In this groundbreaking book David Roberts sets out to demonstrate the centrality of the total work of art to European modernism since the French Revolution.

In the crisis scenarios of modernity which flourished in the Weimar Republic, technology is typically seen as destiny or fate. Thus Oswald Spengler and Ernst Jünger both construe the coming struggle for world power in terms of the integration of production and technology in the industrial-military complex. Martin Heidegger’s critique of Jünger’s blueprint for total mobilization in Der Arbeiter springs from his reading of modernity as nihilism. Just as the crisis of Western history is reaching completion in modernity, so equally (...) metaphysics reaches completion in modern technology. Heidegger’s essay ‘The Question Concerning Technology’, written after the Second World War, is contrasted with Ernst Cassirer’s essay ‘Form and Technology’, directed against Spengler’s regression to irrationalism, in terms of two fundamental relationships to the world: Heidegger’s Greek-oriented ontology of world disclosure and Cassirer’s modern ontology of construction with reference to technology and art. (shrink)

A growing literature testifies to the persistence of place as an incorrigible aspect of human experience, identity, and morality. Place is a common ground for thought and action, a community of experienced particulars that avoids solipsism and universalism. It draws us into the philosophy of the ordinary, into familiarity as a form of knowledge, into the wisdom of proximity. Each of these essays offers a philosophy of place, and reminds us that such philosophies ultimately decide how we make, use, and (...) understand places, whether as accidents, instruments, or fields of care. (shrink)

"An admirable accomplishment.... Roberts provides valuable insights into the current debate on the nature of historical knowledge in our present 'postmodern' time. Anyone concerned with the philosophy of history will need to reckon with this book."--Allan D. Megill, author of "Prophets of Extremity".

Thesis Eleven is honoured to be able to publish this text by our late friend and mentor Agnes Heller. It was secured in the period before her recent death, and is published now posthumously in her memory. Echoing her earlier text written as an Imaginary Preface to Arendt’s Totalitarianism, it responds to themes in the later text, The Life of the Mind. These were among the most eminent of the minds referred to later as Women in Dark Times. Their connection (...) was not only institutional, via the New School, but represented a deep and ongoing affinity and critical engagement in political and philosophical terms. The imaginary letter arcs around issues and questions indicated by Cicero, Kant, Heidegger and Wittgenstein, including matters of republicanism, rhetoric and the question of thinking. Best of all, it shows Agnes Heller at work, at her best: it shows her thinking. Like Arendt, she offers inspiration, provocation, through thinking. (shrink)

As a universal theory Luhmann's systems theory of society includes art in its ambit. The Art of Society (1995) reconstructs the formal and the social-historical conditions of the functional differentiation of a system of art since the Renaissance. The methodological focus of the reconstruction - Luhmann's theory of form (perception, first and second order observation, medium and form) and of systemic differentiation (social function, self-organization, codes and programmes, evolution and self-description of art) - are analysed in the first part of (...) the paper. The second part examines the unresolved question of the code of the art system, the hermeneutic circle integral to Luhmann's theory design, and the relation of his theory of art to the `aesthetic epoch' of art theory with special reference to Heidegger and Adorno. (shrink)

Integral to the modern paradigm of cultural critique is an entropic vision of the `completion' of modernity reaching from Heidegger and Adorno to Debord and Baudrillard. Are contemporary cultural developments to be grasped in terms of this `completion' or do we need a more open-ended account of capitalism and culture? The article examines two key aspects of contemporary culture, both tied to processes of aestheticization and commodification since the 18th century: the progression from the culture industry (Adorno) to the aesthetic (...) economy (Böhme), premised on the creation of aesthetic value in addition to use and exchange value; the progression from the `age of the world picture' (Heidegger) to culturalism, in which the culturalization of nature and history responds to the reduction of nature and history to standing reserves. (shrink)

Debord’s influential theory of the spectacle is vitiated by its lack of historical and analytical differentiation. This article draws on Debord’s own undeveloped distinction between the concentrated spectacle and the diffuse spectacle in order to propose a double genealogy and a fourfold typology of the spectacle since the French Revolution.

ABSTRACTMy paper aims to situate and contextualize György Márkus’s key writings on cultural modernity on the one hand in relation to their theoretical antecedents in Kant and Hegel’s conception of modern society as a society of culture and in Lukacs’s reception of Kant and Hegel in his early pre-Marxist works, and on the other hand in relation to an examination of the contemporary ramifications of certain tendencies in modern culture highlighted in Márkus’s writings. The paper is accordingly divided into two (...) parts. Part I sets out to reconstruct the presuppositions of Márkus’s theory of the high culture of classical modernity in order to bring out the descriptive strength and the analytic contribution of his approach in relation to the tradition of cultural critique in modernity, in particular in Western Marxism. Part II aims to show how Márkus’s theory of modern culture from the late eighteenth century to the end of World War II contains elements crucial to the theorization of contemporary culture, characterized by new forms of paradoxicality that go beyond his own model. (shrink)

Richard Konrad claims that businessmen are guilty of adhering to a vicious form of ethical relativism. In practice, the relativism takes the form of doing an act which ordinarily would be called wrong and then claiming that the act is right or justified because it falls under a special set of codes (business ethics) which preempt ordinary ones. These codes or business ethics establish moral sanctuaries for businessmen. Konrad examines three versions of the sanctuary position, argues that they fail, and (...) concludes that the position is untenable. In this article it is claimed that Konrad is in error, that upon closer examination the three versions do provide justification for businessmen claiming relief from moral criticism. (shrink)

The geography of contemporary bohemia is integral to Richard Florida’s thesis of the rise of a new creative class in the USA. The strong correlation between the presence of bohemians and innovative high-tech industries in a number of American cities stands in sharp contrast to the historical image of a bohemian subculture of artists and intellectuals, defined by their antagonistic relationship to bourgeois society. Rather than a sign of social marginality, bohemian life-styles have now become a marker of the ‘new (...) economy’, variously labeled the creative, the cultural or the aesthetic economy. In my paper I want to compare and contrast these two opposed images of bohemia – the 19th-century idea of bohemia as the libertarian other of liberal-bourgeois society and the new, highly topical economic geography of bohemia – with the following questions in mind: How and why does the 19th-century artistic critique of capitalism mutate into an expression of the new spirit of capitalism? Does this change from an antagonistic to an affirmative relationship signal the emergence of a new spirit of art that can be related to the new spirit of capitalism? (shrink)

The collapse of the Weimar Republic remains central to the history of the 20th century and to contemporary debates on 'classical modernity' and its Europe-wide crisis in the wake of the First World War. The present issue of Thesis Eleven focuses on three dimensions of the Weimar crisis: the experience of fundamental societal crisis and closure and its diagnostic power in relation to the rise of fascist movements; the cognitive and normative resources that sought to work against this crisis-ridden sense (...) of closure; and third, the degree to which these counter tendencies anticipate postmodern interrogations of the premises of classical modernity. (shrink)

Reviews : Peter Uwe Hohendahl, Reappraisals: Shifting Alignments in Postwar Critical Theory ; Theodor W. Adorno, Notes to Literature: Volume One, ed. Rolf Tiedermann, trans. Shierry Weber Nicholsen.