Using five case studies of contemporary art, this book uses ideas of systems and dispersion to understand identity and experience in late capitalism. This book considers five artists who exemplify contemporary art practice: Seth Price; Liam Gillick; Martin Creed; Hito Steyerl and Theaster Gates. Given the diversity of materials used in art today, once-traditional artistic mediums and practices have become obsolete in describing what artists do today. Francis Halsall argues that, in the face of this obsolescence, the ideas of system and dispersion become very useful in understanding contemporary art. That is, practitioners now can be seen to be using whatever systems of distribution and display are available to them as their creative mediums. The two central arguments are first that any understanding of what art is will always be underwritten by a related view of what a human being is; and second that these both have a particular character in late capitalism or, as is named here, the Age of Dispersion. The book will be of interest to scholars and students working in art history, contemporary art, studio art, and theories of systems and networks.

"Rediscovering Aesthetics" brings together prominent international voices from art history, philosophy, and artistic practice to discuss the current role of aesthetics within and across their disciplines.
Following a period in which theories and histories of art, art criticism, and artistic practice seemed to focus exclusively on political, social, or empirical interpretations of art, aesthetics is being rediscovered both as a vital arena for discussion and a valid interpretive approach outside its traditional philosophical domain. This volume is distinctive, because it provides a selection of significant but divergent positions. The diversity of the views presented here demonstrates that a critical rethinking of aesthetics can be undertaken in a variety of (possibly incompatible) ways. The contributions open a transdisciplinary debate from which a new field of aesthetics may begin to emerge.
Contributors include: Claire Bishop, Diarmuid Costello, Paul Crowther, Arthur Danto, Nicholas Davey, Thierry de Duve, James Elkins, Francis Halsall, Michael Ann Holly, Julia Jansen, Michael Kelly, Robert Morris, Tony O'Connor, Peter Osborne, Adrian Piper, David Raskin, Carolee Schneemann, Richard Shiff, Wolfgang Welsch, and Richard Woodfield.

Critical Communities and Aesthetic Practices brings together eminent international philosophers to discuss the inter-dependence of critical communities and aesthetic practices. Their contributions share a hermeneutical commitment to dialogue, both as a model for critique and as a generator of community. Two conclusions emerge: The first is that one's relationships with others will always be central in determining the social, political, and artistic forms that philosophical self-reflection will take. The second is that our practices of aesthetic judgment are bound up with our efforts as philosophers to adapt ourselves and our objects of interest to the inescapably historical and indeterminate conditions of experience. The papers collected here address the issue that critical communities and aesthetic practices are never politically neutral and can never be abstracted from their particular contexts. It is for this reason that the contributors investigate the politics, not of laws, parties or state constitutions, but of open, indefinably critical communities such as audiences, peers and friends. Critical Communities and Aesthetic Practices is distinctive in providing a current selection of prominent positions, written for this volume. Together, these comprise a pluralist, un-homogenized collection that brings into focus contemporary debates on critical and aesthetic practices.

"Critical Communities and Aesthetic Practices" brings together eminent international philosophers to discuss the inter-dependence of critical communities and aesthetic practices. Their contributions share a hermeneutical commitment to dialogue, both as a model for critique and as a generator of community.

Two conclusions emerge: The first is that one's relationships with others will always be central in determining the social, political, and artistic forms that philosophical self-reflection will take. The second is that our practices of aesthetic judgment are bound up with our efforts as philosophers to adapt ourselves and our objects of interest to the inescapably historical and indeterminate conditions of experience.

The papers collected here address the issue that critical communities and aesthetic practices are never politically neutral and can never be abstracted from their particular contexts. It is for this reason that the contributors investigate the politics, not of laws, parties or state constitutions, but of open, indefinably critical communities such as audiences, peers and friends.

"Critical Communities and Aesthetic Practices" is distinctive in providing a current selection of prominent positions, written for this volume. Together, these comprise a pluralist, un-homogenized collection that brings into focus contemporary debates on critical and aesthetic practices.

"Rediscovering Aesthetics" brings together prominent international voices from art history, philosophy, and artistic practice to discuss the current role of aesthetics within and across their disciplines.
Following a period in which theories and histories of art, art criticism, and artistic practice seemed to focus exclusively on political, social, or empirical interpretations of art, aesthetics is being rediscovered both as a vital arena for discussion and a valid interpretive approach outside its traditional philosophical domain. This volume is distinctive, because it provides a selection of significant but divergent positions. The diversity of the views presented here demonstrates that a critical rethinking of aesthetics can be undertaken in a variety of (possibly incompatible) ways. The contributions open a transdisciplinary debate from which a new field of aesthetics may begin to emerge.
Contributors include: Claire Bishop, Diarmuid Costello, Paul Crowther, Arthur Danto, Nicholas Davey, Thierry de Duve, James Elkins, Francis Halsall, Michael Ann Holly, Julia Jansen, Michael Kelly, Robert Morris, Tony O'Connor, Peter Osborne, Adrian Piper, David Raskin, Carolee Schneemann, Richard Shiff, Wolfgang Welsch, and Richard Woodfield.

Systems theory emerged in the mid-20th century along with related theories such as Cybernetics and Information Theory. Recently it has included Complexity Theory, Chaos Theory and Social Systems Theory. Systems theory understands phenomena in terms of the systems of which they are part. This book is about a systems theoretical approach to thinking about art. It examines what it means to look to systems theory both for its implications for artistic practice and as a theory of art. This publication provides a sustained discussion on the application of systems theory to an account of art.

Has truth become a casualty of America's increasingly caustic and volatile political culture? Truth in the Public Sphere seeks to understand the significance of truth for the everyday world of human communication. To this end, this book explores the place of truth in several facets of the public sphere: language, ethics, journalism, politics, media, and art. Featuring an international group of contributors from across the humanities and social sciences, this collection is a definitive supplement to theoretical debates about the meaning and status of truth.

Has truth become a casualty of America's increasingly caustic and volatile political culture? Truth in the Public Sphere seeks to understand the significance of truth for the everyday world of human communication. To this end, this book explores the place of truth in several facets of the public sphere: language, ethics, journalism, politics, media, and art. Featuring an international group of contributors from across the humanities and social sciences, this collection is a definitive supplement to theoretical debates about the meaning and status of truth.