The association between New York City’s all-over structure and the play that unfolds within it relative to difference and identity is very pertinent but is not specific enough, in my opinion. On the one hand, all of Mondrian’s neoplastic works are constituted by an opposition between the variable and the invariable . On the other hand, the type of identity produced in New York City relies on repetition, a principle which, we know, explicitly governs a whole range of paintings predating (...) neoplasticism. New York City differs from the “classic” neoplastic works, as well as from the 1918-19 modular paintings with which it seems to have a good deal in common. It is, in part, because he never discusses this last point that Masheck doesn’t entirely grasp the amplitude of the reversal that Mondrian effected in his New York works.In fact, as James Johnson Sweeney realized quite early, one must go back o the 1917 works, which gave rise to modular grids for the two years that followed, in order to understand what happens not only in New York City but also in the two Boogie-Woogie paintings.3Everyone is aware of the extraordinarily rapid evolution of Mondrian’s work during the years immediately preceding the foundation of neoplasticism: under the influence of Bart van der Leck, he dopted the colored plane and the black dash on a white background as elements of his composition for the two Compositions in Color, A and B . Mondrian, who had not yet found a means of perspicuously relating these diverse elements , tied both plane and dashes together by way of an optical dynamism, based largely on their superimposition. The immediate consequence was to make the background recede optically. The next step was the five Compositions , all entitled “With Colored Planes” . Here all superimposition was eliminated, as well as all “line.” In the last two of these canvases, the background itself is divided without remainder in to planes of different shades of white. The colored rectangles are on the way to alignment. In spite of this, the rectangles fluctuate and, consequently, the background is hollowed out behind them. 3. See James Johnson Sweeney, “Mondrian, the Dutch and De Stijl,” Art News 50 : 63. Meyer Schapiro made a similar remark, at about the same time, in his courses. 4. When I refer to a number accompanied by “Seuphor,” it refers to the “catalog by group” included in Michel Seuphor’s book on the artist. See Seuphor [Ferdinand Louis Berckelaers], Piet Mondrian; sa vie, son oeuvre, 2d ed. . Yve-Alain Bois is associate professor of art history at the Johns Hopkins University. He has published a number of essays on twentieth-century art, architecture, and criticism and is currently working on Mondrian’s neoplastic years and on a history of axonometric perspective. Amy Reiter-McIntosh is a lecturer at the University of Chicago. Her previous contribution to Critical Inquiry was a translation of Ernesto Laclau’s “Psychanalyse et marxisme”. (shrink)

This volume investigates the meaning of visual rhythm through Piet Mondrian's unique approach to understanding rhythm in the compositional structure of painting, drawing reference from philosophy, aesthetics, and Zen culture. Its innovation lies in its reappraisal of a forgotten definition of rhythm as 'stasis' or 'composition' which can be traced back to ancient Greek thought. This conception of rhythm, the book argues, can be demonstrated in terms of pictorial strategy, through analysis of East Asian painting and calligraphy with which (...) Greek thought on rhythm has identifiable commonalities. The book demonstrates how these ideas about rhythm draw together various threads of intellectual development in the visual arts that cross disparate aesthetic cultural practices. As an icon of early 20th Century Modernism, Mondrian's neoplasticism is a serious painterly and philosophical achievement. In his painting, Mondrian was deeply influenced by Theosophy, which took its influence from Eastern aesthetics; particularly East Asian and Indian thought. However, Mondrian's approach to visual rhythm was so idiosyncratic that his contribution to studies of visual rhythm is often under-recognized. This volume shows that a close inspection of Mondrian's own writing, thinking and painting has much to tell scholars about how to understand a long forgotten aspect of visual rhythm. Rodin's famous criticism of photography ("athlete-in-motion is forever frozen") can be applied to Muybridge's zoopraxiscope, the Futurists' rendition of stroboscopic images, and Duchamp's "Nude Descending a Staircase." Through a comparative study between Mondrian's painting and these seminal works, this volume initiates a new convention for the cognition of the surface of painting as visual rhythm. "Mondrian's simultaneous emphasis on the static and the rhythmic is hardly fodder for a publicist. Eiichi Tosaki has taken on the challenge of elucidating Mondrian's theories of rhythm, and particularly his conception of "static" rhythm. The result is a tour de force that will forever alter the reader's encounter with the works of Mondrian." Prof. Kathleen Higgins. (shrink)

This paper considers the use of the ‘Mondrian Stimulus’, invented by Edwin H. Land of the Polaroid Corporation, in various investigations in the visual neuropsychology, the neuroaesthetics, and the social psychology of aesthetic response to works of visual art. What difference does it make—in the set-up of these investigations and in our interpretation of their putative results—that the Mondrian Stimulus might be taken to be a ‘real’ painting by the actual Dutch artist Piet Mondrian? How does the existence of (...) a set of ‘real’ Mondrians—more or less well known to many people, including those investigated in experiments by Land, Zeki, and Noll—affect the ways in which the Mondrian Stimulus is apprehended? The paper argues that the Mondrian Stimulus is ‘bound’ to the history and visual recollection of ‘real Mondrians’ at the same time as the ‘real Mondrians’—in their historical afterlives—are bound to other creations of ‘modern abstract art’. These proposals enable a revised approach to the relations between invariant visual responses on the one hand, and different visual cultures or visuality on the other; because of its own special history of ‘binding’ and ‘unbinding’, the Mondrian Stimulus works as an interface between—a binding of—both ‘bottom-up’ perceptual input and processing and ‘top-down’ direction of attention. (shrink)

Im Jahre 1800 veröffentlicht der noch junge Schelling (1175-1854) das System des transzendentalen Idealismus und mit ihm die Grundzüge seiner Ästhetik. Ob diese noch anschlussfähig an unser heutiges Kunstverständnis ist, wird in dem vorliegenden Buch diskutiert. Den Ansatzpunkt hierfür bildet die Malerei Piet Mondrians. 100 Jahre später steht Mondrian vor seiner Leinwand nämlich vor demselben Problem wie Schelling: Wie erfasse ich eine indifferente Einheit ohne sie zugleich wieder zu zerstören? Oder, wie kann ich einen Strich ziehen, ohne dadurch eine (...) Unterscheidung zu treffen? Um Mondrian mit Schelling lesen zu können, ist es jedoch ein weiter Weg. Ein Weg der unter anderem über die graphische Logik von Charles S. Peirce und die disegno-Theorie des florentiner Manierismus führt. Bleibt nur noch eine Frage: Was macht der nackte Dürer auf dem Cover? (shrink)

Resumen: Este trabajo propone una aproximación a tres obras centrales de la poesía latinoamericana: Trilce, Altazor y En la masmédula, tomando como base la confrontación entre las limitaciones que el lenguaje necesariamente impone y la voluntad radicalmente transgresora que estos textos exhiben. En particular, el trabajo explora la tensión entre la tendencia del lenguaje a fragmentar la realidad mediante conceptos y la aspiración a la unidad -la superación de toda fragmentación- que denotan los procesos verbales desplegados en estas obras. Para (...) profundizar el análisis, se propone un diálogo entre el lenguaje poético y el pictórico, tomando como referencia los planteamientos teóricos de Piet Mondrian y su visión acerca de la relación entre lo “individual” y lo “universal”.: This article presents an approach to three masterpieces of Latin American poetry: Trilce, Altazor, and En la masmédula, based on the confrontation between the limitations that language necessarily entails and the rule-breaking attitude that these poetical works display. Specifically, this study explores the tension between the tendency to divide reality into segments inherent in language and the quest of unity -the cancellation of any kind of segmentation- that underlies verbal processes in Trilce, Altazor, and En la masmédula. In order to deepen the analysis, this work poses a significant connection between poetical and pictorial language, taking as reference Piet Mondrian’s theoretical contributions about the relationship between “individual” and “universal” forms. (shrink)

Throughout the twentieth century, critical art history often chose to ally itself with a restrictive brand of formalism. As a result, representation- and ideology-critical analyses regularly reduced the artwork to the bare bones (Hegel) of the material signifier in its social use. By contrast, in the texts assembled here, elements of a critical materialism are combined with an effort to reevaluate the meta-physical implications of modern abstraction and art since the 1960s. Taking Gilles Deleuze s readings of Spinoza, Nietzsche, and (...) Bergson as his starting point, the author delineates a topic in which the artwork s capacity for resistance is grounded in its relationship to an immanent infinity: the Spinozian substance, Nietzsche s Becoming, Bergson s duree. Against the backdrop of a critical rereading of Heidegger, this infinite dimension is interpreted in temporal and ontological terms as the vertical past of production, which can only be grasped in broken and technically encrypted form in the present shape and materiality of the artwork. Hence the notion of an aesthetics of production does not imply a nostalgia for the artisanal or for the artwork s singularity. The concept of production developed in this book aims at a realm that lies beyond finite representation but is still understood in materialist terms, and that threatens the circulation of positive, conceptually standardized knowledge. In case studies on Piet Mondrian, Marcel Duchamp, Thomas Hirschhorn, and Michael Asher and in framing essays on Kant and Nietzsche as well as Heidegger and Spinoza, this book articulates a concept of the artwork in the long modern era which takes account of the twentieth century s critique of metaphysics but without surrendering the truth claim of art and philosophy in favor of a culturalist and sociological relativism. ". (shrink)

This paper seeks to show that the proposition of 'double contingency' introduced by Parsons and defended by Luhmann and Habermas is insufficient under the conditions of contemporary communication societies. In the latter context, the increasing differentiation and organization of communication processes eventuated in the recognition of the epistemic authority of the public, which in turn compels us to conceptualize a new level of contingency. A first step is therefore taken to capture the role of the public in communication societies theoretically (...) by what may be called 'triple contingency'. Since the process of the definition of reality and its outcome, to which the response of the public is central, is best seen in constructivist terms, attention is also paid to relevant methodological and epistemological questions. Key Words: cognitive turn • communication • constructivism • double contingency • Habermas • Luhmann • observation • Parsons • situationalism • the third point of view. (shrink)

Adrianus van Selms as protestantse Teoloog. Van Selms het in 1938 vanaf Nederland na Suid-Afrika toe gekom om Semitiese Tale te doseer in die Fakulteit Lettere en Wysbegeerte aan die Universiteit van Pretoria. Hy het ook deeltyds in die Fakulteit Teologie doseer. Die Universiteit van Pretoria het hom as een van denkleiers van die 20ste eeu aan die universiteit erken. Hy het geslagte van teologiese studente beïnvloed tydens sy amptelike dienstydperk aan die universiteit, vanaf 1938 tot 1971. Meer as 300 (...) publikasies staan agter sy naam. Behalwe vir werk wat hy op die terrein van die Semitiese Tale gelewer het, het hy ook verskeie kommentare oor Ou-Testamentiese boeke geskryf. Verder was hy ook aktief as prediker in die kerk en het ook 'n uitsonderlike bydrae tot die kategesemateriaal van die Kerk gelewer. As teoloog het Van Selms aansluiting gevind by die reformatoriese tradisie van die 16de eeu. As eksegeet het hy die uitdaging aanvaar om die Bybelse tekste te lees in die erkenning van die historiese afstand wat die hedendaagse leser van die oorspronklike tekste skei. Hy is sodoende gekonfronteer met die knaende probleem van die benadering tot die Bybelse tekste: dogmaties of histories-krities? Deur as eksegeet sy eie dogmatikus te word, het hy die twee benaderings nie apart gehou nie, maar tot 'n eenheid gebring en op die manier 'n hervorming in die beoefening van die teologie verteenwoordig. Hy aanvaar met hierdie werkswyse die verantwoordelikheid vir die erfenis van die Kerkhervorming vir die kerk van sy dag. Die hoofstuk ontwikkel langs die verwagtinge wat aan die amp van predikant in die reformatoriese tradisie gestel word: teologie, prediking, kategese en herdelike sorg. (shrink)

When I got my first camera, I noticed something very interesting. After an intensive period of picture taking, the streets of my familiar small town had somehow landed in a different world. I saw everything in a different light. More accurately, I saw the world as light, rather than as matter. My attention had shifted, first rather innocently from seeing a lit-up building to seeing a lit-up building. Then the shift deepened, from seeing a building that was lit-up by the (...) sunlight to seeing the light itself, that happened to carry the imprint of a lit-up building. (shrink)

Essays over onze kennis, met name de mogelijke gevolgen daarvoor van de dominantie van de technologie in onze samenleving.

This article starts with a brief statement on the well-known contradictory nature of the Reformed tradition in South Africa, defending injustice and struggling for justice in the name of the same tradition. By following the work of Reformed systematic theologian D.J. Smit, it argues that the justice-affirming potential of the Reformed tradition is a hermeneutical task built on three specific re-interpretations: the reinterpretation of Scripture from the perspective of the weak, the poor and the oppressed a rereading of John Calvin (...) to affirm the dignity and freedom of all humans a rereading of Karl Barth with a focus on God's inclusive grace, Christian confessions and the nature of the Christian life. The article closes with a brief look into the agenda for social transformation faced by us in the second decade of the 21st century, and under what conditions the Reformed faith will be able to make an enduring contribution to public life in Africa. (shrink)

Betoog over de waarde van het zien i.t.t. het kijken. De kern van dit non-duale en onmiddellijke zien is dat je 'bent wat je ziet', een soort Schlüssel- of grenservaringen die tot een woordeloze wijsheid leiden en alle vanzelfsprekendheden laten vervagen.

This article offers a perspective on the critical theory of justice by presenting a structural and processual reconstruction of Rainer Forst’s intriguing yet somewhatopaque concept of a basic structure of justification which is central to his proposed critique of justificatory relations. It shows from a cognitive-sociological perspective what a cooperative relation between a philosophical theory of justice and a social scientific approach could mean for critical theory. A basic structure of justification is revealed to be a cognitively available reflexive order (...) above the order of substantive social and political relations that allows the identifi cation, explanation and transformative critique of reflexivity deficits induced by hegemonic, ideological, repressive or obfuscating means. Far from being exclusively a theoretical and methodological tool, however, it is in principle accessible to those involved and affected on whose experience, suffering and critique critical theory vitally depends. (shrink)

This essay discusses whether an indigenous African ethic, as expressed in ubuntu, may serve as an example of how to decolonise Western knowledge. In the first part, the key claims of decolonisation of knowledge are set out. The second part analyses three strategies to construct models of ‘African’ ethics, namely transfer, translation and stating of a substantive rival model as contained in ubuntu ethics. After a critical appraisal of this substantive proposal, part three indicates the potential and limitation of the (...) decolonisation project: possibilities lie in the -contextualisation of knowledge, whereas limitations are related to constructing an alternative to what is known as ‘scientific’ knowledge. As far as the author knows, this is the first attempt to frame ethics in terms of the epistemological search for ‘decolonised’ knowledge. (shrink)

This article argues that there is a marked ambivalence in Habermas’ concept of intersubjectivity in that he wavers between an interactionist and a discursive understanding. This ambivalence is demonstrated with reference to his recent critique of Robert Brandom's normative pragmatic theory of discursive practice. Although Habermas is a leading theorist of discourse as an epistemically steered process, he allows his interpretation of Brandom's theory as suffering from objective idealism to compel him to recoil from discourse and to defend a purely (...) interactionist or dialogical position. It is argued that the ambivalence in question is related to Habermas’ incomplete theorization of communication as a process of structure formation that unfolds sequentially through time on different levels. His architectonic of communicative intersubjectivity is marred by a missing concept. His characteristic concept of coordination is insufficient and must be complemented by a concept of synthesis at the discursive level. Key Words: Brandom • communication • coordination • discursive • synthesis • Habermas • Luhmann • objectivism • process • sequentiality • structure formation • time. (shrink)

Is it really true that there is an underlying unity, that we and our worlds are all part of a single web of existence, a web which allows a myriad relative differences while retaining the same absolute oneness? If not, how so — where can we find the absolute differences which preclude an underlying unity? But if it is true, what is the meaning of this oneness — and what can we do with it?

When we start with a scientific view of the world, we are at a loss when we try to deal with notions such as value, beauty, or meaning -- or more down to earth: anger, fear, joy, colour, smell, and other ‘secondary’ qualities whose putative reduction seems today as difficult as ever. Do these qualities then have to be put in by hand, so to speak? Or could it mean that the scientific view itself fails to capture aspects of reality (...) at least as fundamental as basic physical notions such as space, time, energy? These were some of the questions that came up in conversations between an astrophysicist and a philosopher that began two years ago, as they met, often by accident, usually in a cafe for breakfast. What happens if a philosopher and a scientist discuss such questions? Well, this was an experiment, and here is the outcome. We still think of it as an experiment, an exploration, without any definite conclusion. (shrink)

Based on a turn to the rational human subject in Descartes, Kant and Feuerbach, this paper critically examines four efforts at shaping sustainability discourse: the definition of sustainability in Our common future; stewardship Christian theology; forms of partisan justice; and GDP as measure of economic growth. These efforts made certain advances, but because they share the underlying anthropocentric bias of Western philosophy, they fail to step out of the current sustainability paradigm. The paper closes with two suggestions of how to (...) de-centre the human subject and to build a network-view of all species. (shrink)

ÿ"The public rationality of Christian faith is demonstrated in the way that Christian convictions make contributions to the contents and substance of intellectual, pluralistic public discourses on themes like economic justice and human rights. The impact of Christian faith for all walks of life, from the most intimate individual life to the most social, global and cosmic life, are dealt with in this great work of Public Theology from the African soil." - Prof Nico Koopman.

Considering the general analytical ability—whether applied to conceptual or social materials—and the quality of the argumentation characterising it, Eli Thorkelson's “The Silent Social Order of the Theory Classroom” is a remarkable piece, all the more so considering that it was an honours submission. Keeping this overall evaluation in mind throughout, I propose to confine the following short commentary to a critical assessment focused single-mindedly on the theoretical structure of the piece. To be able to do so in a comprehensible manner, (...) I shall open with some brief remarks to place the piece in context as I understand it. (shrink)

This chapter presents ‘Spinoza philology’ the application of a specific approach to the texts written by Spinoza. In philosophy most philological efforts have traditionally been spent on the texts of ancient authors. The chapter offers a brief chronological survey of Spinoza's works, explaining the particular aspects of the way they have been transmitted. Spinoza wrote the kind of Latin that had been the standard for scholarly and academic purposes throughout Europe since the Renaissance. The Amsterdam publisher Jan Rieuwertsz brought out (...) all Spinoza's books: DPP and CM in 1663, TTP in 1670 and Opera Posthuma in 1677. The initial transmission of Spinoza's works was taken care of by a small group of dedicated friends, who copy‐edited his texts, had them translated, printed, and distributed. The results of the editorial activities of the circle around Spinoza were sufficient to meet the demand for his works for 125 years. (shrink)

This article seeks to recover a neglected chapter in the historical and theoretical background of social theory in general and critical theory in particular with a view to refining the understanding of the presuppositions of a cognitively enhanced critical social science appropriate to our troubled times. For this purpose, it offers a brief reconstruction of the mathematical-philosophical tradition from ancient to modern times by extrapolating that part of it that is marked by the ideas of infinity, infinite processes and limit (...) concepts. It gives suggestive indications not only of how these ideas relate to extant social-theoretical thought, but especially also of the two related cognitive directions – the weak-naturalistic and the socio-cultural – in which such thought is currently challenged to go. (shrink)

We discuss the nature of reality in the ontological context of Penrose’s math-matter-mind triangle. The triangle suggests the circularity of the widespread view that math arises from the mind, the mind arises out of matter, and that matter can be explained in terms of math. Non-physicists should be wary of any claim that modern physics leads us to any particular resolution of this circularity, since even the sample of three theoretical physicists writing this paper hold three divergent views. Some physicists (...) believe that current physics has already found the basic framework for a complete description of reality, and only has to fill in the details. Others suspect that no single framework, from physics or other sources, will ever capture reality. Yet others guess that reality might be approached arbitrarily closely by some form of future physics, but probably based on completely different frameworks. We will designate these three approaches as the fundamentalist, secular and mystic views of the world, as seen by practicing physicists. We present and contrast each of these views, which arguably form broad categories capturing most if not all interpretations of physics. We argue that this diversity in the physics community is more useful than an ontological monoculture, since it motivates physicists to tackle unsolved problems with a wide variety of approaches. (shrink)

This article presents the results of a discourse analysis of press coverage on the Quantified Self (QS) movement in the German and British (online) press between 2007 and 2018. The analysis is driven by two questions: What discursive patterns can be discerned within this coverage? And, what characterizes the translation of the experimental practices and imaginaries of this pioneer community into an overall societal reflection of deep mediatization? In essence, the article shows that the QS movement becomes a ‘general signifier’ (...) for a dystopian view of deep mediatization. So, while the QS movement itself understands its practices and community as self-empowering, self-reasoning, and experimental, the constructions of the QS movement in public discourse suggest the opposite. Paradoxically, however, another basic imaginary of the pioneer community is adopted and confirmed, namely that of the (simple) mutability of society as a consequence of digital media technologies. (shrink)

While concurring with Honneth’s reconstruction of reification as a form of forgetfulness, this article questions the way in which he arrives at that conclusion as well as the conceptual status he ascribes to recognition – the instance with reference to which reification is exhibited as distortion or deformation. It argues, first, that Honneth’s dualistic mode of argumentation falls behind the left-Hegelian tradition which he himself seeks to revitalize, thus causing a serious architectonic problem; and, second, that while polemicizing strongly against (...) the cognitive approach, he at crucial points actually reverts to the very resources made available by that mode of thinking. Being the central concern of the article, this latter aspect is treated as the cognitive problem in his work, especially in his Tanner Lectures. (shrink)

Johan Heyns was the moderator of the General Synod of the Dutch Reformed Church from 1986 to 1990. This church was known as a moral and theological supporter of apartheid until the 1980s. In 1980 Heyns was, for the first time, involved in public critique against the pro-apartheid stance of his church. He took an influential part in writing a new document that criticised apartheid and was accepted by the General Synod of 1986. Heyns was elected as moderator or chairman (...) of this synod. The years from 1986 to 1990 became the busiest of his life. He became the leader in his church’s defence of the new document Church and Society in and beyond South Africa. In order to get back into the World Alliance of Reformed Churches and to stay on in the Reformed Ecumenical Synod, the Dutch Reformed Church decided to depart from its apartheid ways. Heyns’ message on apartheid was shaped by his Reformed approach to life, in which he chose reform as the method for change. (shrink)

The book argues that mainstream economists, who base their analyses only on the economic motivation of people, fail to explain and understand real-life economic phenomena. The economic crisis, which began in 2008, illustrates the relevance of psychic and social motivations, especially when combined with each other. This book discusses orthodox and heterodox economics, and offers the reader ample material on philosophy of science, psychology and sociology. A multidisciplinary economic perspective is constructed in which economics, psychology, and sociology are integrated, and (...) this multidisciplinary approach offers an understanding of real-life problems. Moreover, it offers researchers a rich source for further analysis. (shrink)