Gary Shapiro

ABSTRACT This article attempts to situate land art in the deserts of the US Southwest in terms of the works’ relation to and rupture with more traditional genres (seventeenth to twentieth centuries) of parks, gardens, and landscape architecture. It argues that the earlier works provide implicit answers to questions concerning Earth’s meaning and offer models of flourishing habitation. In contrast, the more recent works, all constructed in the era of the great acceleration (the Anthropocene), pose questions having to do with new challenges posed by climate change and the devastation of the Earth.

Danto's discussion of site‐related and site‐specific art opens up perspectives on both his conception of the ethics and politics of public art and on his ultimately idealistic ontology of art. Danto's analysis of the Vietnam Veterans Memorial involves an important distinction between monuments and memorials that is highly relevant to current controversies, like those about Confederate statues. His differing responses to two site‐related public art works by Richard Serra exhibit a nuanced sensibility to the taste of the public audience and the aesthetics of genius loci. Danto's enthusiastic account of several site‐specific works involving minimal interventions on the ground (some of which remained in the planning stage) disclose his inclination to reduce art to its idea, prescinding from its material presence.

In his four Unmodern Observations (Unzeitmässige Betrachtungen) of the 1870s, Nietzsche confronted early philosophical versions of positions more recentlydiscussed under such rubrics as globalization and the end of history. What he intended by marking these essays as “unmodern” or “untimely” was to designatetheir critical stance toward both the philistine self-congratulation of the era and the Hegelian philosophy with which it explained and justified itself. Basic to thisHegelian conception of history is a concept of the world-historical “great event,” a turning point that manifests itself in the world of political states. The Unmodernseries broke off with Nietzsche’s essay on Wagner, where he attempted to articulate his own non-statist version of a great event. The current essay diagnoses theinterruption of this project as a failure to fully abandon Hegelian thinking, and outlines a reading of Nietzsche’s later, more compelling (and unHegelian) conceptof the great event.

"... Shapiro's book is bursting with thoughts, and if one is willing to mine them, one is sure to find items of interest or provocation." —The Journal of Aesthetics and Art Criticism Taking issue with a widely held view that Nietzsche's writings are essentially fragmentary or aphoristic, Gary Shapiro focuses on the narrative mode that Nietzsche adopted in many of his works. Such themes as eternal recurrence, the question of origins, and the problematics of self-knowledge are reinterpreted in the context of the narratives in which Nietzsche develops or employs them

The Phenomenology of Spirit has been in rich and equal measures a source of both frustration and fascination to its readers. Coming to it from the more conventional texts of our tradition readers have been puzzled, first, by the structure of the Phenomenology. Despite his suggestions that he is following an actual historical development of some sort Hegel will pass from the Terror of 1793–94 to prehistoric religions of nature, or from Kantian universality in morality to the life of the Greek polis. In addition the Phenomenology contains a vast number of allusions to particular texts and authors which seems disproportionate to its claim to have followed a necessary path to absolute knowledge. One may have the impression that the highway of despair has been so named because of its constant and confusing detours into wildernesses which have only the most peripheral connection with the promised land of spirit. All of this has prompted an amazing quantity of ingenious hermeneutical activity. The leading directions in such exegesis can be sorted out into the logical, the existential, and the poetic; each is governed by the intention of saving and preserving the integral value of the text. There is also, of course, a skeptical reading of the Phenomenology, often appealing to philological evidence, which attempts to suggest, that what we are dealing with is at best a patchwork of essays on various subjects and with different purposes, hurriedly put together to meet the demands of the printer. I regard the patchwork theory as a last resort and will pass over it in silence here, since I have not yet been reduced to its level of desperation or irony. The logical reading such as that given in recent years by Stanley Rosen claims that the Phenomenology presupposes the Logic rather than serving as an introduction to it; but Hegel repeatedly says that the Phenomenology is such an introduction or ladder to the standpoint of science. An existential approach to the text finds Hegel to have surrendered joyously to the drama and possibilities of the Lebenswelt, both contemporary and historical. As Robert Solomon puts it in his recent book on Hegel

Hegel introduced the Phenomenology of Mind as a work on the problem of knowledge. In the first chapter, entitled “Sense Certainty, or the This and Meaning,” he concluded that knowledge cannot consist of an immediate awareness of particulars ). The tradition discusses sense certainty in terms of this failure of immediate knowledge without, however, specifically addressing the problem of reference. Yet reference is distinct from knowledge in the sense that while there can be no knowledge of objects without reference, there may be reference without knowledge. If that is the case, then the failure of immediate knowledge does not entitle us to conclude anything about the success or failure of reference. It is not surprising, then, that a few scholars have begun to examine sense certainty primarily as a thesis about reference.

We have Nietzsche to thank for some of the most important accomplishments in intellectual history, but as Gary Shapiro shows in this unique look at Nietzsche’s thought, the nineteenth-century philosopher actually anticipated some of the most pressing questions of our own era. Putting Nietzsche into conversation with contemporary philosophers such as Deleuze, Agamben, Foucault, Derrida, and others, Shapiro links Nietzsche’s powerful ideas to topics that are very much on the contemporary agenda: globalization, the nature of the livable earth, and the geopolitical categories that characterize people and places. Shapiro explores Nietzsche’s rejection of historical inevitability and its idea of the end of history. He highlights Nietzsche’s prescient vision of today’s massive human mobility and his criticism of the nation state’s desperate efforts to sustain its exclusive rule by declaring emergencies and states of exception. Shapiro then explores Nietzsche’s vision of a transformed garden earth and the ways it sketches an aesthetic of the Anthropocene. He concludes with an explanation of the deep political structure of Nietzsche’s “philosophy of the Antichrist,” by relating it to traditional political theology. By triangulating Nietzsche between his time and ours, between Bismarck’s Germany and post-9/11 America, Nietzsche’s Earth invites readers to rethink not just the philosopher himself but the very direction of human history.