John Stuart Mill considered his A System of Logic , first published in 1843, the methodological foundation and intellectual groundwork of his later works in ethical, social, and political theory. Yet no book has attempted in the past to engage with the most important aspects of Mill's Logic . This volume brings together leading scholars to elucidate the key themes of this influential work, looking at such topics as his philosophy of language and mathematics, his view on logic, induction and (...) deduction, free will, argumentation, ethology and psychology, as well as his account of normativity, kinds of pleasure, philosophical and political method and the "Art of Life.". (shrink)

This chapter argues that two distinct, yet connected, contexts – Mill's “mental crisis” and his task as a “Logician” – led to the formation of two arguments on the value of art. On one hand, Mill argued that aesthetic cultivation was important as an end in itself. Excellence was to be pursued disinterestedly as part of a beautiful life. On the other, Mill argued aesthetic cultivation was important as a means to the utilitarian end – strengthening the social sympathies made (...) social happiness attainable. The first argument highlights what Mill thought was missing from the theory of his utilitarian predecessors, while the second brought Mill closer to this tradition, rather than moving him further away from it. (shrink)

Volume 52, Issue 7, July 2020, Page 709-715.

The successful specification of the definition of art has so far proven elusive. Discouraged by repeated failed attempts at the definition of art, numerous anti-essentialist philosophers have suggested alternative accounts. In this paper I defend the project of the definition of art by arguing that the strongest anti-essentialist arguments are unsuccessful in ruling out either the possibility or the value of a definition of art. Based on my observations regarding a blind spot in Wittgenstein’s anti-essentialist “look and (...) see” approach, I conclude by suggesting a new avenue of investigation for essentialism regarding art. (shrink)

Short overview of the From Small Beginnings Project and its relevance for resisting eugenics in contemporary society.

A central point of contention between Critical Theory and Heideggerian thinking concerns the question of truth. Whereas Martin Heidegger orients his conception of truth towards the ongoing disclosure of Being, Jürgen Habermas regards truth as one dimension of validity in 'communicative action'. Unlike Habermas, who usually emphasizes validity at the expense of disclosure, Heidegger tends to emphasize disclosure at the expense of validity. The essay uses Heidegger's 'The Origin of the Work of Art' as its point of departure. While reclaiming (...) elements from his account of artistic truth, I criticize his reactionary conception of art's vocation, and I propose a notion of aesthetic validity that does justice to modern and contemporary art. Key Words: aesthetics • art • Critical Theory • disclosure • Jürgen Habermas • Martin Heidegger • imagination • responsibility • truth • validity. (shrink)

This study examines the specifics of the theme of the anti-Japanese war in Chinese art at various stages from the 1930s to the beginning of the XXI century. The key works of graphic artists and painters are selected as the material, which mark the key points of the evolution of the topic under consideration. Images in Chinese art associated with the events of the anti-Japanese War or the "War of Resistance" have been created by artists for more than (...) seven decades, changing and transforming in accordance with political, ideological, socio-cultural and artistic-stylistic factors. This topic is extremely important for the people, since it was she who gave the art of the newly born New China in the XX century a historical dimension, determined the measure of responsibility of Chinese artists to society and partly the aesthetic paradigm of the evolution of the arts. Moreover, it has served and continues to serve as a source of inspiration for new generations of masters of historical painting, especially battle artists. As a result of the analysis and generalization, four stages are distinguished. The first one is connected with the work of wartime graphs, which recorded the most important moments of the confrontation between the two armies and peoples, determining the general realistic orientation in the development of the theme and its iconography. The middle of the century is the time of the establishment of images associated with the anti-Japanese war as the main line in Chinese painting, the appearance of multi-figure subject canvases, including in the battle genre. The last third of the XX century is defined as the period of transition from the glorification of events to the embodiment of the understanding of that war as a national tragedy, as well as the enrichment of romanticized realism with new artistic forms. At the beginning of the new century, artists tended to create large-scale canvases, saturating them with complex symbolic meanings and details. Such changes indicate the continuation of the evolution of the topic under study and its further transformations. (shrink)

Serene Khaders Decolonizing Universalism präsentiert eine erhellende Theorie darüber, wie ein antiimperialer, transnationaler Feminismus heute verstanden werden sollte. Im Mittelpunkt ihrer Theorie steht eine Definition von Feminismus als Widerstand gegen sexistische Unterdrückung, welche sie als systematische Benachteiligung, die Frauen wegen ihres Frau-Seins erfahren, versteht. Allerdings begründet Khader nur sehr kursorisch, warum diese Definition von Unterdrückung am besten für einen antiimperialen, transnationalen Feminismus geeignet ist. Dieser Artikel argumentiert, dass Khader nicht nur eine ausführlichere Begründung schuldig bleibt, sondern dass ihr Konzept von (...) Unterdrückung mit einigen der Ziele ihrer Theorie sowie mit den Begründungsformen, die sie für universale Werte vorschlägt, in direktem Konflikt steht. Zunächst wendet sich Abschnitt 2 der Frage zu, wie Khader Unterdrückung genau versteht. Abschnitt 3 argumentiert, dass ihr Konzept von Unterdrückung mit einigen Zielen ihrer Theorie, insbesondere dem Antiimperialismus, in Konflikt steht. Abschnitt 4 schlägt vor, dass ein Konzept von Unterdrückung als Entzug von Autonomie besser zu den antiimperialistischen Zielen von Khaders Theorie passt und dazu geeignet ist, die Offenheit bezüglich des Inhalts grundlegender Menschenrechte zu adressieren. (shrink)

Ioulia Podoroga | : Dans cet article, je pose le problème des rapports entre philosophie et littérature à partir du cas de Boris Pasternak, dont la vie et l’oeuvre permettent d’envisager une nouvelle articulation entre les deux disciplines, en mobilisant un schème paradoxalement hégélien. Schème hégélien, car fait de trois mouvements, de sa pratique musicale vers la philosophie pour aboutir à une relève dans la poésie. Mais schème anti-hégélien, parce que la triade hégélienne est inversée : la philosophie est (...) le moyen-terme, mais qui reste central, dans l’acheminement vers l’accomplissement du système par la poésie. | : In this article I raise the problem of the relationship between philosophy and literature basing it on the case-study of Boris Pasternak’s writings, whose life and work enable us to envisage a new linkage between the two disciplines by mobilizing a paradoxically Hegelian scheme. Hegelian scheme because of its three movements : from his musical practice towards poetry via philosophy. But anti-Hegelian scheme, because the Hegelian triad is reversed : philosophy is the medium-term but still central in the movement towards the completion of the system by poetry. (shrink)

Aaron Ridley has concluded that “Collingwood’s global Idealism is really only a distraction from the much more important and interesting ideas that constitute his aesthetics.” My paper takes issue with this conclusion. Collingwood’s idealism is an integral part of his aesthetics, and it simply cannot be shucked off, leaving his aesthetics untouched and intact. A careful reading of Collingwood’s oeuvre in aesthetics reveals that it is his long-standing antipathy to realism that grounds both his critique of pseudo-art and his own (...) theory of art, particularly his idealist theory of the imagination. If Collingwood’s aesthetics are interesting and important, so is the idealism that grounds them. (shrink)

What place do imagination and art have in Christian existence? This paper examines this question through the writings of Kierkegaard's pseudonym Anti‐Climacus: The Sickness Unto Death and Practice in Christianity. I focus on the latter work in particular because it best illustrates the importance of imagination in following after (Efterfølgelse) Christ in imitation, which Anti‐Climacus presents as the proper task of faithful Christian existence. After outlining both his critique and his affirmation of the imagination, I then consider what (...) role the notion of ‘Christian art’ might play in his account of the imitation of Christ. Anti‐Climacus gives a severe critique of Christian art, insofar as it disposes the viewer to detached observation and admiration – rather than imitation – of Christ. However, an earlier passage in the same text gives a provocative yet cryptic indication of the sort of art that would not succumb to this danger. Taking a cue from the phenomenology of Jean‐Luc Marion, I draw out this suggestion and argue for the important role that visual art can play in imitating Christ. The final section illustrates this point briefly with three paintings: Matthias Grünewald's Crucifixion, Hans Holbein's The Body of the Dead Christ in the Tomb, and Albrecht Dürer's Self‐Portrait (1500). (shrink)

I argue that clarity about essence provides the tools both to isolate a distinct concept of art and to see why anti-essentialism is a plausible, though incomplete, doctrine about it. While this concept is not the only concept currently expressed by our word ‘art’, it is an interesting, and might be an important, one. One of the challenges it poses to conceptual analysis is to explain what it is to be better than being good of a thing's kind, where (...) this extra-goodness is neither a trivial fact nor simply a matter of being a good instance of two different kinds of thing. While anti-essentialism seems to be right about what types of analysis will not work for it, this result only deepens the question of what its proper analysis is. (shrink)

_Wittgenstein, Theory and the Arts_ Edited Richard Allen and Malcolm Turvey London: Routledge, 2001 ISBN 0415228751 302 pp.

This essay explores the work of “New York’s most famous unknown artist,” Ray Johnson, contending that his complex relationship to sadomasochism provides a key switch point for Pop’s sexual and racial imaginary. In the register of sex, Johnson’s sadomasochism contests the stability of the relationship between homosexuality and Pop, offering instead a queerer object that opens out new models of collaborative artistic production. In the register of race, sadomasochism enables Johnson to articulate a monochrome world, attempting to void the binarized (...) color-line’s fissuring force. While this strategy from our contemporary vantage feels politically suspect, I see it is part of a larger project of political and social reparation whereby the explicitly sadomasochistic themes of Johnson’s work imagine a rebuttal to and reconfiguration of the racist exclusionary forces of the art world. (shrink)

It might be expected that it would suffice for the entry for “moral anti-realism” to contain only some links to other entries in this encyclopedia. It could contain a link to “moral realism” and stipulate the negation of the view there described. Alternatively, it could have links to the entries “anti-realism” and “morality” and could stipulate the conjunction of the materials contained therein. The fact that neither of these approaches would be adequate—and, more strikingly, that following the two (...) procedures would yield substantively non-equivalent results—reveals the contentious and unsettled nature of the topic. -/- “Anti-realism,” “non-realism,” and “irrealism” may for most purposes be treated as synonymous. Occasionally, distinctions have been suggested for local pedagogic reasons (see, e.g., Wright 1988a; Dreier 2004), but no such distinction has generally taken hold. (“Quasi-realism” denotes something very different, to be discussed in the supplement Projectivism and quasi-realism below.) All three terms are to be defined in opposition to realism, but since there is no consensus on how “realism” is to be understood, “anti-realism” fares no better. Crispin Wright (1992: 1) comments that “if there ever was a consensus of understanding about ‘realism’, as a philosophical term of art, it has undoubtedly been fragmented by the pressures exerted by the various debates—so much so that a philosopher who asserts that she is a realist about theoretical science, for example, or ethics, has probably, for most philosophical audiences, accomplished little more than to clear her throat.” This entry doesn't purport to do justice to the intricacy and subtlety of the topic of realism; it should be acknowledged at the outset that the fragmentation of which Wright speaks renders it unlikely that the label “moral anti-realism” even succeeds in picking out a definite position. Yet perhaps we can at least make an advance on clearing our throats. (shrink)

Alain Badiou is arguably the most significant philosopher in Europe today. Badiou’s seminars, given annually on major conceptual and historical topics, constitute an enormously important part of his work. They served as laboratories for his thought and public illuminations of his complex ideas yet remain little known. This book, the transcript of Badiou’s year-long seminar on the psychoanalytic theory of Jacques Lacan, is the first volume of his seminars to be published in English, opening up a new and vital aspect (...) of his thinking. In a highly original and compelling account of Lacan’s theory and therapeutic practice, Badiou considers the challenge that Lacan poses to fundamental philosophical topics such as being, the subject, and truth. Badiou argues that Lacan is a singular figure of the “anti-philosopher,” a series of thinkers stretching back to Saint Paul and including Kierkegaard and Nietzsche, with Lacan as the last great anti-philosopher of modernity. The book offers a forceful reading of an enigmatic yet foundational thinker and sheds light on the crucial role that Lacan plays in Badiou’s own thought. This seminar, more accessible than some of Badiou’s more difficult works, will be profoundly valuable for the many readers across academic disciplines, art and literature, and political activism who find his thought essential. (shrink)

Ernesto Neto's installation at the Panthéon in Paris, Leviathan Toth (2006), brings us into a semiotics of intensities that does not belong to the ‘aesthetic regime’ as described by Jacques Rancière but rather to a Diagrammatic Agency of Contemporary Art. In this case study, the latter is constructed after Deleuze and Guattari – from a politics of the Body without Organs critically and clinically identified to a Body without Image.

Nombreuses sont les contradictions imputées à l’œuvre de Danto, telles, pour les plus spectaculaires, « ontologie versus historicisme » ou « essentialisme versus contextualisme », voire « substantialisme versus pluralisme postmoderne ». Pour tenter de sortir de ces paradoxes, qui qualifient trop souvent le cheminement de Danto, nous tentons de revenir à l’exacte nature de son essentialisme qui, ouvrant (1981) et fermant (2013) sa réflexion sur l’art, en constitue l’armature profonde. Nous montrons, chemin faisant, comment la clarification de cet « (...) essentialisme » permet de relativiser, voire de pulvériser, certaines des plus lourdes contradictions qui lui sont reprochées. (shrink)

State of the art paper on the topic realism/anti-realism. The first part of the paper elucidates the notions of existence and independence of the metaphysical characterization of the realism/anti-realism dispute. The second part of the paper presents a critical taxonomy of the most important positions and doctrines in the contemporary literature on the domains of science and mathematics: scientific realism, scientific anti-realism, constructive empiricism, structural realism, mathematical Platonism, mathematical indispensability, mathematical empiricism, intuitionism, mathematical fictionalism and second philosophy.

Anti-introduction: Paint it Black -- PART I: MESSAGES IN A BOTTLE: AESTHETIC THEORY CONTRA CRITICAL THEORY -- 1. Introduction -- 2. Critical Messages in a Bottle and Restoration -- 3. Excursus I: The Prevalence of a View: Being Uncompromisingly Critical at the Grand Hotel Abyss -- 4. Excursus II: The Prevalence of a View: 'Don't participate:' The Politics of Social Praxis -- 5. Aesthetic Messages in a Bottle and Progress -- 6. Messages in a Bottle as the Work of (...) Art -- PART II: ART ITSELF THINKS: THE POLITICS OF AESTHETIC (MIS-)EDUCATION -- 7. Introduction -- 8. The Politics of Artistic Practice: 'What artist isn't socially engaged?' -- 9. The Politics of Spectatorship: Shocking Spectators -- 10. The Politics of Aesthetic (Mis-)Education -- 11. Contemporary Art Itself Thinking: Making the Invisible Visible? -- Anti-conclusion: The Russian Ending. (shrink)

Hans-Georg GADAMER, Hermeneutische Entwürfe. Vorträge und Aufsätze ; Pascal MICHON, Poétique d’une anti-anthropologie: l’herméneutique deGadamer ; Robert J. DOSTAL, The Cambridge Companion to Gadamer ; Denis SERON, Le problème de la métaphysique. Recherches sur l’interprétation heideggerienne de Platon et d’Aristote ; Henry MALDINEY, Ouvrir le rien. L’art nu ; Dominique JANICAUD, Heidegger en France, I. Récit; II. Entretiens ; Maurice MERLEAU-PONTY, Fenomenologia percepţiei ; Trish GLAZEBROOK, Heidegger’s Philosophy of Science ; Richard WOLIN, Heidegger’s Children. Hannah Arendt, Karl Löwith, Hans (...) Jonas and Herbert Marcuse ; Ivo DEGENNARO, Logos – Heidegger liest Heraklit ; O. K. WIEGAND, R. J. DOSTAL, L. EMBREE, J. KOCKELMANS and J. N. MOHANTY, Phenomenology on Kant, German Idealism, Hermeneutics and Logic ; James FAULCONER and Mark WRATHALL, Appropriating Heidegger. (shrink)

Ruben Berrios Queen’s University Belfast Anti-realism and Aesthetic Cognition Abstract At the core of the debate between scientific realism and anti-realism is the question of the relation between scientific theory and the world. The realist possesses a mimetic conception of the relation between theory and reality. For the realist, scientific theories represent reality. The anti-realist, in contrast, seeks to understand the relations between theory and world in non-mimetic terms. We will examine Cartwright’s simulacrum account of explanation in (...) order to illuminate the anti-realist position. Science consists of phenomenological and theoretical laws. The former are concerned with appearances, or those phenomena that can be directly observed; the latter involve the unobservable reality that is alleged to underlie appearances, and are capable only of indirect confirmation. Phenomenological laws are said to be descriptive, whilst theoretical laws are understood as explanatory. Cartwright is concerned with the theoretical. She claims that the standard realist account of the explanatory efficacy of theoretical laws is faulty. The explanatory power of theoretical laws consists in their ability to provide an explanation of physical phenomena. According to Cartwright, the realist claims that laws explain phenomena by providing an abstract description of them, in terms of their micro-structural features, that is alleged to be true. On this view, explanatory power is entirely dependent on descriptive adequacy. As phenomenological laws describe appearances, so theoretical laws describe the fundamental reality that governs appearances. Cartwright rejects the preceding view and in its place proposes a simulacrum account of explanation. According to Cartwright, the explanatory power of theoretical laws is related not to descriptive adequacy, but rather to the construction of adequate models. To explain a phenomenon is to construct a model which best or most adequately accommodates the phenomenon to a theory. The model will consist of various posited objects that serve to explain the phenomena in terms that are consistent with a set of theoretical laws. Cartwright claims that theoretical laws are true of, or describe, the objects of the model. The objects of the model, however, are not descriptive of reality. They are simulacra. They have, that is, the form or appearance of things, without possessing their substance or proper qualities. In light of the foregoing account we can summarise the distinction between scientific realism and anti-realism as follows. The realist claims that theoretical laws literally represent real objects. The anti-realist claims that laws represent objects of a model that are simulacra of reality. Anti-realism has an aesthetic dimension. The movement from realism to anti-realism is also the movement from the mimetic conception of the scientist as holding a mirror to nature to the constructionist view of the scientist as engaging with nature through invention. There is a lot of the artist in the anti-realist’s view of the scientist. This is true for Cartwright as well as, for example, Van Fraassen in his doctrine of constructive empiricism. It would appear, then, that the philosophy of science has absorbed some concepts that are ordinarily housed in aesthetics. And it has done so profitably. The aim of this paper is to reverse the direction of disciplinary influence. Can art, in relation to its status as a cognitive enterprise, be illuminated by scientific anti-realism? I will argue that it can. In an unexpected reference to the Nicomachean Ethics, Cartwright draws a suggestive parallel between theoretical laws and general moral principles, on the one hand, and physical phenomena and everyday moral conduct, on the other hand. If we add to this the claim that a central component of art’s value is cognitive, then we have the basic materials with which to flesh out a broadly anti-realist view of art. In the production of art, artists can construct models that mediate between everyday ethical phenomena and general ethical tendencies. These models reveal the ways in which there are implicit consistencies or inconsistencies, conflicts or congruences and so forth, between the phenomena and the tendencies. On this basis art can contribute to the reflective understanding of ethical life. This constitutes to a large degree art’s status as a cognitive enterprise. To apprehend art cognitively as artist or critic is to engage in aesthetic cognition. (shrink)

ANTI-FORMALISM has become the consensus in aesthetics. But in my view anti-formalism is not true to our aesthetic experience; it gives a revisionary account of the aesthetic properties that we think we find in works of art. The thesis I think we should hold is not extreme formalism—the view that all or almost all aesthetic properties are formal—but the moderate thesis that many are. This view has not been given its due because so many aestheticians have been convinced (...) by anti-formalist arguments. In this short paper, I propose a systematic method for resisting anti-formalist arguments. The method is to apply one of three strategies. These strategies are repeatable archetypes. I shall show these neutralizing strategies at work with seven objections to formalism. (shrink)

In Art and intention Paisley Livingston develops a broad and balanced perspective on perennial disputes between intentionalists and anti-intentionalists in philosophical aesthetics and critical theory. He surveys and assesses a wide range of rival assumptions about the nature of intentions and the status of intentionalist psychology. With detailed reference to examples from diverse media, art forms, and traditions, he demonstrates that insights into the multiple functions of intentions have important implications for our understanding of artistic creation and authorship, the (...) ontology of art, conceptions of texts, works, and versions, basic issues pertaining to the nature of fiction and fictional truth, and the theory of art interpretation and appreciation. Livingston argues that neither the inspirationist nor rationalistic conceptions can capture the blending of deliberate and intentional, spontaneous and unintentional processes in the creation of art. Texts, works, and artistic structures and performances cannot be adequately individuated in the absence of a recognition of the relevant makers4intentions. The distinction between complete and incomplete works receives an action-theoretic analysis that makes possible an elucidation of several different senses of "fragment" in critical discourse. Livingston develops an account of authorship, contending that the recognition of intentions is in fact crucial to our understanding of diverse forms of collective art-making. An artist's short-term intentions and long-term plans and policies interact in complex ways in the emergence of an artistic oeuvre, and our uptake of such attitudes makes an important difference to our appreciation of the relations between items belonging to a single life-work. The intentionalism Livingston advocates is, however, a partial one, and accommodates a number of important anti-intentionalist contentions. Intentions are fallible, and works of art, like other artefacts, can be put to a bewildering diversity of uses. Yet some important aspects of art's meaning and value are linked to the artist's aims and activities. (shrink)

Anti-Academy examines the ideas, processes, workshops and legacies of three radical educational models in 1960s Japan, the USA and Denmark. Comprised of three sections, each relating to one of these school's programmes, Anti-Academy explores life at Bigakko, Tokyo, The Intermedia Programme at the University of Iowa, and Ex-School, Copenhagen. Anti-Academy is a comprehensive interpretation of how these three academies situated themselves on the peripheries of the art world, existing in opposition to the mainstream, and responding to the (...) political and social climate, location and cultural context of the day.Published alongside an exhibition of the same name, 21 November 2013 - 18 February 2014. (shrink)

For the past thirty years, Hal Foster has pushed the boundaries of cultural criticism, establishing a vantage point from which the seemingly disparate agendas of artists, patrons, and critics have a telling coherence. In The Anti-Aesthetic, preeminent critics such as Jean Baudrillard, Rosalind Krauss, Fredric Jameson, and Edward Said consider the full range of postmodern cultural production, from the writing of John Cage, to Cindy Sherman's film stills, to Barbara Kruger's collages. With a redesigned cover and a new afterword (...) that situates the book in relation to contemporary criticism, The Anti-Aesthetic provides a strong introduction for newcomers and a point of reference for those already engaged in discussions of postmodern art, culture, and criticism. Includes a new afterword by Hal Foster and 12 black and white photographs. (shrink)

Abstract: There is a long tradition of trying to analyze art either by providing a definition (essentialism) or by tracing its contours as an indefinable, open concept (anti-essentialism). Both art essentialists and art anti-essentialists share an implicit assumption of art concept monism. This article argues that this assumption is a mistake. Species concept pluralism—a well-explored position in philosophy of biology—provides a model for art concept pluralism. The article explores the conditions under which concept pluralism is appropriate, and argues (...) that they obtain for art. Art concept pluralism allows us to recognize that different art concepts are useful for different purposes, and what has been feuding definitions can be seen as characterizations of specific art concepts. (shrink)

Here is, we think, the point. It doesn't matter for what reason the writer or painter or lover destroys the creation: the real point is that destruction itself, like a gigantic statement. It is, in fact, something of an excitation, a stimulation to further thought: what is this ACTION about?' What do Stéphane Mallarmé, Antonin Artaud, Meret Oppenheim, Asger Jorn, Yoko Ono, Tom Phillips and Martin Arnold have in common? Whereas a wealth of critics have diagnosed contemporary art's preoccupations with (...) madness, depression and self-abuse as well as its tendency to cultivate an (anti- )aesthetics of the negative, the excremental and the abject (say, from the Vienna Action Group to Serrano, McCarthy or Delvoye), much less attention has been paid to how modern and contemporary artists and public have thrived on the destruction, disfiguration and obliteration of work by the artists and/or by that of others. From Artaud's 'terminal' notebooks to the recent upsurge in 'erasure poetics', the history of 'undoing' art deserves to be recounted in a positive mode and rescued from popular narratives of the decline and death of the avant-garde. (shrink)

In all the arts a war is being waged between modernists and postmodernists. Radicals have tended to side with the modernists against the forces of conservatism. Postmodern Culture is a break with this tendency. Its contributors propose a postmodernism of resistance - an aesthetic that rejects hierarchy and celebrates diversity. Ranging from architecture, sculpture and painting to music, photography and film, this collection is now recognised as a seminal text on the postmodernism debate.The essays are by Hal Foster, Jürgen Habermas, (...) Kenneth Frampton, Rosalind Krauss, Douglas Crimp, Craig Owens, Gregory L. Ulmer, Fredric Jameson, Jean Baudrillard, and Edward W. Said. (shrink)

Artistic labour was exemplary for Utopian Socialist theories of 'attractive labour', and Marxist theories of 'nonalienated labour', but the rise of the anti-work movement and current theories of 'fully automated luxury communism' have seen art topple from its privileged place within the left's political imaginary as the artist has been reconceived as a prototype of the precarious 24/7 worker. 'Art and Postcapitalism' argues that art remains essential for thinking about the intersection of labour, capitalism and postcapitalism not insofar as (...) it merges work and pleasure but as an example of noncapitalist production. Reassessing the contemporary politics of work by revisiting debates about art, technology and in the nineteenth and twentieth century, Dave Beech challenges the aesthetics of labour in John Ruskin, William Morris and Oscar Wilde with a value theory of the supersession of capitalism that sheds light on the anti-work theory by Silvia Federici, Andre Gorz, Kathi Weeks and Maurizio Lazzarato, as well as the technological Cockayne of Srnicek and Williams and Paul Mason. Formulating a critique of contemporary postcapitalism, and developing a new understanding of art and labour within the political project of the supersession of value production, this book is essential for activists, scholars and anyone interested in the real and imagined escape routes from capitalism. (shrink)