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"Realism materialism art (RMA) introduces a diverse selection of new realist and materialist philosophies and examines their ramifications on the arts. Encompassing neo-materialist theories, object-oriented ontologies, and neo-rationalist philosophies, RMA serves as a primer on "speculative realism," considering its conceptual innovations as spurs to artistic thinking and practice and beyond."--From publisher's description.
Art of the Real is devoted to registering the materialist turn of contemporary theory in visual studies. For many years, visual studies was dominated by post-structuralist theory and its attendant nominalism. More recently, however, the materialism of Slavoj Žižek, the realism of Gilles Deleuze, especially as imputed by Manuel de Landa, and Alain Badiou has disrupted this status quo. Today, we are more likely to take for granted the relevance of biology and the natural sciences, while the return of Marx has been more serious than countenanced by Derrida or Foucault. This book considers visual studies and the questions that have led to the new materialism, its ontology and its relation to contemporary politics. While a good deal of work has promoted a materialist agenda at the same time that scholars in art history and visual studies have felt liberated by the call to attend to objects, materials and “materiality,” no publication has yet treated this move for its meta-theoretical commitments. This volume does this by addressing the conditions that have brought about the turn to materiality, the ontological commitments that follow on from new materialist metaphysics, and the political implications wrought by these commitments.
Continental philosophy has entered a new period of ferment. The long deconstructionist era was followed with a period dominated by Deleuze, which has in turn evolved into a new situation still difficult to define. However, one common thread running through the new brand of continental positions is a renewed attention to materialist and realist options in philosophy. Among the current giants of this generation, this new focus takes numerous different and opposed forms. It might be hard to find many shared positions in the writings of Badiou, DeLanda, Laruelle, Latour, Stengers, and Zizek, but what is missing from their positions is an obsession with the critique of written texts. All of them elaborate a positive ontology, despite the incompatibility of their results. Meanwhile, the new generation of continental thinkers is pushing these trends still further, as seen in currents ranging from transcendental materialism to the London-based speculative realism movement to new revivals of Derrida. As indicated by the title The Speculative Turn, the new currents of continental philosophy depart from the text-centered hermeneutic models of the past and engage in daring speculations about the nature of reality itself. This anthology assembles authors, of several generations and numerous nationalities, who will be at the center of debate in continental philosophy for decades to come.
Combining conceptual rigour and clarity of prose with historical erudition, this book shows how one of the standard issues of analytic philosophy, realism and anti-realism, has also been at the heart of continental philosophy.
In this book, the founder of object-oriented ontology develops his view that aesthetics is the central discipline of philosophy. Whereas science must attempt to grasp an object in terms of its observable qualities, philosophy and art cannot proceed in this way because they don't have direct access to their objects. Hence philosophy shares the same fate as art in being compelled to communicate indirectly, allusively, or elliptically, rather than in the clear propositional terms that are often taken – wrongly – to be the sole stuff of genuine philosophy. Conceiving of philosophy and art in this way allows us to reread key debates in aesthetic theory and to view art history in a different way. The formalist criticism of Greenberg and Fried is rejected for its refusal to embrace the innate theatricality and deep multiplicity of every artwork. This has consequences for art criticism, making pictorial content more important than formalism thinks but less entwined with the social sphere than anti-formalism holds. It has consequences for art history too, as the surrealists, David, and Poussin, among others, gain in importance. The close link between aesthetics and ontology also invites a new periodization of modern philosophy as a whole, and the habitual turn away from Kant’s thing-in-itself towards an increase in philosophical "immanence" is shown to be a false dawn. This major work will be of great interest to students and scholars of philosophy, aesthetics, art history and cultural theory.
Arguing for the necessity of taking art's contribution to contemporary realism seriously, this edited collection intervenes on contemporary debates about realism by demonstrating that the arts do not simply illustrate philosophical theories. The significance of art's realism in times characterised by the normalisation of fake, manipulated and distorted representations of reality can only be fully understood by attending to the ways that the arts mediate, visualise and even shape reality. Each chapter features a different approach to realism and its aesthetic dimensions not only in the visual arts, but also in sound art, film, scientific imaging and literature.
Mikhail Lifshitz is a major forgotten figure in the tradition of Marxist philosophy and art history. A significant influence on Lukács, and the dedicatee of his The Young Hegel, as well as an unsurpassed scholar of Marx and Engels’s writings on art and a lifelong controversialist, Lifshitz’s work dealt with topics as various as the philosophy of Marx and the pop aesthetics of Andy Warhol. The Crisis of Ugliness (originally published in Russian by Iskusstvo, 1968), published here in English for the first time, and with a detailed introduction by its translator David Riff, is a compact broadside against modernism in the visual arts that nevertheless resists the dogmatic complacencies of Stalinist aesthetics. Its reentry into English debates on the history of Soviet aesthetics promises to re-orient our sense of the basic coordinates of a Marxist art theory.
The first of its kind, this book examines artistic representations of the brain after the rise of the contemporary neurosciences, examining the interplay of art and science and tackling some of the critical-cultural implications. Weaving an MRI pattern onto a family quilt. Scanning the brain of a philosopher contemplating her own death and hanging it in a museum. Is this art or science or something in-between? What does it mean? How might we respond? In this ground-breaking new book, David R. Gruber explores the seductive and influential position of the neurosciences amid a growing interest in affect and materiality as manifest in artistic representations of the human brain. Contributing to debates surrounding the value and/or purpose of interdisciplinary engagement happening in the neuro-humanities, Gruber emphasizes the need for critical-cultural analysis within the field. Engaging with New Materialism and Affect Theory, the book provides a current and concrete example of the on-going shift away from constructivist lenses, arguing that the influence of relatively new neuroscience methods (EEG, MRI and fMRI) on the visual arts has not yet been fully realised. In fact, the very idea of a brain as it is seen and encountered today—or "The Brain," as Gruber calls it—remains in need of critical, wild and rebellious re-imagination. Illuminating how artistic engagement with the brain is often sensual and suggestive even if rooted in objectivist impulses and tied to scientific realism, this book is ideal for scholars in Art, Media Studies, Sociology, and English departments, as well visual artists and anyone seriously engaging discourses of the brain.
Though underexplored in contemporary scholarship, the Victorian attempts to turn aesthetics into a science remain one of the most fascinating aspects of that era. In The Outward Mind, Benjamin Morgan approaches this period of innovation as an important origin point for current attempts to understand art or beauty using the tools of the sciences. Moving chronologically from natural theology in the early nineteenth century to laboratory psychology in the early twentieth, Morgan draws on little-known archives of Victorian intellectuals such as William Morris, Walter Pater, John Ruskin, and others to argue that scientific studies of mind and emotion transformed the way writers and artists understood the experience of beauty and effectively redescribed aesthetic judgment as a biological adaptation. Looking beyond the Victorian period to humanistic critical theory today, he also shows how the historical relationship between science and aesthetics could be a vital resource for rethinking key concepts in contemporary literary and cultural criticism, such as materialism, empathy, practice, and form. At a moment when the tumultuous relationship between the sciences and the humanities is the subject of ongoing debate, Morgan argues for the importance of understanding the arts and sciences as incontrovertibly intertwined.