Michael Price

persuasive reconstruction of Frege’s argument from unity, conceived as an argument for the non-objecthood of concepts. 9 The second reason I think the argument from unity remains of interest is this. Even if the passage were to give us no grounds for thinking that concepts are not objects, it may

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Edited by Tomasz Bigaj and Christian Wüthrich

This book is a collection of essays whose topics center around relations between analytic metaphysics and modern physical theories. The contributions to the volume cover a broad spectrum of issues, ranging from metaphysical implications of selected physical theories (quantum mechanics, quantum field theory, general relativity, string theory etc.), to specific problems in scientifically-oriented analytic metaphysics, such as the problem of emergence and reduction, the part-whole relation, and the question of objecthood, properties and individuality on the fundamental level of reality. The authors of the contributions are philosophers of science, physicists and metaphysicians of international renown, and their work represents the cutting edge in modern metaphysics of physical sciences.

Contributors are: Tomasz Bigaj, Jessica Bloom, Nazim Bouatta, Jeremy Butterfield, Adam Caulton, Dennis Dieks, Mauro Dorato, Michael Esfeld, Steven French, Andreas Hüttemann, Marek Kuś, Douglas Kutach, Vincent Lam, Olimpia Lombardi, Kerry McKenzie, Thomas Møller-Nielsen, Matteo Morganti, Ioan Muntean, Dean Rickles, Antonio Vassallo, Jessica Wilson, Christian Wüthrich

Adi Louria-Hayon

, yielding what he termed faux phenomenology (“Dan Flavin and the Catastrophe of Minimalism” 142). Thus, Flavin’s fluorescent constructions have in their actual physicalities simultaneously served art critics maintaining the minimalist discussion of objecthood, while for others alluding beyond the given

Andrew Cope

Early cinema’s silent clowns might be appreciated as enduring, in both a popular awareness and a philosophical relevance, through their critical development with the dawn of a new age of technology. Some sense of the fruitful tension that came with this complex synchronicity might be shared through presentations of the vintage slapstick footage that exploits cinema, only to show its protagonists being tormented by other forms of technology (e.g. the ‘automobile’). Such scenarios might suggest that some silent clowns were producing challenging meditations on modern change, through a contrary acquiescence with the possibilities of its new visual media. With some emphasis upon the work of Buster Keaton (considered through the lens of a perceived and perhaps surprising precedent in Friedrich Nietzsche’s tragic philosophy) this contribution will substantiate – and build upon – the social, and existential, significance of this apparent paradox. The chapter expects to achieve this through a comparative method which first calls attention to, and then usefully draws out, the constancies with a similarly tense – yet environmentally reconciled – project that defines the traditional role of the shaman. In its process the chapter will also highlight some epistemologically promising commonalities between performance studies, process philosophy, and the burgeoning material culture project – particularly as their overlapping interest in activity might support a higher academic profile for playful takes on materiality, and object-hood.

John Neuhoff

"Ecological Psychoacoustics" outlines recent advances in dynamic, cognitive, and ecological investigations of auditory perception and ties this work to findings in more traditional areas of psychoacoustics. The book illuminates some of the converging evidence that is beginning to emerge from these traditionally divergent fields, providing a scientifically rigorous, "real world" perspective on auditory perception, cognition, and action. In a natural listening environment almost all sounds are dynamic, complex, and heard concurrently with other sounds. Yet, historically, traditional psychoacoustics has examined the perception of static, impoverished stimuli presented in isolation. "Ecological Psychoacoustics" examines recent work that challenges some of the traditional ideas about auditory perception that were established with these impoverished stimuli and provides a focused look at the perceptual processes that are more likely to occur in natural settings. It examines basic psychoacoustics from a more cognitive and ecological perspective. It provides broad coverage including both basic and applied research in auditory perception; and coherence and cross referencing among chapters.

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Edited by Eduardo de la Fuente and Peter Murphy

Aesthetic Capitalism debates the social aesthetics of contemporary economic processes. The book connects modern cultural dynamics with the workings of contemporary capitalism. It explores art and the new spirit of capitalism; visual culture and the experience economy; aesthetics and organisations; the art of fiscal management; capitalism without myth; and architecture in the age of aesthetic capitalism.

Contributors include: Peter Murphy, Eduardo de la Fuente, Antonio Strati, Ken Friedman, Dominique Bouchet, Anders Michelsen, David Roberts, Carlo Tognato

Rutger Allan

traditional, formal-syntactic definition of objecthood has been explained in terms of cognitive factors involving topicality. For example, Givón and Langacker describe the direct object as the secondary topic and second-most prominent clausal participant , 2) ranking in topical- ity only after the clausal

The Place of the Viewer

The Embodied Beholder in the History of Art, 1764-1968

Kerr Houston

In recent decades, art historians and critics have occasionally emphasized a dynamic, embodied mode of looking, accenting the role of the viewer and the complex interplay between beholders and works of art. In The Place of the Viewer, Kerr Houston shows that an attention to the position and physical experiences of beholders has in fact long informed art historical analyses – and that close study of the theme can lead to a fuller understanding of the discipline, the act of viewership and individual works of art. Simultaneously attentive to historical ideas and contemporary scholarship, this book identifies a vein of thought that has been generally overlooked, and proposes new ways of seeing familiar works and traditions.

Kerr Houston

, Michael Fried published “Art and Objecthood,” a sustained complaint about Minimalist art (which Fried called literalist) that was immediately recognized as a significant statement. Drawing largely on the writings of Morris and Judd, Fried argued that literalist art was incurably theatrical, precisely