to be conceived as expressive behaviour; and that knowledge of one’s own mind is not to be thought of as a matter of first-person access, i.e. a special sort of access available to oneself alone, but rather as a matter of ordinary access, similar to other people’s. It is also argued that this conception does not undermine the distinctness of (...) the first-person perspective, including the asymmetry with the third-person perspective, which should be construed semantically, rather than epistemically. As a result, an alternative to contemporary conceptions of mind and self-knowledge is provided. (shrink)

Science at the Club explores the architecture of the nightclub space as a nucleus for queer testimony, relating it to a judiciary courtroom. This performance challenges legal doctrines of forensic identification and the binary of life and death, by transforming biological and forensic material into ephemeral essences within the performance of the dance floor. Divided into a case study surrounding my performances at nightclubs, research courses taken in human remains recovery and visits to various burial sites of South Texas, I (...) pull from a variety of interdisciplinary studies relating to queer death theory, building on José Esteban Muñoz’s notion of ‘disidentification’ in relation to the human corpse, racial politics in science and the biological arts in a nightclub context. Science at the Club creates a catalyst platform challenging racial and scientific histories of the body and land within the current US political climate, while exploring questions of resurrection and disintegration with a focus on the language of forensics and identity. (shrink)

Anyone, today, with even a slight interest in the methodology of science will be aware of the heated debate which has raged in regard to the thesis of the logical symmetry between explanation and prediction, which is entailed by the hypotheticodeductive account of scientific theory. The symmetry thesis, which received its classical exposition in a well-known article by Hempel and Oppenheim [2], has been subject to a steadily growing criticism by several eminent thinkers. My intention, in this article, is to (...) argue that the current reaction to the Hempel-Oppenheim position, as exemplified by Professors Hanson, Scriven, et al., represents a retrograde movement in the philosophy of science, which, as the number of its converts grows, could undermine the progress, which has been accomplished in the broad tradition that extends from Mach and Poincaré through the Vienna Circle to the present day. Specifically, it is my contention that the aforementioned reaction is symptomatic of a contemporary trend in the direction of irrationalism which, of all branches of philosophy, the philosophy of science should seek to dispel rather than to foster. For the sake of brevity, I propose to focus my remarks wholly on the original widely read article of Hanson on this subject [1]. That I single out this particular source should not be taken to belie the admiration I hold for the masterful scholarship of its author. (shrink)

A central feature in contemporary discussions of selfknowledge concerns the epistemic status of mental selfascriptions, such as “I have toothache” or “I believe that p”. The overall project of such discussions is to provide an account of the special status of mental self-ascriptions vis-à-vis other knowledge-claims, including ascriptions of mental states to others. In this respect, two approaches have gained currency in contemporary philosophy. Some authors have focused on the notion of expression, stressing that self-ascriptions are expressions of (...) one’s mental life; whereas others have singled out the notion of transparency as crucial, since self-knowledge involves self-beliefs, and the latter are transparent to one’s available evidence. This critical notice explores one instance of each approach, in order to assess their prospects of success. It concludes that both approaches fail to articulate an account that satisfactorily accommodates the first-person component in the notion of self-knowledge. (shrink)

In this article I discuss the emergence of Female Sexual Dysfunction within American psychiatry and beyond in the postwar period, setting out what I believe to be important and suggestive questions neglected in existing scholarship. Tracing the nomenclature within successive editions of the American Psychiatric Association’s Diagnostic and Statistical Manual, I consider the reification of the term ‘FSD’, and the activism and scholarship that the rise of the category has occasioned. I suggest that analysis of FSD benefits from scrutiny of (...) a wider range of sources. I explore the multiplicity of FSD that emerges when one examines this wider range, but I also underscore a reinscribing of anxieties about psychogenic aetiologies. I then argue that what makes the FSD case additionally interesting, over and above other conditions with a contested status, is the historically complex relationship between psychiatry and feminism that is at work in contemporary debates. I suggest that existing literature on FSD has not yet posed some of the most important and salient questions at stake in writing about women’s sexual problems in this period, and can only do this when the relationship between ‘second-wave’ feminism, ‘post-feminism’, psychiatry and psychoanalysis becomes part of the terrain to be analysed, rather than the medium through which analysis is conducted. (shrink)

Religious thought often assumes that the principle of physical causal completeness (PCC) is false. But those who explicitly deny or doubt PCC, including William Alston, W. D. Hart, Tim Crane, Paul Moser and David Yandell, Charles Taliaferro, Keith Yandell, Dallas Willard, William Vallicella, Frank Dilley, and, recently, David Chalmers, have ignored not only the explicit but also the implicit grounds for acceptance of PCC. I review the explicit grounds, and extend the hitherto implicit grounds, which together constitute a greater challenge (...) to contemporary religious philosophy than has been realized. Religious philosophers need to find a better way around PCC than has been found, or, if PCC is unavoidable, religious philosophers need to work toward a worldview that both accepts PCC and defends strong forms of religious experience. (shrink)

A prevailing assumption in contemporary epistemology is that there exists a conceptual connection between the notions of belief and rationality. In this paper I examine a weak notion of rationality, according to which it is not necessary to assume the existence of a uniquc set of norms of rationality in order to be able to assign beliefi to a subject. From this point of view, belief attribution only requires that we understand a subject's utterances and, to do this, we (...) only need assume that she is similar to us in some epistemic relevant issues. (shrink)

El amanecer del año 1994 nos sorprendió con la aparición pública del Ejército Zapatista de Liberación Nacional. Más de dos décadas después empezamos a percibir la fuerza, dimensión e importancia que han tenido las mujeres -su voz, su lucha- no sólo en la organización del movimiento armado y civil que desde entonces sigue sin cesar; sino también en la articulación del pensamiento y la teoria en que sustentan y que sostiene su actuar. La política que se articula en las comunidades (...) zapatistas, en este sentido, ha reafirmado y cuestionado las luchas feministas del mundo y de América Latina. En particular, ha hecho visible lo prescindible que es la idea de las oposiciones, de las disyuntivas excluyentes. En vez de ello, ellas proponen pensar en dos nociones básicas: “todo está en par” y “el mundo parejo”. Como haré ver en este texto, estas dos cosas están a la base de su creación de una vida colectiva, de una política de lo común. Si esto es así y si pensamos que lo común es “la posibilidad de una política en femenino” entonces veremos que la zapatista es una subversión en femenino.The uprising of the Ejército Zapatista de Liberación Nacional surprised us all in the dawn of 1994. More than two decades later, we are starting to fully appreciate the force, dimension, and importance that women —their voices, their struggle—has had not only in the organization of the social and armed movement that is still very vigorous in Chiapas, but also in the theoretical and practical articulation of their thinking and acting. The politics that are currently in play in the Zapatista communities has reinforced and questioned the feminist struggles all over the world and in Latin America. In particular, it has made visible how thinking in terms of oppositions or exclusive dilemmas is and should be dispensable. We should rather start thinking in terms of “everything being in pair” and “an even world”. I will contend that these two notions support their construction of a collective life, of a politics of what is common. If this is true and if we think that what is common opens the possibility of politics in feminine, then it makes sense to think of the Zapatistassubversion as feminine. (shrink)

I discuss Robert Brandom’s contention that his “analytic” or “linguistic” pragmatism is, as his book Perspectives on Pragmatism: Classical, Recent, and Contemporary argues, a “way forward from the ideas of American pragmatists.” In this connection, I compare Brandom’s and Dewey’s answers to the demarcation question (how are linguistic practices distinguished from nonlinguistic ones) in order to show that Brandom’s linguistic “exceptionalism” departs from one fundamental contribution of the pragmatic tradition, namely the idea that discursive normativity emerges from previous, already (...) linguistic practices through the development of inquiry as a practical, social achievement (an idea summarized in Dewey’s claim that “logic is a social discipline”). I contend that Dewey’s distinction between two meanings of “language”—as a medium of communication and as an agency of inquiry—puts us in a better position to give an account of how discursive norms came into existence within language, and of what are they good for. (shrink)

We begin by taking “naturalism” in the sense in which P. F. Strawson (“Scepticism, Naturalism and Transcendental Arguments”, 1985) presented Wittgenstein’s anti-sceptical arguments as “naturalistic”. According to Strawson, this naturalism connects the philosophy of Wittgenstein with that of Hume. Then, we proceed to compare Hume’s and Wittgenstein’s positions and establish a tenet common to them, which we qualify as “meta‐philosophical”: philosophy rests on a bedrock that resists our demands of justification, a contingent “so we are, so we act” that is (...) beyond philosophical analysis. But this negative thesis leads to differentcommitments in each philosopher: a commitment with the autonomy of nature in the case of Hume, and a commitment with the autonomy of grammar in the case of Wittgenstein. Next, we analyze the epistemological implications of each commitment, particularly with reference to the status of natural science. We find a deep divergence between Hume and Wittgenstein on this point, so that the former, but not the latter, could still be labelled as “naturalist” in a positive, more substantial sense. Our central point here is the difficulty to give a naturalistic interpretation of such Wittgensteinian notions as “language game” or “form of life”. Finally, we stress that the distance between Hume and Wittgenstein is most clearly evidenced when we consider the normative (moral) implications of Hume’s concept of nature, which are completely absent from Wittgenstein’s approach, this being a feature of Wittgenstein’s philosophy that remained unchanged all along his work. (shrink)

This book bears witness to the wide range of topics of philosophical interest in which classical as well as contemporary pragmatist philosophers are involved, or to which they have made durable contributions, or simply on which they have an original word to say. Reading the headings of the six parts that make up this volume – Democracy, Normativity, Religion, Action and Habit, Inquiry, and Ontology and Meaning – one has the feeling that no other philosophical movement of the present (...) can affor... (shrink)

This book has been conceived from a series of speeches which took place during the Filmforum Festival of Udine and Gorizia whose main theme was the use of moving images in the space of contemporary art. The aim of this publication is to create a scientific framework of some of the most important artistic experiences: from the use of archive images to the newest participatory practices. The book consists of essays selected during the Filmforum Festival and the MAGIS International (...) Film Studies Spring School and texts from invited researchers. It examines the ways in which the transient qualities of time have been used in contemporary moving images production and in their display. (shrink)

How does a sign manage to represent an object? This is one of the central questions of philosophy. I want to ask a related question. How is it that several signs can represent the very same object? It is tempting to think there is little to this question beyond what can be said about the first. But things are not so simple. A pair of representations can denote the same object in a special way. For some anaphora-antecedent pairs or for (...) some occurrences of the same word, the signs corefer in a way that makes that very fact evident. In this sense, we may say that sometimes the relation of coreference is “de jure”. I begin the paper by outlining what I think are the three core properties of de jure coreference. This reveals that the phenomenon is genuine, ubiquitous and requires explanation. Next, I argue that the relation is not transitive. What this means is that just about every possible explanation is ruled out. For example, we can’t say that two signs are de jure coreferential because they mean the same thing, they are expressions of the same symbol or they correspond to the same variable, index or discourse referent. I do not pursue a solution here. (shrink)

Every time that one refers to the political philosophy that could be drawn from the so called " Last Wittgenstein ", the most habitual thing is to associate it with conservative positions, given that the majority of the available literature on the matter does it so. Nevertheless, in the last few years some philosophers, such as Chantal Mouffe and Paolo Virno, have tried to offer a new picture in which Wittgenstein fits better with democratic political ideas, even though this manoeuvre (...) requires to go beyond some presuppositions of Wittgenstein philosophy. My aim is to twofold. First, I will analyze why it has been thought that some elements ofWittgenstein’s late philosophy are compatible with political conservatism. Second, I will try to point out what notions of this network should be discarded in order to make it useful to elaborate democratic anticonservative models. This last task is necessary since it is logical to think that the same body of thought cannot be coherent with so different and even opposite political derivations. (shrink)

According to expressivism about avowals, the meaning of typical self-ascriptions of mental states is a matter of expressing an attitude, rather than describing a state of affairs. Traditionally, expressivism has been glossed as the view that, qua expressions, avowals are not truth-evaluable. Contemporary neoexpressivists like Finkelstein and Bar-On have argued that avowals are expressions, and truth-evaluable besides . In contrast, this paper provides a defence of the view that avowals are, qua expressions, truth-evaluable. This defence is based on an (...) argument from disagreement, to the effect that an adequate explanation of the existence of disagreement involving both cases of avowals and cases of nonlinguistic expression (like winces) supports a view according to which genuine (sincere, truthful) expression is what truth amounts to in avowals. (shrink)

This paper addresses two questions about audience misunderstandings of contemporary art. First, what is the institution’s responsibility to prevent predictable misunderstandings about the nature of a contemporary artwork, and how should this responsibility be balanced against other considerations? Second, can an institution ever be justified in intentionally mounting an inauthentic display of an artwork, given that such displays are likely to mislead? I will argue that while the institution has a defeasible responsibility to mount authentic displays, this is (...) not always sufficient to avoid misunderstanding; the institution will sometimes need to supply auxiliary information. And even where competing considerations require mounting an inauthentic display, thoughtful museum practice can promote the audience’s ability to grasp the work. The argument will be developed with consideration of artworks by El Anatsui, Lygia Clark, and Glenn Ligon. (shrink)

Not too long ago the trustees of my college decided to update the artistic holdings of our campus, and to this end they set out to acquire a contemporary work of art for permanent display in the College art museum. Not being timid, the trustees wanted a challenging, cutting-edge work, preferably from the West Coast, but they felt they lacked the expertise to find and buy the right piece. As it happened, a few of them had heard of (...) my interest in modernism and its philosophical challenges, and so I found myself with an unusual assignment: I was to fly to Los Angeles with a ten thousand dollar check and bring back something distinguished, a unique object to be discussed and appreciated for years to come. (shrink)