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Murray Skees [7]Murray W. Skees [1]
  1.  23
    A new traditional theory: Fetishizing big data analytics.Murray Skees - 2020 - Constellations 29 (2):146-160.
    Constellations, Volume 29, Issue 2, Page 146-160, June 2022.
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  2.  21
    Nietzsche and the Fate of Art (review).Murray Skees - 2004 - Journal of the History of Philosophy 42 (2):227-229.
    In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 42.2 (2004) 227-229 [Access article in PDF] Philip Pothen. Nietzsche and the Fate of Art. Aldershot, England: Ashgate, 2002. Pp. x + 235. Paper, $29.95. Most scholarship argues that Nietzsche grants art a position of vital importance for culture, history, and philosophy. Philip Pothen seeks to challenge this general view of Nietzsche [End Page 227] while at the same time raising new questions (...)
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  3.  15
    A Synecdoche.Murray Skees - 2010 - Film and Philosophy 14:81-98.
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    Digital Flânerie: Illustrative Seeing in the Digital Age.Murray Skees - 2010 - Critical Horizons 11 (2):265-287.
    This paper investigates a contemporary flowering of flânerie similar to that which Walter Benjamin analyzed in the first decades of the Parisian arcades. The flâneur has resurrected in a new space of the recent past as the computer hacker of digital culture. There is, however, a significant difference between the two figures’ ways of relating to the world that gives the hacker an important socio-political agency – with which Benjamin tried, unsuccessfully, to imbue in the flâneur.
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  5.  11
    Grab Them by the Public: Trump, Twitter, and the Affective Politics of Our Fragmented Democracy.Murray Skees - 2020 - Telos: Critical Theory of the Contemporary 2020 (191):11-32.
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  6.  82
    Kant, Adorno and the work of art.Murray W. Skees - 2011 - Philosophy and Social Criticism 37 (8):915-933.
    The concept of autonomy has had a central place in the German aesthetic tradition since the eighteenth century, specifically, after Kant's Critique of the Power of Judgment. Although Kant denied that aesthetic judgments yield cognitive truth, aesthetic judgments are autonomous in that they do not rely on or presuppose a concern with the object's purpose, utility, or even its actual existence. For Theodor Adorno, the autonomy of art lies in the work of art, in its production, not specifically in the (...)
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  7.  41
    The Lex Permissiva and the Source of Natural Right in Kant’s Metaphysics of Morals and Fichte’s Foundations of Natural Right.Murray Skees - 2009 - International Philosophical Quarterly 49 (3):375-398.
    This article argues that Fichte is correct in claiming, as he does in the Foundations of Natural Right, that a derivation of the law of right from the moral law is impossible because the former relies on lex permissiva. I focus on Kant’s deduction of the concept of merely intelligible possession in the Metaphysics of Morals precisely because Kant attempts what Fichte says is not possible. By illustrating the problems involved in the concept of the lex permissiva, one is then (...)
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