Adolf Loos is one of the few figures that Wittgenstein explicitly named as an influence on his thought. Loos’s influence has been debated in the context of determining Wittgenstein’s relation to modernism, as well as in attempts to come to terms with his work as an architect. This paper looks in a different direction, examining a remark in which Wittgenstein responded to Heidegger’s notorious pronouncement that ‘the Nothing noths’ by reference to Loos’s critique of ornamentation. Wittgenstein draws a parallel (...) between the requirement to start philosophy with an inarticulate sound and the need, in certain cultural periods, to highlight the borders of tablecloths using lace. Paying heed to Wittgenstein’s remark sheds further light on a Loosian influence at work in his thinking about modern civilization, both in his well-known ‘Lectures on Aesthetics’ and in the earlier notes from his 1930 lectures at Cambridge. (shrink)

This contribution to the Common Knowledge symposium “Fuzzy Studies” considers how the ultramodernist aesthetics of Central Europe has related to and reacted against the region's political history and cartography. Central Europe has been a rich source of “soluble” realities that can be observed as they emerge, mature, and rapidly decay. Central European modernism, represented here by Adolf Loos in architecture and by Arnold Schoenberg and Leoš Janáček in music, experimented with blurry regions between presence and absence, light and shadow, (...) sound and silence. Loos disrupted the logic of architecture, while Schoenberg and Janáček nearly dissolved the acoustic paradigm of sound. This essay argues that the curious positioning of Central Europe, with its frequently changing borders and national entities, conduced both to positive experiments in cultural vagueness and to a corrosive reaction against existing and potential identities, parameters, distinctions, foci, and logics. (shrink)

Philosophical theories that take analysis as their methodological centerpiece compare objects and events by setting them in individual relations to one another. For Bergson, this privileging of discontinuity, which requires picking the processes of change apart, is driven by the adaptive needs of our species but does not probe into the essence of reality. For him, the ontological point of departure is not a series of discrete states or events, but rather the temporal continuity in which they flow: a qualitative (...) multiplicity he refers to as durée. In this article, I will examine the echoes of Bergson's theory of durée in two inaugural figures of architectural modernism: the Catalan Antoni Gaudí and the Austrian Adolf Loos. The deep consonance between Gaudí and Loos, all the more surprising given their antithetical aesthetics, offers a view of architecture as the framing of an unbounded flux. This is what I have called the durational life of their respective cities, captured in a state of permanent self-transformation. (shrink)

Review of A. Janik: Assembling Reminders (2009).

This chapter contains sections titled: What if Tattooing is Immoral? Latent Criminals or Degenerate Aristocrats Loos and Amorality Tattooing is Like Murdering? Loos and the Crime of Ornamentation Tattooing and Personal Meaning Tattooing and Liberal Autonomy Attraction and Repulsion.

Paul Engelmann was Adolf Loos's favorite pupil, private secretary to Karl Kraus and Ludwig Wittgenstein's most important interlocutor in the years between 1916 and 1928 as well as his partner in building the Stonborough House. Thus it was that the trenchant critique of modernity associated with Wittgenstein's Vienna originated around Paul Engelmann. The present volume of essays from an international symposium in Aarhus, Denmark in 1999 offers an interdisciplinary perspective on issues bearing upon architecture, language and cultural criticism as (...) they relate to the life's work of Paul Engelmann. (shrink)

*******Résume en français plus bas****** Karl Kraus’s favourable and conceptually complex comments of the portrait drawings byOskar Kokoschka in 1910 put us on the trail of a host of different phenomena of pictorial representation. Based on close-readings of several aphorisms by Kraus and drawings by Kokoschka, I suggest that there is something like realistic distortion and that the traditional concepts of style cannot account for all essential stylistic variations that are important in pictures. I argue that we need to introduce (...) the concept of subject specific style. This must be distinguished from other concepts such as signature style. I try to show how these conceptual distinctions are connected to the difference in representational range displayed by media that are based on traces, like photography, and by media based on testimony, like drawing or writing. *********** Résumé En 1910, Oskar Kokoschka produit une série de dessins pour la revue expressionniste berlinoise Der Sturm. L’un des portraits représente le satiriste Karl Kraus, un autre l’architecte Adolf Loos. Au même moment, Kraus fait paraître une série d’aphorismes qui commentent le travail de Kokoschka. Kraus part du travail de Kokoschka pour arriver à des principes généraux sur la représentation picturale. Une analyse des réflexions de l’écrivain et des deux dessins faits par Kokoschka nous permet non seulement de mieux comprendre comment un dessin peut saisir le caractère d’un modèle au-delà du physique, mais aussi de forger des concepts pour enrichir les notions de style traditionnelles. Nous soutenons dans notre article qu’il faut introduire l’idée d’un style à l’oeuvre pour compléter les notions de style habituelles.Le style à l’oeuvre peut être spécifique au sujet traité. Nous montrons en particulier comment le dessin permet des distorsions réalistes, difficiles à obtenir dans des médias basés sur la trace comme la photographie. (shrink)

Walter Benjamin has become a decisive reference point for a whole range of critical disciplines, as he constructed a unique and provocative synthesis of aesthetics, politics and philosophy. -/- Examining Benjamin’s contributions to cultural criticism in relation to the works of Max Ernst, Adolf Loos, Le Corbusier and Sigfried Giedion, this book also situates Benjamin’s work within more recent developments in architecture and urbanism. -/- This is a concise, coherent account of the relevance of Walter Benjamin’s writings to architects, (...) locating Benjamin’s critical work within the context of contemporary architecture and urbanism. (shrink)

In this book the concept of functionalism, well-known in 20th-century architecture and design, is used to investigate the musical thoughts of two of the leading composers at the time of the Bauhaus, the time of Adolf Loos and Le Corbusier. Functionalism may be characterized by the functional treatment of the chosen material, by functional design, and by a focus on the work's intended function. This tripartite requirement also defines the concept of musical functionalism as developed in this study, and (...) it serves as the foundation for a presentation of Schoenberg's and Hindemith's thoughts on the subject. Examined through the lens of musical functionalism, common traits between the two composers become evident, despite all their individual characteristics as artists of noticeable integrity. Discussions of the musical material, of musical form, and of the function of music allow the author to reveal a shared epistemological base underlying the external dissimilarities of the two composers' style and language. (shrink)

El texto hace una revisión de las diferentes teorías del diseño que han enfrentado a los principales representantes del campo de la estética durante el siglo XX. Para ello utiliza algunos de los textos teóricos de William Morris, Adolf Loos o Lewis Mumford y los pone en diálogo con otros de Theodor W. Adorno y otros representantes de la Escuela de Frankfort. De esta manera buscamos dar respuesta a las preguntas ya clásicas: ¿arte o diseño?, ¿forma o contenido?, ¿cuál (...) es el valor del diseño? (shrink)

Paul Engelmann hat über zwanzig Jahre seines Lebens an einer systematischen Darstellung der Psychologie mittels einer von ihm entwickelten graphischen Methode gearbeitet. Das Resultat dieser Arbeit bildet seine Psychologie graphisch dargestellt, die sich in seinem Nachlaß befindet. In diesem Werk will Engelmann die Klärung geistiger Aufgabengebiete, wie sie seine Lehrer Karl Kraus, Adolf Loos und Ludwig Wittgenstein betrieben haben, in der Psychologie fortsetzen. Hierbei fiihrt er Freuds Methode weiter, psychische Erscheinungen räumlich darzustellen, und wendet die Bildtheorie Wittgensteins auf seine (...) Theorie psychischer Vorgänge an. (shrink)

En 1931, Ludwig Wittgenstein a identifié l'architecte et le critique culturel Adolf Loos comme une des dix personnes qui ont exercé la plus grande influence sur son développement intellectuel. Dans cet article est examinée l'influence de Loos sur Wittgenstein, en particulier son importance dans le projet de Wittgenstein pour la maison de sa soeur, ainsi que celle exercée sur les idées concernant la langue et léthique exprimées dans le Tractacus.

Toward the end of his monograph The Craftsman, the American philosopher Richard Sennett describes two different ways of building a house.1 The designer of the first house is the philosopher Ludwig Wittgenstein, and the designer of the second house is the architect Adolf Loos. Though both men embrace the same principles of the New Realism—"purity," "simplicity," and "honesty"—the results of these two builders are fundamentally different. Wittgenstein was not satisfied at all with his abode in the end. Though he (...) says it has "good manners," he accuses it of lacking a great deal of "primordial life." Therefore the Jewish philosopher will never build a house again, apart from his hut in Norway and his one house on the .. (shrink)

The article seeks to develop a new conceptual framework suitable for analysing the ageing processes of objects in modern culture. The basic intuition is that object experience cannot be analysed separately from collective participation. The article focuses on the question of the ‘timeless’ nature of modernist design and seeks to understand why modernist objects age more slowly than other objects. First, inspired by the late Durkheim’s account of symbolism, I turn to the experiential effects of collective embeddedness. Second, I enter (...) the field of architectural practices and architectural theory. Visiting early modernist ideologue Adolf Loos, I seek to understand the modernist attitude as a direct response to experiences of the acceleration of ageing processes characteristic of modern culture. I then try to show how Loos’s explicit awareness of the collective dimension is ignored by the subsequent modernist movement and by architectural theory. Finally, I try to assess the consequences of this neglect. (shrink)

Virilio himself referred to his 1980 work The Aesthetics of Disappearance as a "juncture" in his thinking, one at which he brought his focus onto the logistics of perception -- a logistics he would soon come to refer to as the "vision machine." If Speed and Politics established Virilio as the inaugural -- and still consummate -- theorist of "dromology", The Aesthetics of Disappearance introduced his understanding of "picnolepsy" -- the epileptic state of consciousness produced by speed, or rather, the (...) consciousness invented by the subject through its very absence: the gaps, glitches, and speed bumps lacing through and defining it. Speed and Politics defined the society of speed; The Aesthetics of Disappearance defines what it feels like to live in the society of speed."I always write with images," Virilio has claimed, and this statement is nowhere better illustrated than with The Aesthetics of Disappearance. Moving from the movie theater to the freeway, and from Craig Breedlove's attainment of terrifying speed in a rocket-power car to the immobility of Howard Hughes in his dark room atop the Desert Inn, Virilio himself jump cuts from such disparate reference points as Fred Astaire, Franz Liszt, and Adolf Loos to Dostoyevsky, Paul Morand, and Aldous Huxley. In its extension of the "aesthetics of disappearance" to war, film, and politics, this book paved the way to Virilio's follow-up: the celebrated study, War and Cinema.This edition features a new introduction by Jonathan Crary, one of the leading theorists of modern visual culture.Foreign Agents seriesDistributed for Semiotext. (shrink)

Ontology of Construction explores theories of construction in modern architecture, with a particular focus on the relationship between nihilism of technology and architecture. Providing an historical context to the concept of making, the essays collected in this volume articulate the implications of technology in works by such architects as Le Corbusier, Frank Lloyd Wright, Adolf Loos, and Mies van der Rohe. Also provided is an interpretation of Gottfried Semper's discourse on the Tectonic and the relationship between architecture and other (...) crafts. Emphasising 'fabrication' as a critical theme for contemporary architectural theory and practice, Ontology of Construction is a provocative contribution to the current debate in these areas. (shrink)

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)

Cette traduction inedite de l'oeuvre principale d'Adolf Reinach (1883-1917) apporte des contributions fondamentales a divers champs de la connaissance. Disciple de Husserl, Reinach propose une interpretation du monde social qui engage la phenomenologie sur le terrain des actes sociaux et des experiences individuelles qui les accompagnent, afin d'isoler les structures a priori qui sont au principe meme du droit positif. Le travail de Reinach s'inscrit egalement dans un champ d'analyse philosophique et linguistique centre sur les enonces dits performatifs, baptises (...) tels par Austin quelques decennies plustard. (shrink)

Womit beschäftigt sich die medizinische Wissenschaft? Ich verstehe ja natürlich nichts davon, aber sie beschäftigt sich doch mit dem Menschen. Und die Juristerei, die Gesetzgebung und Rechtsprechung? Auch mit dem Menschen.

This paper argues that the definition of food justice must be defined in more participatory terms. Current accounts of food justice tend to emphasize distributional inequalities. However, there is broad recognition that these distributional inequalities are the result of participative inequalities and that the participation of marginalized groups in advocacy plays an important role in creating just food systems. In addition, thinking of food justice in more participative terms also suggests a more well-rounded and comprehensive approach to dealing with inequalities (...) within the food system. One manner in which the concept of food justice can be redefined to better capture the importance of participative justice is by considering what is required for informed consent. (shrink)

Dorion Sagan observes that pioneering ethologist Jakob von Uexküll tends to be read in contrasting ways, as a “humble naturalist” pre-empting current research in biosemiotics, animal perception and agency; and as a “biologist-shaman,” gesturing to a transcendental realm where the life-worlds of animals interconnect in a vast symphony of nature. In both cases the tools of the laboratory are thought to generate complete pictures of the invertebrates that Uexküll studies, in unity with their environments. As Giorgio Agamben points out, these (...) experiments form part of an abstract mechanism that produces the human, by isolating instinctual life as an object for study and management from social and ethical modes of existence. What these readings neglect to consider is that Uexküll imagines his experiments through a Picture Book frame. We argue that for Uexküll there is always something fabulous and child-like about the enterprise of reconstructing the subjective environments of the small animals he works with. Drawing on Bernard Stiegler, we propose the Picture Book as a particular technics, or tertiary memory, that cultivates modes of attention that are associated with childhood and are open to the emergence of partial objects and relations. Considered through the Picture Book frame, the Umwelten of insects and other small animals are no longer fixed but are drawn and redrawn in partial expressive ways, through the uncanny picturing – or what Brian Massumi would call “semblances” – of different configurations of animal, technology, human relations. By considering the Picture Book as a technic for ecological thought and imagination, our paper will explore how the small creatures that Uexküll describes might enable the emergence of new ethical sensibilities and relations. (shrink)

Psychological continuity theories have been the dominant theories of personal identity over time, and the phenomenal approach has largely been neglected because of the bridge problem. I propose a hybrid account of the persistence of the self that draws on both psychological and phenomenal influences while avoiding the problems that both theories face in their 'pure' form. Such a hybrid theory retains the benefits of a phenomenal account of intra-streamal unity, and provides a better account of inter-streamal unity with the (...) use of a psychological-continuity theory. (shrink)

This study investigated the relationship between dream lucidity, i.e., a dreamer’s insight to the ongoing dream, and attention by considering lucidity as a trait. We examined the ways in which lucidity correlates with the orienting, alerting, and conflict components of the attentional network. A total of 77 participants rated the lucidity of their dreams over 7 consecutive days with the LuCiD scale and then completed the attentional network task. A negative correlation between trait lucidity and the conflict score of the (...) ANT was found for 49 participants whose responses were faster when an alerting signal was presented. This result suggested that, with a prerequisite that the presence of cues facilitates subsequent information processing, the greater a person’s trait lucidity, the more efficiently he or she is capable of resolving conflicts. (shrink)

"Well over one half of this brilliant new Monograph constitutes a major sequel to Professor Grunbaum's highly influential 1984 book The Foundations of Psychoanalysis: A Philosophical Critique, which was labeled "magisterial" by Frank J. Sulloway, and "the most important book ever written on Freud's status as a scientist" by J. Allan Hobson. The importance of the present Monograph lies in the extent to which the author now goes beyond that earlier volume to offer new original ideas on fundamental themes." "Validation (...) in the Clinical Theory of Psycho-analysis: A Study in the Philosophy of Psycho-analysis contains Adolf Grunbaum's new basic critique of the psychoanalytic theory of transference in its role of an etiologic theory; it turns out that etiologic transference interpretations rest on fallacious causal inferences from so-called "meaning connections" between mental states: moreover, just these unsound inferences are the stock-in-trade of the "hermeneutic" reconstruction of psychoanalysis, which charges Freud with a "scientistic self-misunderstanding."" "This volume joins the issue with Marshall Edelson's defenses of the investigative viability of the single-subject case study method. As a spin-off from the import of the serious placebo challenge to psychoanalysis, this Monograph presents the author's widely recognized new account of the placebo concept across all of medicine and psychotherapy. Whereas Foundations of Psychoanalysis objected that Freud's dream theory was evidentially ill-founded, the burden of the present book is to give two new basic reasons for presuming the theory to be false. It also develops the import of the author's appraisal of psychoanalytic theory for the scrutiny of Freud's triadic psychology of religious belief in theism." "Since Sir Karl Popper's most detailed charge of pseudoscience against psychoanalysis in 1983 could not be examined for inclusion in the 1984 book, the present monograph shows in what ways it is wide of the mark as an incoherent diagnosis of the scientific liabilities of psychoanalytic theory. In addition, four important papers that had antedated Foundations by a few years and were scattered over diverse publications have been updated and integrated with the other chapters herein."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved. (shrink)

Keine ausführliche Beschreibung für "Epiktet und das Neue Testament" verfügbar.

On October 18-19, 2002, the Center for Philosophical Education at Santa Barbara City College hosted a symposium honoring Professor Adolf Grünbaum’s contributions to contemporary philosophy. This work, an outgrowth of that symposium, contains essays by leading philosophers on Grünbaum's vast influence on philosophy of religion and philosophy of science. The symposium participants have either significantly reworked their original papers or written entirely new ones for this special publication. A reprint of Grünbaum’s "The Poverty of Theistic Cosmology" further enriches the (...) book. A highlight of the present volume is an extended "Autobiographical-Philosophical Narrative" in which Grünbaum traces his intellectual journey, beginning with a poignant account of his early experiences with anti-Semitism in Nazi Germany and his initial queries about religious belief, continuing through the major milestones of his career, and concluding with his current interests. Also of great value is a complete bibliography of Grünbaum's published works. Besides Grünbaum, the contributors include Nancy Murphy, Bas C. van Fraassen, Michael Tooley, Steven Humphrey, Nancy Cartwright, and Edward Erwin. (shrink)