On 15 October 1959, Rudolf Carnap, a leading member of the recently founded Vienna Circle, came to lecture at the Bauhaus in Dessau, southwest of Berlin. Carnap had just finished his magnum opus, The Logical Construction of the World, a book that immediately became the bible of the new antiphilosophy announced by the logical positivists. From a small group in Vienna, the movement soon expanded to include an international following, and in the sixty years since has exerted a powerful (...) sway over the conduct of the philosophy of science as well as over wide branches of philosophy, economics, psychology, and physics. The site of Carnap’s lecture that day, the Dessau Bauhaus, was a stunning building designed by Walter Gropius and dedicated just three years earlier. Protected by its flat roof and glass walls, the artists, architects, weavers, and furniture designers had made the school a citadel of high modernism. It was here that Carnap addressed an enthusiastic audience on “Science and Life.” “I work in science,” he began, “and you in visible forms; the two are only different sides of a single life.”1 In this paper I will explore this “single life” of which the new philosophy and the new art were to be different facets; in the process, I hope to cast light on the shared modernist impulses that drove both disciplines in the interwar years. 1. Rudolf Carnap, lecture notes for his Bauhaus lecture, “Wissenschaft und Leben,” prepared 1 Oct. 1929 and delivered 15 Oct. 1929, transcription from shorthand by Gerald Heverly, Carnap Papers in the Archives of Scientific Philosophy, University of Pittsburgh Libraries, University of Pittsburgh , document RC 110-07-49. Quoted by permission of the University of Pittsburgh. All rights reserved. Translations are my own unless otherwise noted. Peter Galison is associate professor in the departments of philosophy and physics at Stanford University, where he co-chairs the program in the history of science. His primary interest is in the history and philosophy of experimentation, the subject of his How Experiments End and Big Science: The Growth of Large-Scale Research, edited with Bruce Hevly . His current project is entitled Image and Logic: The Material Culture of Modern Physics. (shrink)

The paper presents the problem of the frame, a clearly prevalent pattern in the selected activities of Bauhaus representatives. Despite only a dozen years of its existence, the school of modern architecture and design had a significant impact on the 20th-century world of art, and its social context, aesthetic and functions. In spite of its utilitarianist approach, it has developed a variety of standpoints that resulted in debates over the limits of art and have evolved into a wide range (...) of creative movements that became a permanent feature of the art world. The essence of artistic activity evolved in this formation in two seemingly contradictory directions – towards a radical consolidation of the visual form, which is devoid of any decorations, and its gradual opening to the space surrounding the artistic and design activity. The first direction led to strengthening the integrity of the work and its materiality, while the second led to interference with the environment and the disappearance of the outline of the form. The diverse involvements and relations between these attitudes created different understandings of the frame encompassing the works. (shrink)

The article examines an experimental survey that was conducted by Wassily Kandinsky and his students of the wall painting workshop at the Bauhaus Weimar in 1923. In his theoretical writings on art, Kandinsky had assumed there to be direct correspondences between basic colors (yellow, red, blue) and forms (triangle, square, circle), and he operationalized this assumption in the survey. The recent discovery of twenty-six completed questionnaires offers new insights into the scope of Kandinsky’s doctrine of color-form correspondence, and forces (...) us to reevaluate his position regarding scientific research. Against the background of perceptual sensitization as a Bauhaus teaching method, and through a qualitative analysis of the answers that participants gave in the survey, we show that Kandinsky’s empirical investigation of color-form correspondences was an analytical tool in his attempt to foster an artistic sensibility as regards the aesthetic effects of basic artistic means. (shrink)

Historically, the Vienna Circle and the Dessau Bauhaus were related, with members of each group familiar with the ideas of the other. Peter Galison argues that their projects are related as well, through shared political views and methodological approach. The two main figures that connect the Vienna Circle to the Bauhaus—and the figures upon which Galison focuses—are Rudolf Carnap and Otto Neurath. Yet the connections that Galison develops do not properly capture the common themes between the Bauhaus (...) and Neurath’s philosophical projects. We demonstrate this by considering Neurath’s philosophical commitments. We suggest different connections between Neurath’s projects and the Bauhaus, connections that are both substantive and philosophically interesting. (shrink)

This paper, originally published some thirty years ago, offers different views on Carnap, and more generally on the Vienna Circle, than the accounts that had been hitherto given. There the Author also shares a new approach to the philosophy of science, which has made him one of the most distinguished epistemologists of his generation. Such a view is based on a new attention given both to scientific practices, not only theories, and to their socio-historical contexts.

Appeals to utility permeate Hume's account of morality. He maintains, for which have this tendency to the public advantage and loss" (T. 578-79).

Marshall McLuhan understood television as a tactile medium. This understanding implied what Bruno Latour might call a ‘symmetrical’ conception of tactility. According to McLuhan, not only human actors are endowed with the sense of touch. In addition, TV, digital computers and other ‘electric media’ use light beams and similar scanning techniques for ceaselessly ‘caressing the contours’ of their surroundings. This notion of tactility was crucially shaped by the holistic aesthetics of the early Bauhaus. To get at the specific features (...) of the TV image, McLuhan relied on the writings of László Moholy-Nagy and Sigfried Giedion, in particular their use of photography for capturing and highlighting the ‘texture’ of surfaces. However, he hardly reflected the social and political factors that, in the age of electric media, contribute to the ‘symmetricization’ of touch. (shrink)

This book offers a cutting-edge perspective of design for space to increase astronauts’ wellbeing and performance creating a more sustainable and inclusive environment, but without to forget beauty. The relevant aspect is that these design principles are now also supported and promoted by the European Community with the New European Bauhaus project. It is legitimate to affirm that Space Design is a precursor and inspiring these principles. Space exploration has shown us how results of space research inspire management policies (...) addressing important earth issues such as the responsible use of resources as well as ethical behavior leading to sustainable and inclusive choices. The International Space Station (ISS) is the most successful virtuous example of circular economy and sustainability by almost totally recycling the waste produced. Recently the European Space Agency (ESA) launched the first call for “parastronauts” opening the fly possibilities to people with physical disabilities and thus affirming the principle of inclusion in space. Thanks to design—a bridge between science, technology, and beauty—space opens up to new creative experiments, placing the human being at the center of the interplanetary exploration programs to ensure extra-terrestrial habitats safer, more comfortable, and efficient, where crew will feel “like at home”. (shrink)

ABSTRACT The golden age has not passed; it lies in the future. —Paul Signac.

This Open Access volume is based on the 'Early Carnap in Context’ workshop that took place in Konstanz in 2017 and looks at Rudolf Carnap’s philosophy, documented in his recently released diaries, from a combination of historical, cultural and philosophical perspectives. It enables further evaluation of the diaries and traces newly found interrelationships and their systematic definition. From a cultural and historical point of view, Logical Empiricism and Carnap’s pivotal opus, The Logical Structure of the World, did not evolve in (...) a vacuum. This applies equally in a history of philosophy context as well as under consideration of contemporary historical and cultural influences such as the socio-cultural setting in Vienna and Prague, the correlation between Logical Empiricism and Bauhaus modernism, the connection to the Life Reform Movement or the Youth Movement with its own life philosophy. Pursuing Carnap’s progression on a micro level of history and referring the results back to Carnap’s philosophy is now facilitated by recent access to his Diaries from 1908–1935. These shorthand records, reading lists, travel reports and notes constitute a valuable source for the research of networks and social movements which left their mark on him. (shrink)

Bauspiel: ein Schiff by Alma Siedhoff-Buscher is one of the most important toys of the twentieth century, designed and built in 1923 when the designer was part of the Bauhaus Woodcarving Workshop. Having become an icon of an entire era, a symbol of a design utopia, Siedhoff-Buscher’s Bauspiel remains an object that makes us wonder not only for the fascination it emanates, its perennial aesthetic relevance that still legitimates its production and marketing up until nowadays, but for the strength (...) of its evidencing and its ability to force us questioning ourselves about who a child is, and therefore, obviously about who the man is. Mimesis, game, toy thus become the dimensions that Bauspiel manifests to the highest degree, in which anthropological questioning and aesthetic analysis are intertwined in the same research. (shrink)

The paper follows the thesis, that the perception of real or virtual media shares the anthropological state of "Ausdruckswahrnehmung" or perception of expression (Ernst Cassirer). This kind of perception does not represent a distant, neutral point of view, but one that is guided by feelings or "vitality affects" (Daniel N. Stern). The prerequisites, however, for triggering these feelings/"vitality affects" are not recognizable objects or motifs, but rather their sensually evaluable “abstract representations” or their formal logical structures. In contrast to aesthetic (...) feelings, however, they affect not only our feelings of lust or unlust or our knowledge (formal aesthetics) but also our actions (semiotics). So, when I extend aesthetic experiences to semiotic effects, I will talk about vitality semiotics. This new concept is of consequence, because the thesis of the responsibility of the producer is based on these effects. This is to be carried out by analyzing and presenting the approach of the Bauhaus master Josef Albers. (shrink)

This is the first coherent monography about the life and work of the important Bauhaus master Josef Albers. It aims to discover Albers as a teacher and an artist anew. Thus, 40 years after his death an artist shall be honored, who has had till now not enough attention within the Bauhaus masters. It fall too short to introduce him solely as the teacher and idea provider of the basic course at the Bauhaus. After his emigration to (...) the US he achieved his breakout as an international artist and revolutionized the art world with his oeuvre and his doing. (shrink)

From Bauhaus to Dada, from Virginia Woolf to John Dos Passos, the Modernist movement revolutionized the way we perceive, portray, and participate in the world. This landmark anthology is a comprehensive documentary resource for the study of Modernism, bringing together more than 150 key essays, articles, manifestos, and other writings of the political and aesthetic avant-garde between 1840 and 1950. By favoring short extracts over lengthier originals, the editors cover a remarkable range and variety of modernist thinking. Included are (...) not just the familiar high modernist landmarks such as Gustave Flaubert, Ezra Pound, and James Joyce, but also a diverse representation from the sciences, politics, philosophy, and the arts, including Charles Darwin, Thorstein Veblen, W. E. B. Du Bois, Isadora Duncan, John Reed, Adolf Hitler, and Sergei Eisenstein. Another welcome feature is a substantial selection of hard-to-find manifestos from the many modernist movements, among them futurism, cubism, Dada, surrealism, and anarchism. (shrink)

In this paper, I will present an argument against Husserl’s analysis of picture consciousness. Husserl’s analysis of picture consciousness (as it can be found primarily in the recently translated volume Husserliana 23) moves from a theory of depiction in general to a theory of perceptual imagination. Though, I think that Husserl’s thesis that picture consciousness is different from depictive and linguistic consciousness is legitimate, and that Husserl’s phenomenology avoids the errors of linguistic theories, such as Goodman’s, I submit that his (...) overall theory is unacceptable, especially when it is applied to works of art. Regarding art, the main problem of Husserl’s theory is the assumption that pictures are constituted primarily as a conflict between perception/physical picture thing and imagination/picture object. Against this mentalist claim, I maintain, from a hermeneutic point of view, that pictures are the result of perceptual formations [Bildungen]. I then claim that Husserl’s theory fails, since it does not take into account what I call “plastic perception” [Bildliches Sehen], which plays a prominent role not only within the German tradition of art education but also within German art itself. In this connection, “plastic thinking” [Bildliches Denken] was prominent especially in Klee, in Kandinsky, and in Beuys, as well as in the overall doctrine of the Bauhaus. Ultimately, I argue that Husserl’s notion of picture consciousness and general perceptive imaginary consciousness must be replaced with a more dynamic model of the perception of pictures and art work that takes into account (a) the constructive and plastic moment, (b) the social dimension and (c) the genetic dimension of what it means to see something in something (Wollheim). (shrink)

It could be a part of the task of analyzing the history of the World the analysis of the history of rock. Such analysis could take us into a journey and an experience of unexpected paths of wealth and intricate course. Who follows such paths surely will face much more than mere lyrics, costumes, instruments, chords and musical rhythms. That wanderer better be prepared to confront memories and denounces of war, energetic crisis, works of art and a manifold of manifestations (...) of social and political consciousness. Who travel these paths will live fully the experience if submerges him in an alternative and very promising way of meeting the universal history of the last fifty years. This way of understanding history is all about assuming rock as a soundtrack of the multiple features that is the world. In a few words, rock is a key of interpretation of history. (shrink)

This article is concerned with Klee’s belief that ‘intuition’ is indispensable to the artistic and scientific understanding of natural processes and laws of nature. Examples of his pictorial practice are discussed which derive from the as yet for the most part unpublished and little studied writings from the period at the Bauhaus. Taking the methodologically diverse literature about Klee into account, this paper tries to understand Klee’s ‘scientism’ in the cultural and theoretical context of his time.Keywords: Intuition; Genius; E. (...) T. A. Hoffmann; Wilhelm Worringer. (shrink)

Selon les auteurs le nouveau "College" d'enseignement supérieur devra être petit démocratique, auto-administré et résidentiel ; son but sera de créer une authentique communauté de culture, de connaissances académique et d'économie. Les collèges Ruskin, Bauhaus et Black Mountain sont décrits comme précurseurs.

While the Vienna Circle had virtually no impact on the Czech-speaking philosophical community during the 1930s, one can find a curious meeting point in the field of theory of architecture. There is now a growing literature on Otto Neurath as a theorist of architecture and urbanism, who emphasized the social aspects of modern building and approached architecture from his idiosyncratic viewpoint of Marxism interpreted as a physicalistic social science. It is less well known that a young Czech architecture critic and (...) theorist, Karel Teige, cultivated strikingly similar views during the same period—from 1920s to 1930s—albeit without any knowledge of Neurath’s thought in particular, or for that matter the Vienna Circle in general. The chapter reveals similarities as well as differences between Neurath and Teige on Marxism, science and architecture, and the Bauhaus, as well as a discussion of the relations of both to the contemporaries, most importantly Adolf Loos, Josef Frank and Hannes Meyer. (shrink)

Der Wiener Kreis gehört nicht zu den Strömungen des 20. Jahrhunderts, die heute für ihre Kulturphilosophie oder politische Philosophie bekannt sind. Tatsächlich war er aber in kulturellen und politischen Fragen seiner Zeit engagiert. Er wurde von vielen seiner Mitglieder als kulturelle Bewegung gedacht und wirkte in diesem Sinne auch auf andere. Beispielsweise hielten Mitglieder des Kreises Vorträge im Bauhaus und hatten Künstler die Zeitschrift Erkenntnis abonniert. - Der Sammelband soll das im Wiener Kreis bestehende Selbstverständnis hinsichtlich der Kultur und (...) Politik der eigenen Zeit näher in den Blick nehmen und klären, inwieweit die damit einhergehenden Fragen als etwas Sinnloses, als Nebenschauplatz, als Grundlage oder sogar Ziel des eigenen Wirkens gesehen wurden. In diesem Kontext stellen sich letztlich auch die Fragen, ob sich die Kulturphilosophie und politische Philosophie seiner Mitglieder rekonstruieren lässt und in welcher Beziehung deren Positionen diesbezüglich zueinander stehen. (shrink)

Danish Modern explores the development of mid-century modernist design in Denmark from historical, analytical and theoretical perspectives. Mark Mussari explores the relationship between Danish design aesthetics and the theoretical and cultural impact of Modernism, particularly between 1930 and 1960. He considers how Danish designers responded to early Modernist currents: the Stockholm Exhibition of 1930, their rejection of Bauhaus aesthetic demands, their early fealty to wood and materials, and the tension between cabinetmaker craft and industrial production as it challenged and (...) altered their aesthetic approach. Tracing the theoretical foundations for these developments, Mussari discusses the writings and works of such figures as Poul Henningsen, Arne Jacobsen, Hans Wegner, Nanna Ditzel, and Finn Juhl. (shrink)

The Architecture Machine: Industrial Design and Theories of Racial Evolution -- The Bauhaus and the Aura of Authorship: Class and Race in the Age of Technological Reproducibility -- Post-War European Modernism: Or, What the Primitive Hut Really Said -- Bricolage, Megastructure, Interface: Yona Friedman and the Humanitarian Machine -- The Earth Unfolded: Aspen, Africa, and the Geopolitics of Environment -- Harlem Speaks to Aspen: Environmental Politics versus Environmental Design -- Pentecostal Technologies: The Architecture Machine (Again) -- Technological Sovereignty and (...) the Global South -- Conclusion: The Present and Future of Spiritual Ergonomics. (shrink)

A rich intellectual encounter, revolving around the hands of the experimenter and those of the artist, highlighting the relation between the sciences and the arts. This book is the first to explore in detail the encounter between Albert Flocon and Gaston Bachelard in postwar Paris. Bachelard was a philosopher and historian of science who was also involved in literary studies and poetics. Flocon was a student of the Bauhaus in Dessau, Germany, who specialized in copper engraving. Both deeply ingrained (...) in the surrealist avant-garde movements, each acted at the frontiers of their respective métiers in exploring uncharted territory. Bachelard experienced the sciences of his time as constantly undergoing radical changes, and he wanted to create a historical epistemology that would live up to this experience. He saw the elementary gesture of the copper engraver—the hand of the engraver—as meeting the challenge of resistant and resilient matter in an exemplary fashion. Flocon was fascinated by Bachelard’s unconventional approach to the sciences and his poetics. Together, their relationship interrogated and celebrated the interplay of hand and matter as it occurs in poetic writing, in the art of engraving, and in scientific experimentation. In the form of a double biography, Hans-Jörg Rheinberger succeeds in writing a lucid intellectual history and at the same time presents a fascinating illustrated reading of Flocon’s copper engravings. Hans-Jörg Rheinberger is Director Emeritus at the Max Planck Institute for the History of Science, Germany. Kate Sturge is a translator and editor based in Berlin, Germany, and Visiting Senior Lecturer in Translation Studies at Aston University, United Kingdom. (shrink)

These photographs, essays, drawings, and original texts document the rich agit-art legacy of the Situationist International, a group of European artists and writers who emerged from such avant-garde movements as COBRA, Lettrisme, and the Imaginary Bauhaus and from the breakup of surrealism to launch a strategy of art as cultural critique.

In lieu of an abstract, here is a brief excerpt of the content:Hume Studies Volume 31, Number 1, April 2005, pp. 63-92 Utilitarianism with a Humean Face ELIZABETH ASHFORD Introduction There is a long-standing debate over whether or not Hume's moral theory1 should be viewed as some version of utilitarianism.2 Among opponents of a utilitarian reading, many contrast the subtlety and psychological plausibility of Hume's account of morality with what they take to be utilitarianism's failure both to capture the complexity (...) of morality and to be suited to the nature of human beings.3 Geoffrey Sayre-McCord is, in my view, one of the most incisive and forceful advocates of this position.4 He interprets Hume as an exponent of what he calls the "Bauhaus theory" of ethics. The Bauhaus theory avoids a commitment to a single overarching moral principle by which to solve all moral questions. On this view, the virtues are each well-suited to solving a particular problem which we find collectively salient when we take up the general point of view, " and different problems may demand dramatically different, sometimes incompatible solutions" (282). Sayre-McCord contrasts this with what he considers the overly systematic nature of utilitarianism, which identifies traits as virtues solely on the grounds of their tendency to realise or promote well-being. In addition, he contrasts the Bauhaus theory, which "portrays morality's demands as grounded in the expansive interests and affections, generous and not, of real people looking for... solutions to problems they face," with what he takes to be utilitarianism's psychological implausibility. The question of whether Hume's moral theory should be viewed as a version of utilitarianism will, of course, largely depend on how utilitarianism is defined. It is important to separate utilitarianism's key tenets from claims that have come to Elizabeth Ashford is Lecturer in Moral Philosophy, University of St. Andrews, Edgecliffe, The Scores, St Andrews, KY16 9AL, United Kingdom, e-mail: [email protected] 64 Elizabeth Ashford he associated with the theory but that do not follow from these tenets. My discussion of whether Hume's moral theory is utilitarian will focus on Sayre-McCord's argument that "no version of utilitarianism... sits comfortably as an interpretation of Hume." One of the strengths of Sayre-McCord's argument is that he bases it on the most uncontentious and ecumenical account of utilitarianism's core tenets. He argues that there are three ways in which a theory may fail to qualify as utilitarian, and that Hume's theory fails on all three counts: (i) a theory might rely on neither actual nor expected utility as the determinants of evaluation; or (ii) it might not take into account all the consequences for everyone affected; or (iii) it might not take utility to be a single measure of interpersonal value. I will argue that Hume's account of morality adheres to the first two tenets that Sayre-McCord rightly identifies as definitive of utilitarianism, welfarism and impartiality. This means that Hume's theory is a version of what Thomas Scanlon calls "philosophical utilitarianism, " according to which "all that counts morally is the well-being of individuals, no one of whom is singled out as counting for more than the others."5 By showing that Hume's account is a version of philosophical utilitarianism I hope to demonstrate that a moral theory's adherence to these two fundamental tenets of utilitarianism is compatible with its having considerable complexity and psychological plausibility. I will then argue that Hume also takes welfare to be "a single measure of interpersonal value," and so also adheres to what Sayre-McCord takes to be essential to the third tenet of utilitarianism. I will argue, contra Sayre-McCord, that Hume's account of the moral point of view is based on the interests of all, rather than the interests of each seriatim (as on contractualist accounts) or the individual selfinterest of the participants (as on Hobbesian contractarian accounts). Admittedly, though, Hume shows no commitment to maximizing the net sum total of welfare. Such a commitment has come to be viewed as definitive of classical utilitarianism. In fact, as I will argue, Hume does not seriously address the problem of interpersonal conflicts... (shrink)

Key writings by artists and theorists chart the shifting relationship between film and photography and how the rise of cinema forced photography to make a virtue of its stillness. The cinematic has been a springboard for the work of many influential artists, including Victor Burgin, Philip-Lorca diCorcia, Stan Douglas, Nan Goldin, Douglas Gordon, Cindy Sherman, and Jeff Wall, among others. Much recent cinema, meanwhile, is rich with references to contemporary photography. Video art has taken a photographic turn into pensive slowness; (...) photography now has at its disposal the budgets and scale of cinema. This addition to Whitechapel's Documents of Contemporary Art series surveys the rich history of creative interaction between the moving and the still photograph, tracing their ever-changing relationship since early modernism. Still photography—cinema's ghostly parent—was eclipsed by the medium of film, but also set free. The rise of cinema obliged photography to make a virtue of its own stillness. Film, on the other hand, envied the simplicity, the lightness, and the precision of photography. Russian Constructivist filmmakers considered avant-garde cinema as a sequence of graphic "shots"; their Bauhaus, Constructivist and Futurist photographer contemporaries assembled photographs into a form of cinema on the page. In response to the rise of popular cinema, Henri Cartier-Bresson exalted the "decisive moment" of the still photograph. In the 1950s, reportage photography began to explore the possibility of snatching filmic fragments. Since the 1960s, conceptual and postconceptual artists have explored the narrative enigmas of the found film still. The Cinematic assembles key writings by artists and theorists from the 1920s on—including László Moholy-Nagy, Pier Paolo Pasolini, Victor Burgin, Jeff Wall, and Catherine David—documenting the photography-film dialogue that has enriched both media. (shrink)

In the first half of the twentieth century there was a remarkable convergence of art and design in De Stijl, Constructivism and the Bauhaus. But in the second half of the twentieth century fine art relinquished its liaison with design due to the influence of Dada and Surrealism's postromantic antagonism to practical-functionalism. Dada and Surrealism and postmodern fine art are characterized by a critique of the dominant social discourse of functionalism and the demand for a sublime poetics to be (...) brought into everyday life. This article argues that the apparent antipathy between postmodern fine art and design can be ameliorated if we critically analyse interpretations of evolutionary theory by postromantic philosophers such as Nietzsche, Bergson, and Deleuze and Guattari. When Bergson notes that practical-functional reasoning was created by evolution he reveals a flaw in the pursuit of an aesthetics that is totally opposed to commonsense and practical-functionalism. And when we turn to Deleuze and Guattari we find another valuable concept in the form of their notion of the machinic, which assists further in reconciling the postromantic emphasis on the sublime with the practicality of mechanism. Moreover, Deleuze and Guattari's notion of the machinic is informed by chaos theory, which allows further elaboration in terms of complexity theory. Complexity theory can be understood as a process philosophy that has no need to figure the sublime in terms of a mysterious force of nature because the mystery is located within complex interactions among a manifold of components, what one might refer to as a cosmic, machinic, combinatoire that arises out of what Christopher Langton has called the edge of chaos. This makes it possible to replace the emphasis on desire as the fundamental force of nature evident in Nietzsche, Bergson, Deleuze and Guattari with a complexity-theoretical concept of a cosmicmachinic combinatoire. It is then possible to formulate a machinic, evolutionary aesthetics that can reconcile the postromantic demand for sublimity with the demand for practical-functionalism that lies at the heart of the discipline of design. In place of the modernist machine aesthetic that informed De Stijl, Constructivism and the Bauhaus we would have a postmodernist machinic aesthetic. (shrink)

ABSTRACTThis article examines works by the American-born, Paris-based artist Sheila Hicks and her sense of the universal communicability of thread. Hicks bridges cultures and resists simple identification with any single nationality, media, or art historical paradigm. For these reasons and others, it is timely to examine her work and its relevance for pluralistic, feminist thought. The article situates Hicks in relation to Sarah Ruhl’s 2008 play Eurydice, to Heidegger’s essay “The Origin of the Work of Art,” and to ideas about (...) identity, borders, loss, and language. Hicks’s textiles and soft sculptures fall within a modernist, Bauhaus-inflected framework, but her ongoing experiments with colored lines, weaving, and installation show the way toward a tactile and sensory conception of language. As an artist whose practice revolves around entanglement, she reminds us of the infinite ways in which lineages cross and intersect, and she alerts us to foundational, material commonalities we share in our reliance on threads as clothing and protection. Placing Hicks and Ruhl alongside one another for the first time, the article shows the degree to which two women from different generations challenge overly narrow and too-often patriarchal definitions of what it means to speak, to listen, to grieve, and to remember. Hicks, through her fiber works, and Ruhl, through her reimagining and voicing of Eurydice, invite us to experience language as something porous, precarious, and deeply embodied. Together they demonstrate the value of crossing lines and learning to listen for the unspoken or the unspeakable. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.1 (2001) 1-13 [Access article in PDF] From Postmodernism to Postmodernity: The Local/Global Context Ihab Hassan I What Was Postmodernism? What was postmodernism, and what is it still? I believe it is a revenant, the return of the irrepressible; every time we are rid of it, its ghost rises back. Like a ghost, it eludes definition. Certainly, I know less about postmodernism today than I did (...) thirty years ago, when I began to write about it. This may be because postmodernism has changed, I have changed, the world has changed.But this is only to confirm Nietzsche's insight, that if an idea has a history, it is already an interpretation, subject to future revision. What escapes interpretation and reinterpretation is a Platonic Idea or an abstract analytical concept, like a circle or a triangle. Romanticism, modernism, postmodernism, however, like humanism or realism, will shift and slide continually with time, particularly in an age of ideological conflict and media hype.All this has not prevented postmodernism from haunting the discourse of architecture, the arts, the humanities, the social and sometimes even the physical sciences; haunting not only academic but also public speech in business, politics, the media, and entertainment industries; haunting the language of private life styles like postmodern cuisine--just add a dash of raspberry vinegar. Yet no consensus obtains on what postmodernism really means.The term, let alone the concept, may thus belong to what philosophers call an essentially contested category. That is, in plainer language, if you put in a room the main discussants of the concept--say Leslie Fiedler, Charles Jencks, Jean-François Lyotard, Bernard Smith, Rosalind Krauss, Fredric Jameson, Marjorie Perloff, Linda Hutcheon and, just to [End Page 1] add to the confusion, myself--locked the room and threw away the key, no consensus would emerge between the discussants after a week. But a thin trickle of blood might appear beneath the sill.Let us not despair: though we may be unable to define or exorcise the ghost of postmodernism, we can approach it, surprising it from various angles, perhaps teasing it into a partial light. In the process, we may discover a family of words congenial to postmodernism. Here are some current uses of the term: 1. Frank Gehry's Guggenheim Museum in Bilbao (Spain), Ashton Raggatt McDougall's Storey Hall in Melbourne (Australia), and Arata Isozaki's Tsukuba Center (Japan) are considered examples of postmodern architecture. They depart from the pure angular geometries of the Bauhaus, the minimal steel and glass boxes of Mies van der Rohe, mixing aesthetic and historical elements, flirting with fragments, fantasy, and even kitsch. 2. In a recent encyclical, titled "Fideset Ratio," Pope John Paul II actually used the word postmodernism to condemn extreme relativism in values and beliefs, acute irony and skepticism toward reason, and the denial of any possibility of truth, human or divine. 3. In cultural studies, a highly politicized field, the term postmodernism is often used in opposition to postcolonialism, the former deemed historically feckless, being unpolitical or, worse, not politically correct. 4. In Pop culture, postmodernism--or PoMo as Yuppies call it insouciantly--refers to a wide range of phenomena, from Andy Warhol to Madonna, from the colossal plaster Mona Lisa I saw advertising a pachinko parlor in Tokyo to the giant, cardboard figure of Michelangelo's David--pink dayglo glasses, canary shorts, a camera slung across bare, brawny shoulders--advertising KonTiki Travel in New Zealand. What do all these have in common? Well, fragments, hybridity, relativism, play, parody, pastiche, an ironic, anti-ideological stance, an ethos bordering on kitsch and camp. So, we have begun to build a family of words applying to postmodernism; we have begun to create a context, if not a definition, for it. More impatient or ambitious readers can consult Hans Bertens' The Idea of the Postmodern, the best and fairest [End Page 2] introduction I know to the topic. But now I must make my second move or feint to approach postmodernism from a different perspective. II Postmodernism/Posmodernity. I make this move by... (shrink)

Game has a central role in Nespolo’s art. Irony and caricature are the main stylistic features decisive for his film. Nespolo’s experimental cinema absorbs the avant-gardist idea of film as a creative game stricty related with life, the analytical approach toward visual image typical of Bauhaus’ searches and the autonomy of “cinematographic eye” as a linguistic expression. Nespolo’s film produced between 1966 and 1977 can be grouped in four series: first, explorations and analysis of cinematographic image; second, surrealistic and (...) bizarre theatre; third, film about avant-gardist searches of artists in Turin during the 60s; fourth, eccentric narratives in film of the 70s, definable as very representative of Nespolo’s cinema. (shrink)

This article attempts a critical interpretation of Klee’s basic thoughts on the source and essence of art, based primarily on his diary entries and his lectures at the Bauhaus. The starting point of the interpretation is Klee’s fundamentally dynamic assumption of the primacy of becoming and movement vis-à-vis static being. Each work of art, for Klee, is essentially movement, although as organized and structured by rhythm. The source of the rhythmic movement he recognizes as chaos, which he defines as (...) the most elemental fact, which precedes the difference of being and becoming, of rest and movement, and with which the artist in each of its creative acts must first identify. The elemental presence of chaos is the point, not an abstract and dead mathematical one, but one that is alive and moving, to which the force, tension, and impulse for movement essentially belongs. Every work of authentic art is the representation of the primal opposition of chaos and order, symbolized at first by the opposites of point and line. In the further development of this opposition, the multiple dimensions of contrast between straight and curved, vertical and horizontal, light and darkness as well as the various colors in their practically endless gradations coalesce within the work of art into a tension-wrought yet harmonically balanced arrangement. (shrink)

This contribution illuminates the meaning of the systematic confrontation with nature in the artistic and art-theoretical thought of Paul Klee. Klee’s specific interest lay in the analysis of the morphological and structural principles of plants as well as in the study of the processes of growth and form in nature. A central element of this confrontation—which also manifested itself in nuanced ways in Klee’s teaching at the Bauhaus and in his artistic creations—is the reduction of the manifold natural world (...) of appearance to structural and morphological principles which can be freely and creatively reassembled. These principles form the foundation for Klee’s process-oriented understanding of nature and art. (shrink)