In this new book, Florian Klinger gives readers a basic action-theoretical account of the aesthetic. While normal action fulfills a determinate concept, Klinger argues, aesthetic action performs an indeterminacy by suspending the action's conceptual resolution. Taking as examples work by Tino Sehgal, Kara Walker, Mazen Kerbaj, Marina Abramović, Cy Twombly, and Franz Kafka, the book examines indeterminacy in such instances as a walk that is at once leisurely and purposeful, a sound piece that is at once joyous and mournful and mechanical, or a sculpture that at once draws one in and shuts one out. Because it has irresolution as its point, aesthetic action presents itself as an unsettling of ourselves, our ways, our very sense of who we are. As performers of such action, we don't recognize one another as bearers of a shared human form as we normally would, but find ourselves tasked anew with figuring out what sharing a form would mean. In conversation with philosophers such as Kant, Hegel, Wittgenstein, and Anscombe; political thinkers such as Marx and Lorde; and contemporary interlocutors such as Michael Thompson, Sebastian Rödl, and Thomas Khurana, Klinger's book makes a case for a conception of the human form that systematically includes the aesthetic: an actualization of the form that is indeterminate and nevertheless rational. The book gives the project of Western philosophical aesthetics a long-overdue formulation for our present that aims to do justice to contemporary aesthetic production as it actually exists. It will appeal to those working in philosophy, art, and political thought.
The text is at once a meditation on theories of form and an essay on the painter Gerhard Richter as a philosophical pragmatist. Richter serves as the inspiration for a broader argument about the nature of "art" itself and for what Klinger professes to be a fresh approach to contemporary art more generally. He (1) addresses the widely conceded exhaustion of the modernist-postmodernist paradigm that has been used to negotiate the "essence of art" for decades and (2) offers what he says is a solution to the resulting gap that leaves us unclear on how to make art and talk about it. He draws on Kuhn's definition that a paradigm consists of the pre-theoretical framework of any practice: While rules and principles, where they exist, grow out of the paradigm, the paradigm can guarantee the functioning of a practice in the absence of rules. He sees Richter as relevant because the painter has never accepted the modern, neo-avant-garde, or postmodern movements as paradigms for his production. Klinger maintains that the goal of Richter's artistic program is "to replace traditional essentialist models of artistic form by a pragmatic model" of respecting the properties of actual physical substances at hand, such as paint, and making art in terms of process rather than with a prescribed end. This way, the modernist-postmodernist paradigm is neither affirmed nor perpetuated in the mode of its reversal, critique or deconstruction, but replaced by something else that forms an effective reaction to the situation without directly deriving from it"--
The text is at once a meditation on theories of form and an essay on the painter Gerhard Richter as a philosophical pragmatist. Richter serves as the inspiration for a broader argument about the nature of "art" itself and for what Klinger professes to be a fresh approach to contemporary art more generally. He (1) addresses the widely conceded exhaustion of the modernist-postmodernist paradigm that has been used to negotiate the "essence of art" for decades and (2) offers what he says is a solution to the resulting gap that leaves us unclear on how to make art and talk about it. He draws on Kuhn's definition that a paradigm consists of the pre-theoretical framework of any practice: While rules and principles, where they exist, grow out of the paradigm, the paradigm can guarantee the functioning of a practice in the absence of rules. He sees Richter as relevant because the painter has never accepted the modern, neo-avant-garde, or postmodern movements as paradigms for his production. Klinger maintains that the goal of Richter's artistic program is "to replace traditional essentialist models of artistic form by a pragmatic model" of respecting the properties of actual physical substances at hand, such as paint, and making art in terms of process rather than with a prescribed end. This way, the modernist-postmodernist paradigm is neither affirmed nor perpetuated in the mode of its reversal, critique or deconstruction, but replaced by something else that forms an effective reaction to the situation without directly deriving from it"--
In this new book, Florian Klinger gives readers a basic action-theoretical account of the aesthetic. While normal action fulfills a determinate concept, Klinger argues, aesthetic action performs an indeterminacy by suspending the action's conceptual resolution. Taking as examples work by Tino Sehgal, Kara Walker, Mazen Kerbaj, Marina Abramović, Cy Twombly, and Franz Kafka, the book examines indeterminacy in such instances as a walk that is at once leisurely and purposeful, a sound piece that is at once joyous and mournful and mechanical, or a sculpture that at once draws one in and shuts one out. Because it has irresolution as its point, aesthetic action presents itself as an unsettling of ourselves, our ways, our very sense of who we are. As performers of such action, we don't recognize one another as bearers of a shared human form as we normally would, but find ourselves tasked anew with figuring out what sharing a form would mean. In conversation with philosophers such as Kant, Hegel, Wittgenstein, and Anscombe; political thinkers such as Marx and Lorde; and contemporary interlocutors such as Michael Thompson, Sebastian Rödl, and Thomas Khurana, Klinger's book makes a case for a conception of the human form that systematically includes the aesthetic: an actualization of the form that is indeterminate and nevertheless rational. The book gives the project of Western philosophical aesthetics a long-overdue formulation for our present that aims to do justice to contemporary aesthetic production as it actually exists. It will appeal to those working in philosophy, art, and political thought.
International Bestseller: This “absolute gem of a book” offers a month-by-month account of the year before World War I—one of the most exciting times in the 20th century (The Observer). “A sexy, comic and occasionally heartbreaking soap opera” for history buffs interested in 20th-century art, music, and literature (Washington Post). It was the year Henry Ford first put a conveyer belt in his car factory, and the year Louis Armstrong first picked up a trumpet. It was the year Charlie Chaplin signed his first movie contract, and Coco Chanel and Prada opened their first dress shops. It was the year Proust began his opus, Stravinsky wrote The Rite of Spring, and the first Armory Show in New York introduced the world to Picasso and the world of abstract art. It was the year the recreational drug now known as ecstasy was invented. It was 1913, the year before the world plunged into the catastrophic darkness of World War I. In a witty yet moving narrative that progresses month by month through the year, and is interspersed with numerous photos and documentary artifacts (such as Kafka’s love letters), Florian Illies ignores the conventions of the stodgy tome so common in “one year” histories. Forefronting cultural matters as much as politics, he delivers a charming and riveting tale of a world full of hope and unlimited possibility, peopled with amazing characters and radical politics, bristling with new art and new technology—even as ominous storm clouds began to gather.
Foreword Ten years is a long time. In 2009 a bunch of friends gathered in Portugal for a conference that was to precede TAKE. In 2011 we repeated. Then, after a strange sequence of events, we finally organized TAKE for the first time in 2015 in Aveiro, followed by Zagreb, Poznan and now Vienna. Florian Kragulj was in the first TAKE in Aveiro and from the start showed the highest level of enthusiasm and professionalism in the event. These characteristics were kept alive during all the 15 or so months during which we organized TAKE 2019. That this edition of TAKE involves several entities linked with academia, i.e. WU Vienna University of Economics and Business, the Austrian Economic Chamber and the Institute for Applied Research on Skilled Crafts and Trades (IAGF). This in itself a big success and a sign of the Conference improvement. Also, we may see, by analysing the papers and in particular the streams, that TAKE has been following the economic times, and this year we have several papers on the Gig Economy. Only good conferences adjust, the others get stuck in time. And success in Conferences is about teams. And in TAKE that team, is indeed, a very large group of people including the co-chairs, the local organizing team, the material organizers (Book of Abstracts and Proceedings), the stream leaders, and the paper reviewers – without all these persons nothing could have been done. And finally we had to depend on the authors, and their willingness to work with us. Without the work of these large dozens of devoted and skilled people TAKE 2019 would not have existed. May I also mention that this time and with Florian’s impulse and skill the organization of TAKE was improved in technological terms – in short we became techno – we used a website to deliver the mail list, a website to receive the scientific material and another website to receive the fees. All these were investments that eventually paid of, and that will guarantee a more stable organization for TAKE in the future. And we owe it to Florian. However, as the Human Resource Development part of TAKE (and more than anyone Gary Mc Lean) would remind us – “We are humans, Eduardo”, and technology helps, but in the end, is attention to detail, capacity to deal with the bizarre and to accommodate the weirdness making sometimes the impossible possible that differentiates a good conference, made doing things right, from an excellent conference, based in doing the right things. And on this last matter, believe me, we in TAKE are among the best in the world, because apart from being outstanding scholars, and good colleagues, we are an amazing group of friends, and friendship is the best way to turn good conferences into outstanding ones. Many thanks, from the heart and enjoy the Conference. Eduardo Tomé Conference Chair, Universidad Europeia Lisbon, July 2019, Lisbon, Portugal
Profiles of the 98 German soldiers--out of millions--who received both the Knight's Cross (for extreme bravery) and the Close-Combat Clasp in Gold (for at least 50 days of hand-to-hand fighting) during World War II.
This book offers a systematic, theory-based, and empirically grounded introduction to the political system of Germany. Compared to other textbooks on government and politics in Germany, it has two particular benefits. First, it analyzes the individual dimensions of the German political system from a uniform theoretical perspective based on the well-known distinction between majoritarian and consensus democracy. Second, it particularly explains how political decision-making in the multi-level system takes place, including the local, state, federal as well as EU levels. This way, the book provides a comprehensive, detailed, and clear picture of how German democracy is organized and how it works.
A deep history of storytelling as a civic agency, recalibrating literature’s political role for the twenty-first century Why did short narrative forms like the novella, fable, and fairy tale suddenly emerge around 1800 as genres symptomatic of literature’s role in life and society? In order to explain their rapid ascent to such importance, Florian Fuchs identifies an essential role of literature, a role traditionally performed within classical civic discourse of storytelling, by looking at new or updated forms of this civic practice in modernity. Fuchs's focus in this groundbreaking book is on the fate of topical speech, on what is exchanged between participants in argument or conversation as opposed to rhetorical speech, which emanates from and ensures political authority. He shows how after the decline of the Ars topica in the eighteenth century, various forms of literary speech took up the role of topical speech that Aristotle had originally identified. Thus, his book outlines a genealogy of various literary short forms—from fable, fairy tale, and novella to twenty-first century video storytelling—that attempted on both "high" and "low" levels of culture to exercise again the social function of topical speech. Some of the specific texts analyzed include the novellas of Theodor Storm and the novella-like lettre de cachet, proverbial fictions of Gustave Flaubert and Gottfried Keller, the fairy tale as rediscovered by Vladimir Propp and Walter Benjamin, the epiphanies of James Joyce, and the video narratives of Hito Steyerl.
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