Against Immediacy

Against Immediacy is a history of early video art considered in relation to television in the United States during the 1960s and 1970s. It examines how artists questioned the ways in which "the people" were ideologically figured by the commercial mass media. During this time, artists and organizations including Nam June Paik, Juan Downey, and the Women's Video News Service challenged the existing limits of the one-to-many model of televisual broadcasting while simultaneously constructing more democratic, bottom-up models in which the people mediated themselves. Operating at the intersection between art history and media studies, Against Immediacy connects early video art and the rise of the media screen in gallery-based art to discussions about participation and the activation of the spectator in art and electronic media, moving from video art as an early form of democratic media practice to its canonization as a form of high art.

Jonathan Edwards is one of the outstanding figures in the history of the Christian church—he was, quite simply, a man of towering intellect and towering spirituality. But it has been noted, even by his friends and admirers, that his thought is also marked at times by certain idiosyncrasies which inevitably introduce certain complexities into his philosophical-theological system. This study contends that the theme of divine immediacy is the controlling theme and the correlating principle within Edwards’s thought. It analyzes the theme of divine immediacy in the thought of Jonathan Edwards under four major heads: creation, the will, ecclesiology, and spiritual experience. Indeed, Dr. Carrick claims that the theme of the immediacy of God is the Ariadne’s thread, which runs with consistency through the multiple aspects of Edwards’s philosophical, theological, ecclesiological, experiential, and homiletical interests. But sometimes a man’s strength is also his weakness, and it would appear that Edwards’s profound commitment to the concept and the reality of the immediacy of God entails significant problems for his entire philosophical-theological system. Edwards’s concept of divine immediacy finds its supreme expression, surely, in his doctrine of continuous creation; but is it not the case that this doctrine of continuous creation is in conflict with his determinism, that its tendency is to destroy the moral responsibility of man, and that it makes God both the author and the actor of sin? In short, is it not the case that Edwards’s Ariadne’s thread is, in fact, also his Achilles’ heel?

Modern technology has changed the way we live, work, play, communicate, fight, love, and die. Yet few works have systematically explored these changes in light of their implications for individual and social welfare. How can we conceptualize and evaluate the influence of technology on human well-being? Bringing together scholars from a cross-section of disciplines, this volume combines an empirical investigation of technology and its social, psychological, and political effects, and a philosophical analysis and evaluation of the implications of such effects.

The participatory vision of early video art

Against Everything is a thought-provoking study and essential guide to the vicissitudes of everyday life under twenty-first-century capitalism. Mark Greif is one of the most exciting writers of his generation. In this invigorating collection, he challenges us to rethink the ordinary world and take life seriously - in short, to stay honest in dishonest times. In a series of coruscating set pieces he asks why we put ourselves through the pains of exercise, what our concerns about diet or sex does for our fundamental worth, what political identity the hipster might possess, and what happens to us when we listen to Radiohead or hip-hop. Counter-intuitive and revelatory in his insights, Greif revels in the contradictions arising between our desires and the excuses we make to console ourselves. His work demands we have the courage to be 'against everything', to change our vantage on everyday life, find it wanting and demand something better.

The aim of this book is to provide an account of modernist painting that follows on from the aesthetic theory of Theodor W. Adorno. It offers a materialist account of modernism with detailed discussions of modern aesthetics from Kant to Arthur Danto, Stanley Cavell, and Adorno. It discusses in detail competing accounts of modernism: Clement Greenberg, Michael Fried, Yve-Alain Bois, and Thierry de Duve; and it discusses several painters and artists in detail: Pieter de Hooch, Jackson Pollock, Robert Ryman, Cindy Sherman, and Chaim Soutine. Its central thesis is that modernist painting exemplifies a form of rationality that is an alternative to the instrumental rationality of enlightened modernity. Modernist paintings exemplify how nature and the sociality of meaning can be reconciled.

In this work the theories of Marx and Laozi are dialectically combined. The resulting synthesis is a positive materialist negation of Hegel’s idealist dialectics. Syntheses are presented for Marx and Laozi in ontology, metaphysics, epistemology, scientific method, ethics and politics: the full spectrum of their foundational principles. The book is an attempt to reconstruct a materialist interpretation of Laozi, which can be put to work for Marxist theory.