The tenth art world is the last art world. When the capitalist system collapses, there will be no more art worlds /fork too many art worlds. The art worlds will fade away into the dark ages. The art worlds will become extinct like dinosaurs and woolly mammoths. The art worlds will become fossils that are found in museums /fork they will be museums that are found in fossils. When capitalism collapses, people will no longer be able to live off the art worlds. They will no longer be able to make a living from their art. /fork people will finally be able to capitalize on collapse.

Even if philosophers are not directly endangered by the existing ideological powers, they are immersed in the everyday life of their society. Thus, to be able to survive in this society they have to accept almost all of its opinions. For example, philosophers have to eat and drink and so they have to accept societal opinions with respect to what is edible and drinkable and what is not. And in the contemporary world, they also have to cross the street on the green light and not the red light, and use their computers in an appropriate way. If philosophers found themselves unable to cope with everyday life and contemporary technology, they would die rather soon. Thus, in order to be consequential, the philosopher has to accept death as a possible and even probable result of the act of epoche. Socrates was ready to accept the death of his empirical self because he believed that a part of his soul remained immortal—and so he could sacrifice his earthly life in the name of eternal life in a society of gods.

Looking back on twentieth century modernism from the standpoint of today, it seems that its major aesthetic component was actually provincialism. Across the world, different forms of social and economic modernization emerged, leading artists to develop new practices that broke from tradition to engage with these shifting circumstances. However, the early canonization of “modern art” in Western Europe, followed by the transfer of power to New York towards the middle of the century, meant that…

Aboveboard. I really am honest and open now. More and more. Since being out here. It’s the place. It’s bigger and softer. It’s a better way to work. I’ve employed a bunch of people. Back where I came from the old cynics said, “I don’t think you’re being totally aboveboard with us.” Aces in their places! That’s my only response. When I shout that out these days everyone runs to their station and leverages their core competencies. That’s what I want to achieve. So I can spend some time in my…

By way of an introduction to this issue of e-flux journal , I would like to discuss the changes in our understanding and perception of art engendered by conceptual art practices of the 1960s and 1970s, focusing not on the history of conceptual art or individual works, but rather on the ways in which the legacy of these practices remains relevant for us today. I would argue that from today’s perspective, the biggest change that conceptualism brought about is this: after conceptualism we…

Tactically, conceptualism is no doubt the strongest position of the three; for the tired nominalist can lapse into conceptualism and still allay his puritanic conscience with the reflection that he has not quite taken to eating lotus with the Platonists. —Willard van Orman Quine 1 Philosophers often add “-ism” to a term in order to highlight a distinct approach to a fundamental question, that is, to name a philosophical doctrine. For example, when it comes to universals,…

Contemporary art? As far as I am largely un concerned, none of what is termed contemporary art, including what is exhibited and screened in various “museums of contemporary art,” for example the Museum of Contemporary Art in Sydney (MCA) or the Museum of Contemporary Art in Los Angeles (MOCA), is contemporary 1 and most of it is not art! There can be no museum of contemporary art since while now we can have museums but not contemporaneity, with the coming of the messiah we are going to…