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 (the idea that art was a progressively more adequate representation of reality) through the modern era of manifestos (when art was defined by the artist's philosophy), 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.

    *Please note: Amazon incorrectly estimates the book at "12 pages" whereas it is around 70 pages - this is being corrected in the system. You will get 52 images plus a few pages of text**Rumi's message is so universal and inclusive that he has earned the title of "the most popular poet in America". This is a tribute of immense gratitude and love to Rumi on his 805th birthday, September 30th 2012.In his poems, Rumi speaks of nothing but love and finding the answers of life within yourself. He captivated the essence of humanity in his words. The selection of quotations in this book aspires to show you a glimpse of this message of love, peace, and inward search for true bliss. Farnoosh Brock was born and raised in Iran and in this book, she brings you the fusion of her beautiful photography and the wisdom of the beloved Persian poet, Rumi. This is a celebration of her Persian origins combined with the sense of duty that we must preserve and share the gifts of our ancestors. You can enjoy this book on your Kindle Fire or on any other device that runs the FREE Kindle reading apps, such as on your computer or iPad.

    Speed and Politics defined the society of speed; The Aesthetics of Disappearance defines what it feels like to live in the society of speed."I always write with images," Virilio has claimed, and this statement is nowhere better illustrated than with The Aesthetics of Disappearance. Moving from the movie theater to the freeway, and from Craig Breedlove's attainment of terrifying speed in a rocket-power car to the immobility of Howard Hughes in his dark room atop the Desert Inn, Virilio himself jump cuts from such disparate reference points as Fred Astaire, Franz Liszt, and Adolf Loos to Dostoyevsky, Paul Morand, and Aldous Huxley. In its extension of the "aesthetics of disappearance" to war, film, and politics, this book paved the way to Virilio's follow-up: the celebrated study, War and Cinema.This edition features a new introduction by Jonathan Crary, one of the leading theorists of modern visual culture.Foreign Agents series. Distributed for Semiotext(e)

    He believes that they deny the existence of truth and substitute radically chic theorizing for real knowledge about the past. The result is revolutionary and unprecedented: contemporary historians are increasingly obscuring the facts on which truth about the past is built. In The Killing of History, Windschuttle offers a devastating expose of these developments. This fascinating narrative leads us into a series of case histories that demonstrate how radical theory has attempted to replace the learning of traditional history with its own political agenda.

    It is both an introduction to the study of art and, for those with more specialized interests, a profound discussion of art and life in the Middle Ages and Renaissance. Panofsky's historical technique reveals an abundance of detail, detail he skillfully relates to the life and work of individual painters and their times. The papers in this volume represent a cross-section of Panofsky's major work. Included are selections from his well-known Studies in Iconology and The Life and Art of Albrecht Dürer, plus an introduction and an epilogue—"The History of Art as a Humanistic Discipline" and "Three Decades of Art History in the United States: Impressions of a Transplanted European"—as well as pieces written especially for this collection. All display Panofsky's vast erudition and deep commitment to a humanistic conception of art and art history.

    To demonstrate the sense in which Foucault's work is beyond structuralism and hermeneutics, the authors unfold a careful, analytical exposition of his oeuvre. They argue that during the of Foucault's work became a sustained and largely successful effort to develop a new method—"interpretative analytics"—capable fo explaining both the logic of structuralism's claim to be an objective science and the apparent validity of the hermeneutical counterclaim that the human sciences can proceed only by understanding the deepest meaning of the subject and his tradition. "There are many new secondary sources [on Foucault]. None surpass the book by Hubert Dreyfus and Paul Rabinow. . . . The American paperback edition contains Foucault's 'On the Genealogy of Ethics,' a lucid interview that is now our best source for seeing how he construed the whole project of the history of sexuality."—David Hoy, London Review of Books

    Beginning with an examination of the relationship between Hegel and Goethe, Lowith discusses how Hegel's students, particularly Marx and Kierkegaard, interpreted----or reinterpreted----their master's thought, and proceeds with an in-depth assessment of the other important philosophers, from Feuerbach, Stirner, and Schelling to Nietzsche.

    Many poststructuralist and postmodernist practices can be traced to Deleuze's 1962 resurrection of Nietzsche against Hegel. Hardt shows how Deleuze's early analysis of Bergson's critique of ontology and determination led him to a conception of a positive movement of differentiation and becoming, which in turn led him to the field of forces, sense, value, and the thematic of power and affirmation in Nietzsche. The theory of power in Nietzsche provided the link for Deleuze to an ethics of active expression in Spinoza: Deleuze's discovery and analysis of Spinoza's cultivation of joy and practice at the center of ontology finally resulted in a complete break from the Hegelian paradigm that had reigned over continental philosophy and history. Michael Hardt is the translator of Antonio Negri's "The Savage Anomaly: the Power of Spinoza's Metaphysics and Politics" (Minnesota, 1990), Giorgio Agamben's "The Coming Community" (Minnesota, 1993), and co-author (with Antonio Negri) of "Labor of Dionysus" (Minnesota).

    This interconnectedness penetrates all dimensions of life. No being, construct, or object can exist independently from the ecological entanglement, Morton contends, nor does "Nature" exist as an entity separate from the uglier or more synthetic elements of life. Realizing this interconnectedness is what Morton calls the ecological thought.In three concise chapters, Morton investigates the profound philosophical, political, and aesthetic implications of the fact that all life forms are interconnected. As a work of environmental philosophy and theory, "The Ecological Thought" explores an emerging awareness of ecological reality in an age of global warming. Using Darwin and contemporary discoveries in life sciences as root texts, Morton describes a mesh of deeply interconnected life forms--intimate, strange, and lacking fixed identity.A "prequel" to his "Ecology without Nature: Rethinking Environmental Aesthetics" (Harvard, 2007), "The Ecological Thought" is an engaged and accessible work that will challenge the thinking of readers in disciplines ranging from critical theory to Romanticism to cultural geography.

    Addressing the history of critical theory from the contemporary vantage-point characterized by postmodernism, post-Marxism and critiques of Eurocentrism, Therborn probes how the recent theoretical currents—including those of Slavoj Žižek, Antonio Negri, and Alain Badiou—have coped with the changed intellectual as well as political and economic contexts. In the light of these discussions, Therborn then proceeds to a global investigation of the parameters of twenty-first century politics. This will become the essential appraisal of Marxism in the modern age.

    What is defensible in it and what is to be rejected? Do we as human beings have no shared standards by which we can understand one another? Can we abstain from judging one another's practices? Do we truly have divergent views about what constitutes good and evil, virtue and vice, harm and welfare, dignity and humiliation, or is there some underlying commonality that trumps it all?These questions turn up everywhere, from Montaigne's essay on cannibals, to the UN Declaration of Human Rights, to the debate over female genital mutilation. They become ever more urgent with the growth of mass immigration, the rise of religious extremism, the challenges of Islamist terrorism, the rise of identity politics, and the resentment at colonialism and the massive disparities of wealth and power between North and South. Are human rights and humanitarian interventions just the latest form of cultural imperialism? By what right do we judge particular practices as barbaric? Who are the real barbarians?In this provocative new book, the distinguished social theorist Steven Lukes takes an incisive and enlightening look at these and other challenging questions and considers the very foundations of what we believe, why we believe it, and whether there is a profound discord between "us" and "them."

    He names this system Economic Democracy, a successor-system to capitalism which preserves the efficiency strengths of a market economy while extending democracy to the workplace and to the structures of investment finance. Drawing on both theoretical and empirical research, Schweickart shows how and why this model is efficient, dynamic, and superior to capitalism along a range of values."

    He argues that Western culture's moral and emotional emptiness stems from the decay of formal religion. He examines the alternate mythologies (Marxism, etc.) and fads of irrationality (astrology, the occult). Steiner argues that this decay and the failure of the mythologies have created a nostalgia for the absolute that is growing and leading us to a massive clash between truth and human survival.Ultimately he suggests that we can only reduce the impact of this collision course if we continue, as disinterestedly as possible, to ask questions and seek answers in the face of our increasingly complex world.

    Certainly we do not think it is the basis of the mind. We think of stories and parables from Aesop's Fables or The Thousand and One Nights, forexample, as exotic tales set in strange lands, with spectacular images, talking animals, and fantastic plots--wonderful entertainments, often insightful, but well removed from logic and science, and entirely foreign to the world of everyday thought. But Mark Turner argues that this common wisdom iswrong. The literary mind--the mind of stories and parables--is not peripheral but basic to thought. Story is the central principle of our experience and knowledge. Parable--the projection of story to give meaning to new encounters--is the indispensable tool of everyday reason. Literary thoughtmakes everyday thought possible. This book makes the revolutionary claim that the basic issue for cognitive science is the nature of literary thinking.In The Literary Mind, Turner ranges from the tools of modern linguistics, to the recent work of neuroscientists such as Antonio Damasio and Gerald Edelman, to literary masterpieces by Homer, Dante, Shakespeare, and Proust, as he explains how story and projection--and their powerful combination inparable--are fundamental to everyday thought. In simple and traditional English, he reveals how we use parable to understand space and time, to grasp what it means to be located in space and time, and to conceive of ourselves, other selves, other lives, and other viewpoints. He explains the roleof parable in reasoning, in categorizing, and in solving problems. He develops a powerful model of conceptual construction and, in a far-reaching final chapter, extends it to a new conception of the origin of language that contradicts proposals by such thinkers as Noam Chomsky and Steven Pinker.Turner argues that story, projection, and parable precede grammar, that language follows from these mental capacities as a consequence. Language, he concludes, is the child of the literary mind.Offering major revisions to our understanding of thought, conceptual activity, and the origin and nature of language, The Literary Mind presents a unified theory of central problems in cognitive science, linguistics, neuroscience, psychology, and philosophy. It gives new and unexpected answers toclassic questions about knowledge, creativity, understanding, reason, and invention.

    In this comprehensive and readable book--already a classic statement of the aesthetics of digital media, acclaimed by practitioners and theorists alike--Janet Murray shows how the computer is reshaping the stories we live by. Murray discusses the unique properties and pleasures of digital environments and connects them with the traditional satisfactions of narrative. She analyzes the dramatic satisfaction of participatory stories and considers what would be necessary to move interactive fiction from the formats of childish games and confusing labyrinths into a mature and compelling art form. Through a blend of imagination and techno-wizardry, Murray provides both readers and writers with a guide to the storytelling of the future.