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Emblematics and the Brazilian Avant-Garde (1920-30s)
Series:
Avant-Garde Critical Studies
Author:
In Antropofagia, Aarnoud Rommens shows how this Brazilian avant-garde movement (1920-30s) deconstructed early tendencies in the European vanguard. Through imaginative re-readings, the author reinterprets Antropofagia’s central texts and images as elements within an ever-changing, neo-baroque memory palace. Not only does the movement subvert established conceptions of the pre- and postcolonial; it is also a counter-colonial critique of verbal and visual literacy. To do justice to the dynamic between visibility and legibility, Rommens develops the inventive methodology of ‘emblematics’. The book’s implications are wide-ranging, prompting a revaluation of the avant-garde as a transmedial tactic for disrupting our reading and viewing habits.
Emblematics and the Brazilian Avant-Garde (1920-30s)
Series:
Avant-Garde Critical Studies
Author:
In Antropofagia, Aarnoud Rommens shows how this Brazilian avant-garde movement (1920-30s) deconstructed early tendencies in the European vanguard. Through imaginative re-readings, the author reinterprets Antropofagia’s central texts and images as elements within an ever-changing, neo-baroque memory palace. Not only does the movement subvert established conceptions of the pre- and postcolonial; it is also a counter-colonial critique of verbal and visual literacy. To do justice to the dynamic between visibility and legibility, Rommens develops the inventive methodology of ‘emblematics’. The book’s implications are wide-ranging, prompting a revaluation of the avant-garde as a transmedial tactic for disrupting our reading and viewing habits.
Author:
A Heretical History of Architecture challenges the conventional understanding of significant developments in Western architecture as a series of alignments among dominant ideologies and artistic programs, arguing instead that the most consequential changes in the evolution of artistic and design practices across Europe between the fifth and seventeenth centuries were motivated by tensions between local religious or cultural traditions and centralized power.
This groundbreaking study richly demonstrates the processes through which heterodox beliefs that persisted within numerous diverse communities resulted in design experimentation so syncretic that it has heretofore eluded scholars employing conventional Euro-centric taxonomies of architectural styles.
This groundbreaking study richly demonstrates the processes through which heterodox beliefs that persisted within numerous diverse communities resulted in design experimentation so syncretic that it has heretofore eluded scholars employing conventional Euro-centric taxonomies of architectural styles.
Author:
A Heretical History of Architecture challenges the conventional understanding of significant developments in Western architecture as a series of alignments among dominant ideologies and artistic programs, arguing instead that the most consequential changes in the evolution of artistic and design practices across Europe between the fifth and seventeenth centuries were motivated by tensions between local religious or cultural traditions and centralized power.
This groundbreaking study richly demonstrates the processes through which heterodox beliefs that persisted within numerous diverse communities resulted in design experimentation so syncretic that it has heretofore eluded scholars employing conventional Euro-centric taxonomies of architectural styles.
This groundbreaking study richly demonstrates the processes through which heterodox beliefs that persisted within numerous diverse communities resulted in design experimentation so syncretic that it has heretofore eluded scholars employing conventional Euro-centric taxonomies of architectural styles.
Antinomies of Self-Determination in Four Aesthetic Studies
Author:
A strategic reconstruction of modern German thought from the standpoint of aesthetic theory, The Narrowest Path reveals the characteristically modern, revolutionary project of freedom-as-autonomy to be unresolvably antinomic. Basing himself on four seminal texts by Kleist, Hegel, Marx, and Adorno, Mehrgan develops four basic figures: the literary, the person, the republic, and the artwork. All flourished during the long period between the French Revolution and the aftermath of the Second World War in Europe. The key antagonist is the rule of capital, paradoxically enabling self-determination and thwarting it. Still present in contemporary revolutionary experiments, this daunting conflict, the book argues, shows itself best in the aesthetic — but the resolution lies elsewhere.
Antinomies of Self-Determination in Four Aesthetic Studies
Author:
A strategic reconstruction of modern German thought from the standpoint of aesthetic theory, The Narrowest Path reveals the characteristically modern, revolutionary project of freedom-as-autonomy to be unresolvably antinomic. Basing himself on four seminal texts by Kleist, Hegel, Marx, and Adorno, Mehrgan develops four basic figures: the literary, the person, the republic, and the artwork. All flourished during the long period between the French Revolution and the aftermath of the Second World War in Europe. The key antagonist is the rule of capital, paradoxically enabling self-determination and thwarting it. Still present in contemporary revolutionary experiments, this daunting conflict, the book argues, shows itself best in the aesthetic — but the resolution lies elsewhere.
Editor:
Over the last several decades an increasing number of people have studied film with a general interest in philosophy. Philos-sophia, the love of wisdom, is an attempt at interpreting or questioning human existence and the world in its entirety. Naturally film can be one of its subjects. In this series, philosophical writers account for their experience of specific films, directors, certain themes, or the phenomenon of film in general. Philosophy of film exceeds the schedule of mere interpretation and puts film in relationship with classical philosophical questions such as (its own) essence, truth, or beauty. Those reflections can also take the form of film aesthetics and film theory, which are philosophical inasmuch as their approaches are methodologically sophisticated and they transgress empiricism. Benefiting from the intellectual wealth of the entire history of the humanities, this series is an ideal source for anyone interested in the philosophical dimensions of cinema.
Book Proposals
Minimum length is 80 000 words main text. Please send a book proposal (ca. 1000 words) and a CV to thorstenbotz@hotmail.com. We will then say whether the project can be taken further. Monographs, edited volumes as well as "companions to" are welcome. Complete manuscripts will be double-blind peer reviewed.
Your MS should not be simultaneously submitted to another press.
Book Proposals
Minimum length is 80 000 words main text. Please send a book proposal (ca. 1000 words) and a CV to thorstenbotz@hotmail.com. We will then say whether the project can be taken further. Monographs, edited volumes as well as "companions to" are welcome. Complete manuscripts will be double-blind peer reviewed.
Your MS should not be simultaneously submitted to another press.
„Kraft“, ein Zentralbegriff der Philosophie, ist auch ein gemeinsames Anliegen in den Künsten. Zusammen mit dem Begriff der „Energie“ wurden diese Schlüsselbegriffe der Moderne im Verlauf des 20. Jahrhunderts zu Leitbegriffen neuer ästhetischer Ausrichtungen. Wo immer es in den Künsten nicht mehr um Abbildung, Reproduktion oder Repräsentation geht, sondern vielmehr darum, das Blatt Papier, die Leinwand, den Hörraum oder einen theatralen, filmischen und intermedialen Raum mit Kräften zu bevölkern, da werden zunehmend energetische Konzepte entwickelt. Da der Begriff heute häufig metaphorisch vage benutzt und gerne auch esoterisch jeder Überprüfung entzogen wird, widmet sich dieser Sammelband auf interdisziplinären Denkwegen verschiedenen theoretischen Ansätzen. Dabei gilt es, Bewegendes und Verwandelndes, Erregungen, Empfindungen und Eindrücke, zu versprachlichen, analytisch nutzbar und energetische künstlerische Konzepte zugänglich zu machen.
Mit Beiträgen von Laura Carlotta Cordt, Oswald Egger, Antje von Graevenitz, Jochen Hörisch, Sabine Huschka, Ralf Konersmann, Angelika C. Messner, Petra Maria Meyer, Jürgen Partenheimer, Felix Schackert, Marcus Stiglegger, Barbara Uppenkamp und Martin Zenck.
Mit Beiträgen von Laura Carlotta Cordt, Oswald Egger, Antje von Graevenitz, Jochen Hörisch, Sabine Huschka, Ralf Konersmann, Angelika C. Messner, Petra Maria Meyer, Jürgen Partenheimer, Felix Schackert, Marcus Stiglegger, Barbara Uppenkamp und Martin Zenck.
Energetisches in Philosophie und Künsten
Series:
dynamis
„Kraft“, ein Zentralbegriff der Philosophie, ist auch ein gemeinsames Anliegen in den Künsten. Zusammen mit dem Begriff der „Energie“ wurden diese Schlüsselbegriffe der Moderne im Verlauf des 20. Jahrhunderts zu Leitbegriffen neuer ästhetischer Ausrichtungen. Wo immer es in den Künsten nicht mehr um Abbildung, Reproduktion oder Repräsentation geht, sondern vielmehr darum, das Blatt Papier, die Leinwand, den Hörraum oder einen theatralen, filmischen und intermedialen Raum mit Kräften zu bevölkern, da werden zunehmend energetische Konzepte entwickelt. Da der Begriff heute häufig metaphorisch vage benutzt und gerne auch esoterisch jeder Überprüfung entzogen wird, widmet sich dieser Sammelband auf interdisziplinären Denkwegen verschiedenen theoretischen Ansätzen. Dabei gilt es, Bewegendes und Verwandelndes, Erregungen, Empfindungen und Eindrücke, zu versprachlichen, analytisch nutzbar und energetische künstlerische Konzepte zugänglich zu machen.
Mit Beiträgen von Laura Carlotta Cordt, Oswald Egger, Antje von Graevenitz, Jochen Hörisch, Sabine Huschka, Ralf Konersmann, Angelika C. Messner, Petra Maria Meyer, Jürgen Partenheimer, Felix Schackert, Marcus Stiglegger, Barbara Uppenkamp und Martin Zenck.
Mit Beiträgen von Laura Carlotta Cordt, Oswald Egger, Antje von Graevenitz, Jochen Hörisch, Sabine Huschka, Ralf Konersmann, Angelika C. Messner, Petra Maria Meyer, Jürgen Partenheimer, Felix Schackert, Marcus Stiglegger, Barbara Uppenkamp und Martin Zenck.
Volume Editor:
We do politics in, through, and as bodies. All our political activity is inevitably corporeal. Parliamentary debates, party assemblies, street demonstrations, and civil disobedience are all bodily actions. Political regimes maintain their power by controlling our bodies, both through explicit acts of violence and, more insidiously, by inculcating somatic norms of obedience to the political authorities and ideologies. This oppression can be effectively challenged if we use somaesthetics to identify and examine the bodily habits and feelings that express and reinforce such domination. Somaesthetically explored, they can be refashioned and help overcome the oppressive social conditions that produce them.
Volume Editor:
We do politics in, through, and as bodies. All our political activity is inevitably corporeal. Parliamentary debates, party assemblies, street demonstrations, and civil disobedience are all bodily actions. Political regimes maintain their power by controlling our bodies, both through explicit acts of violence and, more insidiously, by inculcating somatic norms of obedience to the political authorities and ideologies. This oppression can be effectively challenged if we use somaesthetics to identify and examine the bodily habits and feelings that express and reinforce such domination. Somaesthetically explored, they can be refashioned and help overcome the oppressive social conditions that produce them.
Author:
Abstract
We always have some cognitive presupposition when thinking of something. Such presuppositions are mainly based on our prior experience and knowledge. This is also true regarding our theoretical problems. It is far easier to develop a theoretical solution to a problem if we have a well-functioning theoretical framework or a theoretical model that effectively describes the essential relations of a given complex system. In my article, I build on my concept of the Heraclitan contradiction to propose a theoretical framework for a political theory that includes both Foucault’s biopower and Shusterman’s somapower. I am convinced that such a theoretical framework can also function well in political philosophy and political science.
Author:
Abstract
Capillary practices of power are spreading in the contemporary form of the society of control, which was described by Gilles Deleuze in “Postscript on the Societies of Control,” where he developed the Foucauldian analysis of power relations in the disciplinary society and adjusted it to the present conjuncture. Practices of power reach individual bodies, whose movements and actions in the world are controlled by digital technologies—tracked, monitored, and formed according to the images promoted. The contemporary form of power digitally embraces each and every one of us in an entirely unprecedented way, extending over intimate and private spheres. Again, as feminists claimed in the 1970, “the private is political”; more than that: the private sphere has become public. The contemporary forms of power are exercised directly on the body and through the body as disciplinary power and biopower, to use Michel Foucault’s terms. However, the body is at the same time the ultimate site of resistance to these practices of power. This is recognized by Leszek Koczanowicz and conceptualized as somapower, drawing on Foucault’s biopower and on Richard Shusterman’s somaesthetics.
The case study I examine in this chapter concerns power exercised on bodies by global corporations and somapower capable of emancipating one from the corporations’ practices of power. Then, I address the outbreak of the COVID-19 pandemic, which allowed global corporations to reach potentially all the bodies in the world through pharmaceutical corporations in cooperation with the World Health Organization, imposing mandatory vaccinations on countries. The critical response to such developments that can be understood in terms of somapower has included the revival of interest in traditional healing, the knowledge of herbs, and traditional practices (for example, using Plantago lanceolata-based infusions and syrups as anti-virus protection). These practices are firmly embedded in bodies, which are an active and integral part of persons, and represent a form of resistance to contemporary biopower by developing bodily sensibility, which is a practical aim of Shusterman’s somaesthetics. Arnold Berleant also stresses this factor in his call for recovering sensibility from
Author:
Abstract
Recent urban space development prompts us to think of new smart urbanity in terms of a hybrid environment, where traditional forms of physical and biological interaction blend with patterns of digital embodiment and AI-driven agency. On the experiential and social levels, there is good reason to expect these hybrid urban environments of the rising smart cities to promote safety, efficiency, and creativity. While these values seem positive, they are achieved at the cost of the inhabitants’ intimacy and privacy. As reported, this breeds problems of biased transparency and the surveillance of citizens caused by constant interactions with AI-powered agents. As such effects are observable at the very beginning of the evolution of smart cities, questions arise concerning the possibilities of resistance to and subversion of their dominant protocol. Notably, since most currently available concepts of urban resistance and subversion are developed with the traditional, physical model of body ecology in mind, they either fail to recognize the specificity of the hybrid environment or propose rejecting the entire digital sphere as non-human and harmful. This situation triggers serious queries about whether the dominant, and in a way oppressive, role of technology in the hybrid environments of smart cities will result in ubiquitous surveillance and conformity, or whether it will be balanced fast enough by new protocols of resistance and subversion, corresponding to the new, hybrid understanding of embodiment. Yet another option is that as dispersed, urban agency emerges, it will remove traditional discourses on urban embodiment, calling for thoroughly new approaches.
Author:
Abstract
Strange though may seem, the practice of cooking has an intrinsic aesthetic and political value. In this chapter, I use the perspective of relational philosophy (a with-y approach) to propose understanding cooking as participatory education, a laboratory for cultivating an integral and ecological sensibility that corresponds to holistic aesthetic education. Based on conviviality, sharing, and caring, cooking has strong socio-political implications. I explore these issues through the lens of John Dewey’s pioneering vision of cooking and taste as aesthetic activities. Subsequently, I link this ensemble of themes to somaesthetics and to the Sōtō Buddhist school founded by Dōgen. Finally, I offer some contemporary examples (the edible school gardens project, participatory art performances, and an unconventional appreciation of wine) to support the notion that an education with and through food (rather than of food) develops a (soma)aesthetic sensibility through which it is possible to oppose and redress some aspects of today’s—fragmented, hyper-specialized, and individualistic—social and educational system.