Can humans and artificial intelligences share concepts and communicate? One aim of Making AI Intelligible is to show that philosophical work on the metaphysics of meaning can help answer these questions. Cappelen and Dever use the externalist tradition in philosophy of to create models of how AIs and humans can understand each other. In doing so, they also show ways in which that philosophical tradition can be improved: our linguistic encounters with AIs revel that our theories of meaning have been excessively anthropocentric. The questions addressed in the book are not only theoretically interesting, but the answers have pressing practical implications. Many important decisions about human life are now influenced by AI. In giving that power to AI, we presuppose that AIs can track features of the world that we care about (e.g. creditworthiness, recidivism, cancer, and combatants.) If AIs can share our concepts, that will go some way towards justifying this reliance on AI. The book can be read as a proposal for how to take some first steps towards achieving interpretable AI. Making AI Intelligible is of interest to both philosophers of language and anyone who follows current events or interacts with AI systems. It illustrates how philosophy can help us understand and improve our interactions with AI.

Hegel's Aesthetics is the first comprehensive interpretation of Hegel's philosophy of art in English in thirty years. It gives a new analysis of his notorious "end of art" thesis, shows the indispensability of his aesthetics to his philosophy generally, and argues for his theory's relevance today.

A new reading of the philosophy of contemporary art by the author of The Politics of Time Contemporary art is the object of inflated and widely divergent claims. But what kind of discourse can open it up effectively to critical analysis? Anywhere or Not at All is a major philosophical intervention in art theory that challenges the terms of established positions through a new approach at once philosophical, historical, social and art-critical. Developing the position that “contemporary art is postconceptual art,” the book progresses through a dual series of conceptual constructions and interpretations of particular works to assess the art from a number of perspectives: contemporaneity and its global context; art against aesthetic; the Romantic pre-history of conceptual art; the multiplicity of modernisms; transcategoriality; conceptual abstraction; photographic ontology; digitalization; and the institutional and existential complexities of art-space and art-time. Anywhere or Not at All maps out the conceptual space for an art that is both critical and contemporary in the era of global capitalism. Winner of the 2014 Annual Book Prize of the Association for the Study of the Arts of the Present (USA)

In his Berlin lectures on fine art, Hegel argued that art involves a unique form of aesthetic intelligibility—the expression of a distinct collective self-understanding that develops through historical time. Hegel’s approach to art has been influential in a number of different contexts, but in a twist of historical irony Hegel would die just before the most radical artistic revolution in history: modernism. In After the Beautiful, Robert B. Pippin, looking at modernist paintings by artists such as Édouard Manet and Paul Cézanne through Hegel’s lens, does what Hegel never had the chance to do. While Hegel could never engage modernist painting, he did have an understanding of modernity, and in it, art—he famously asserted—was “a thing of the past,” no longer an important vehicle of self-understanding and no longer an indispensable expression of human meaning. Pippin offers a sophisticated exploration of Hegel’s position and its implications. He also shows that had Hegel known how the social institutions of his day would ultimately fail to achieve his own version of genuine equality, a mutuality of recognition, he would have had to explore a different, new role for art in modernity. After laying this groundwork, Pippin goes on to illuminate the dimensions of Hegel’s aesthetic approach in the path-breaking works of Manet, the “grandfather of modernism,” drawing on art historians T. J. Clark and Michael Fried to do so. He concludes with a look at Cézanne, the “father of modernism,” this time as his works illuminate the relationship between Hegel and the philosopher who would challenge Hegel’s account of both modernity and art—Martin Heidegger. Elegantly inter-weaving philosophy and art history, After the Beautiful is a stunning reassessment of the modernist project. It gets at the core of the significance of modernism itself and what it means in general for art to have a history. Ultimately, it is a testament, via Hegel, to the distinctive philosophical achievements of modernist art in the unsettled, tumultuous era we have inherited.

This work investigates how ancient philosophers understood productive knowledge or technê and used it to explain ethics, rhetoric, politics and cosmology. In eleven chapters leading scholars set out the ancient debates about technê from the Presocratic and Hippocratic writers, through Plato and Aristotle and the Hellenistic age (Stoics, Epicureans and Sceptics), ending in the Neoplatonism of Plotinus and Proclus. Amongst the many themes that come into focus are: the model status of ancient medicine in defining the political art, the similarities between the Platonic and Aristotelian conceptions of technê, the use of technê as a paradigm for virtue and practical rationality, technê ́s determining role in Platonic conceptions of cosmology, technê ́s relationship to experience and theoretical knowledge, virtue as an 'art of living', the adaptability of the criteria of technê to suit different skills, including philosophy itself, the use in productive knowledge of models, deliberation, conjecture and imagination.

Discusses writings by each of Meyer Shapiro, Claude Lévi-Strauss and Michael Baxandall.