Kant after Duchamp brings together eight essays around a central thesis with many implications for the history of avant-gardes. Although Duchamp's readymades broke with all previously known styles, de Duve observes that he made the logic of modernist art practice the subject matter of his work, a shift in aesthetic judgment that replaced the classical "this is beautiful" with "...(展开全部)

Kant after Duchamp brings together eight essays around a central thesis with many implications for the history of avant-gardes. Although Duchamp's readymades broke with all previously known styles, de Duve observes that he made the logic of modernist art practice the subject matter of his work, a shift in aesthetic judgment that replaced the classical "this is beautiful" with "...(展开全部)

In this critical intervention, Yuk Hui rethinks the philosophy of Immanuel Kant in the age of artificial intelligence. What could be called an intelligent machine? Are machines capable of being moral? Does an algorithm for perpetual peace exist? In this ground-breaking new work, Yuk Hui considers how current debates on artificial intelligence echo historical philosophical discu...(展开全部)

In this critical intervention, Yuk Hui rethinks the philosophy of Immanuel Kant in the age of artificial intelligence. What could be called an intelligent machine? Are machines capable of being moral? Does an algorithm for perpetual peace exist? In this ground-breaking new work, Yuk Hui considers how current debates on artificial intelligence echo historical philosophical discu...(展开全部)

First published to great acclaim in 1996, New Yorker writer and art critic Calvin Tomkins’ biography of the influential artist Marcel Duchamp (1887–1968) has been out of print for many years. Now, The Museum of Modern Art, New York, is publishing a new and revised edition of the landmark biography to commemorate the 100th anniversary of Duchamp’s first Readymade, “Bicycle Wheel...(展开全部)

[美]卡尔文•汤姆金斯（Calvin Tomkins），《纽约客》杂志撰稿人，艺术评论家。曾经采访过杜尚，撰写《马塞尔·杜尚——午后访谈》（Marcel Duchamp：The Afternoon Interviews）《商人与收藏 : 大都会艺术博物馆创建记》（Merchants and Masterpieces:the Story of the Metropolitan Museum of Art）

Facticity and the Fate of Reason After Kant is the first history of the concept of facticity. G. Anthony Bruno argues that this concepts coining, transmission, and repurposing by post-Kantian thinkers leaves a lasting divide concerning the question of whether a science of intelligibility can tolerate brute facts. In the phenomenological tradition, 'facticity' denotes undeducibl...(展开全部)

Il 1929 nell'immaginario collettivo è associato al crollo finanziario che, giovedì 24 ottobre, colpisce Wall Street prima di abbattersi su tutte le economie mondiali. Anche per il Surrealismo è l'anno di una crisi senza precedenti, di un "big bang" che, se in apparenza sembra segnarne la fine, si rivelerà in realtà all'origine della sua reinvenzione. Il 1929 vede infatti, tra l...(展开全部)

”Marcel Duchamp, one of this century’s pioneer artists, moved his work through the retinal boundaries which had been established with impressionism into t field with impressionism into t field where language, thought and vision act upon one another, There it changed form through a complex interplay of new mental and physical materials, heralding many of the technical, mental an...(展开全部)