This Library is a continually expanding selection of exhibition catalogues, theory, literature and cultural studies publications, as well as works from philosophy, art history and other fields. Together these materials seek to provide an overview of the artists, theories, and discourses that are related to the artistic research project. The online library provides a short entry on each publication explaining why the source is relevant.
“Please turn out the lights.As long as we’re going to talk about films, we might as well do it in the dark.We have all been here before. By the time we are eighteen years old, say the statisticians, we have been here five hundred times.No, not in this very room, but in this generic darkness, the only place left in our culture intended entirely for concentrated exercise of one, or at most two, of our senses.”
The quote above is from Hollis Frampton’s 1968 New York lecture on film and the perception of moving images. The lecture is documented in the publication: On the Camera Arts and Consecutive Matters: The Writings of Hollis Frampton.Frampton’s films deal with the shift of sound and image synchronisation. The resultant dysfunction imbalance links his work to dizziness and disorientation.
A Field Guide to Getting Lost is an investigation into loss, losing and being lost. Taking in subjects as eclectic as memory and mapmaking, Hitchcock movies and Renaissance painting, Rebecca Solnit explores the challenges of living with uncertainty. This book combines memoir, history and philosophy, shedding glittering new light on the way we live now.
This book deals with questions about uncertainty and topography. Being unsure and becoming disorientated play a large role in producing a state of dizziness.
The most startling thing about disasters, according to author Rebecca Solnit, is not merely that so many people rise to the occasion, but that they do so with joy. That joy reveals an ordinarily unmet yearning for community, purposefulness, and meaningful work that disaster often provides. A Paradise Built in Hell is an investigation of the moments of altruism, resourcefulness, and generosity that arise amid disaster's grief and disruption and considers their implications for everyday life. It points to a new vision of what society could become -one that is less authoritarian and fearful, more collaborative and local.
This utopian matters, because almost everyone has experienced some version of it and because it is not the result of a partisan agenda, but rather a broad, unplanned effort to salvage society and take care of the neighbours amid the wreckage. “A map of the world that does not include Utopia is not worth even glancing at, for it leaves out the one country at which humanity is always heading.” wrote Oscar Wilde fifteen years before San Francisco’s great quake.
Virginia Woolf’s blazing polemic on female creativity, the role of writers and the silent fate of Shakespeare’s imaginary sister remains a powerful reminder of a woman’s need for financial independence and intellectual freedom.
A Room of One's Own, was developed from a lecture Woolf had been invited to on the topic of Women and Fiction. Her now famous essay concludes "a woman must have money and a room of her own if she is to write fiction." Her stream of thought to this conclusion takes the form of a partly-fictionalised narrative. Her ideas and thoughts on creativity, influenced by poverty and sexist beliefs, and on freedom of thinking are inspiring and important to the research, as she asks what kind of resources further creativity. http://gutenberg.net.au/ebooks02/0200791h.html
This book continues the work Deleuze and Guattari began in Anti-Oedipus and has now become established as one of the classic studies of the development of critical theory in the late twentieth century. It occupies an important place at the center of the debate reassessing the works of Freud and Marx, advancing an approach that is neither Freudian nor Marxist but which learns from both to find an entirely new and radical path. It presents an attempt to pioneer a variety of social and psychological analyses free of the philosophical encumbrances criticized by postmodern writers. A Thousand Plateaus is an essential text for feminists, literary theorists, social scientists, philosophers, and others interested in the problems of contemporary Western culture.
In this highly insightful analysis of Western and Chinese concepts of efficacy, François Jullien subtly delves into the metaphysical preconceptions of the two civilizations, to account for their diverging patterns of action in warfare, politics and diplomacy. He shows how Western and Chinese strategies work in several domains (e.g. the battlefield) and analyses two resulting acts of war. The Chinese strategist manipulates his own troops and the enemy to win a battle without waging war and brings about victory effortlessly. Efficacy in China is thus conceived of in terms of transformation (as opposed to action) and manipulation, making it closer to what is understood as efficacy in the West. Jullien's brilliant interpretations of an array of recondite texts are key to understanding our own conceptions of action, time and reality in this foray into the world of Chinese thought.
Several aspects of Jullien’s work are of vital interest to the project. One of them is his concept of ‘strategic time’ and the notion of transformation that he draws from Chinese classical texts. “La ‘prescience’ en cause ne procède donc pas d’un raisonnement hypothétique, ni non plus d’un geste magique, elle se contente d’éclairer ce qui ‘va venir’ en fonction de ce qui ‘vient d’arriver’, ceci impliquant cela sans arrêt.” (François Jullien, Traîté de l’efficacité, Paris: Grasset 1996, 96–97)
Fondateur de la discipline iconologique, créateur du prestigieux institut qui porte son nom, Aby Warburg (1866–1929) a compté parmi ses disciples les plus célèbres historiens de l’art du siècle: Panofsky, Wind, Saxl. Mais ces héritiers ont, pour la plupart, préféré développer une «iconologie restreinte» fondée sur le déchiffrement et l’interprétation des symboles – là où Warburg, nourri de Nietzsche et de Burckhardt, entendait assumer les risques d’une «iconologie critique».Philippe-Alain Michaud prolonge les intuitions de Warburg en introduisant dans son analyse le daguerréotype, les expériences de Marey, le cinéma primitif, la danse de Loïe Fuller, toutes pratiques qui affleurent dans l’interprétation warburgienne des images et qui en éclairent la singularité.
Focussing on Aby Warburg’s art historical work, Philippe-Alain Michaud analyses early cinema, daguerreotype and modern dance. Within his investigation he is particularly interested in dizziness and the physical movements it creates in the subject.
Stuart Kaufman deduced in Antichaoas and Adaptation, that chaos is part of a complex system of behaviour. He made an important observation that any network or dynamical system, which is finite and oscillatory, will have a finite number of states, and must eventually re-enter a state it has previously encountered. Consequently, it will cycle repeatedly through the same states.
Mathematical discoveries are inviting changes in biologists' thinking about the origins of order in evolution. All living things are highly ordered systems: they have intricate structures that are maintained and even duplicated through a precise ballet of chemical and behavioural activities.
In The Black Swan, Taleb showed us that highly improbable and unpredictable events underlie almost everything in our world. In Antifragile, Taleb stands uncertainty on its head, making it desirable, even necessary, and proposes that things be built in an antifragile manner. The antifragile is beyond the resilient or robust. The resilient resists shocks and stays the same; the antifragile gets better and better.
Nassim Nicholas Taleb, author of The Black Swan, reveals how to thrive in an uncertain world. Just as human bones get stronger when subjected to stress and tension, and rumours or riots intensify when someone tries to repress them, many things in life benefit from stress, disorder, volatility and turmoil. What Taleb has identified and calls “antifragile” is that category of things that not only gain from chaos but that need it in order to survive and flourish.
Hannah Arendt’s insightful observations of the modern world, based on a profound knowledge of the past, constitute an impassioned contribution to political philosophy. In Between Past and Future Arendt describes the perplexing crises modern society faces as a result of the loss of meaning of the traditional key words of politics: justice, reason, responsibility, virtue, and glory. Through a series of eight exercises, she shows how we can redistill the vital essence of these concepts and use them to regain a frame of reference for the future. To participate in these exercises is to associate, in action, with one of the most original and fruitful minds of the twentieth century.
Body and Mature Behavior is a study of human development that is concerned with the relationships between movement, emotional maturity, and behaviour patterns. Moshe Feldenkrais was superbly aware of the muscular responses, tensions, and rigidity that lead to both physical and emotional problems. He delves straight to the heart of his case: a condensed description of the conditions of our existence, touching upon topics like neurology, prehistory, child development, individual-societal relationships, and more. A fascinating discussion of gravitation and the anti-gravity mechanism is followed by a discussion of the effects of emotion on posture and on personal patterns of movement. Feldenkrais speaks to the importance of acknowledging the inseparability of body and mind.
Guattari's final book is a succinct summary of his socio-philosophical outlook. It includes critical reflections on Lacanian psychoanalysis, structuralism, information theory, postmodernism, and the thought of Heidegger, Bakhtin, Barthes and others.
Among the fogs and miasmas which obscure our fin de millenaire, the question of subjectivity is now returning as a leitmotiv… all the disciplines will have to combine their creativity to ward off the ordeals of barbarism, the mental implosion and chaosmic spasms looming on the horizon.
The community isn’t a mode of being, much less a ‘making’ of the individual subject. It isn’t the subject’s expansion or multiplication but its exposure to what interrupts the closing and turns it inside out: a dizziness, a syncope, a spasm in the continuity of the subject. (Esposito)http://on-dizziness.com/communitas/
For Esposito, community should not be conceived as a possession or a belonging but on the contrary as something that is removed from oneself, as a lack. In order to ground his new conceptualisation, Esposito uses the latin word communitascomposed from the latin words cum (with) and munus (a burden or a task): `the munus that the communitas shares isn’t a property or a possession ... but on the contrary, is a debt, a pledge, a gift ... a lack ... an obligation’cf: http://marxandphilosophy.org.uk/reviewofbooks/reviews/2010/216
Henri Michaux (1899–1984) was a highly idiosyncratic Belgian-born poet, writer and painter who wrote in French and who later took French citizenship. Michaux is best known for his esoteric books written in a highly accessible style and for a body of work that includes poetry, travelogues and art criticism. Michaux travelled widely, tried his hand at several careers and experimented with drugs.
The ‘path’, presented by Michaux, dares to look into the abyss of human self-assuredness. This is done, he suggests, either by means of travelling and exposing the self to the unfamiliar and the unknown, or by means of drug induced trips, thus exposing body and mind to an equally unfamiliar and unknown inner self. We could follow this path in order to find a stratagem for arguing the importance of dizziness as a precondition for new visions, ideas and understanding.
The most famous and influential work of distinguished French philosopher Henri Bergson (1859–1941), Creative Evolution features the fullest expression of the philosopher's ideas about the problem of existence, propounding a theory of evolution completely distinct from these of earlier thinkers and scientists.In discussing the meaning of life, Bergson considers the order of nature and the form of intelligence, including the geometrical tendency of the intellect, and examines mechanisms of thought and illusion. In addition, he presents a critique of the idea of immutability and the concept of nothingness, from Plato and Aristotle through the evolutionism of his contemporaries.
This study of the creative process is about capturing those moments that make life worth living. Legendary psychologist Mihaly Csikszentmihalyi reveals what leads to these moments—be it the excitement of the artist at the easel or the scientist in the lab—so that this knowledge can be used to enrich people's lives. Drawing on nearly one hundred interviews with exceptional people, from biologists and physicists, to politicians and business leaders, to poets and artists, as well as his thirty years of research on the subject, Csikszentmihalyi uses his famous flow theory to explore the creative process. He discusses such ideas as why creative individuals are often seen as selfish and arrogant, and why the ‘tortured genius’ is largely a myth. Most important, he explains why creativity needs to be cultivated and is necessary for the future of our country, if not the world.
Writers and artists are always asked about their process, including the crucial question, “How do you do meaningful creative work while also earning a living?” Currey set out to amass as much information as he could find about the routines “brilliant and successful” creators adopted and followed, and the result is a zestful survey of the working habits of “some of the greatest minds of the last four hundred years.” This zealous and judicious volume brims with quotes and fascinating disclosures about the vagaries of the creative life. Currey outs the habits of nearly 200 choreographers, comedians, composers, caricaturists, filmmakers, philosophers, playwrights, painters, poets, scientists, sculptors, and writers in a dizzying array that includes Benjamin Franklin, Henri Matisse, Nikola Tesla, Stephen King, Twyla Tharp, Federico Fellini, Ann Beattie, Gustav Mahler, and Toni Morrison. Here are early birds and night owls, the phenomenally rigorous and the nearly dysfunctional. George Balanchine thought things out while ironing. Maya Angelou writes sequestered in a “tiny, mean” hotel room. Marilynne Robinson confesses, “I really am incapable of discipline.” Currey’s compendium is elucidating and delectable. —Donna Seaman
For the survey and art competition “Living in a Dizzying World” this book helped us to specify the online questionnaire and daily questions on the app.
In beiden Texten unternimmt es der Autor, einen bestimmten „Gegenstand“ – im „Notizbuch“ ein bestimmter Kiefernwald, im anderen Fall der Himmel der Provence an einem bestimmten Ort zu einer bestimmten Zeit – mit poetischen Mitteln zu erforschen, ihn in einem Poem zu „erobern“, ohne dass das Objekt in seiner Gesetzmäßigkeit zugunsten einer vorgegebenen poetischen Formel verschwindet. Ponges Ziel ist es, die Objekte in der Sprache (v)erstehen zu lassen. Das Resultat dieser Bemühungen kann nicht mehr ein für sich stehendes, von seiner Entstehung losgelöstes Gedicht sein, sondern nur die Gesamtheit des Prozesses, in dem der Autor den Gegenstand in Worten, die für ihn und nur für ihn zutreffen, nachkonstruiert und die Nachkonstruktion dann durch das Objekt korrigieren lässt.
Francis Ponge tries to seek new poetic forms for what he sees. How to re-present (visual) phenomena is crucial for the project Dizziness-A Resource.
According to the poet and philosopher Lucretius, ‘clinamen’, is the unpredictable tendency for atoms to swerve. This indeterminacy provides the free will which living things throughout the world have. In his poem ‘On the Nature of Things’ he states:
“When atoms move straight down through the void by their own weight, they deflect a bit in space at a quite uncertain time and in uncertain places, just enough that you could say that their motion has changed. But if they were not in the habit of swerving, they would all fall straight down through the depths of the void, like drops of rain, and no collision would occur, nor would any blow be produced among the atoms. In that case, nature would never have produced anything.”
This collection shows how Deleuze's philosophy is shaking up research in the humanities and social sciences. Deleuzian thinking is having a significant impact on research practices in the Social Sciences not least because one of its key implications is the demand to break down the false divide between theory and practice. This book brings together international academics from a range of Social Science and Humanities disciplines to reflect on how Deleuze's philosophy is opening up and shaping methodologies and practices of empirical research.
Denken/Ordnen von Georges Perec ist ein Buch über das Schreiben. Denn was ist Schreiben, wenn nicht fortlaufendes Denken und Ordnen – Anordnen, Umordnen, Aussortieren, Einsortieren? Für Perec jedenfalls muss hier das Rätsel und die Faszination des Schreibens liegen. Schreiben (und das Leben selbst) hat er immer wieder mit einem Puzzle-Spiel verglichen.
This short book is about thinking, collecting, and ordering as the basic principle of artistic work.
Dread: The Dizziness of Freedom reflects on possible re-articulations of the concept of dread in our times. Associated with the “dizziness of freedom” by Søren Kierkegaard, and with “the ecstasy of nihilism” by China Miéville, the experience of dread is a defining characteristic of the contemporary human condition, and -according to the contributors to this volume -an essential and potentially productive emotion. However dark and fatalistic its connotations, through its dialectical coupling of caution and transgression, of paralysis and overdrive, dread allows us to imagine the world differently. Through conversations with and essays by some of today’s foremost cultural commentators, this book explores the creative agency of dread -an agency that is created by the very forces wishing to suppress or even destroy it -as well as its politics and related conceptions of fear and anxiety.
Working as a DJ, Juha van’t Zelfde investigates the relationship between the audience and the artist. For our project it is inspiring to see how Juha van’t Zelfde links different domains and schools of thought in his artistic research on dread. Edited by Juha van ’t Zelfde. Text by Timo Arnall, James Bridle, Simon Critchley, Adam Greenfield, Johan Grimonprez, Vinay Gupta, Ben Hammersley, Thomas Hirschhorn, Xander Karskens, Metahaven, China Miéville, Kevin Slavin and Superflux.
The edition of Film Culture number 65–66 is devoted to the writings and works of Paul Sharits. Other authors include Annette Michelson, Rosalind Krauss and Linda Cathcart.
Paul Sharits is an artist who can reflect on and evoke both the feeling of being mentally dizzy and the physical manifestation in a single work, namely his film installation Epileptic Seizure Comparision. In his text "A Cinematics Model for Film Studies in Higher Education" he quotes the following poem by Robert Graves:
In Broken Images
He is quick, thinking in clear images;
I am slow, thinking in broken images.
He becomes dull, trusting to his clear images;
I become sharp, mistrusting my broken images.
Trusting his images, he assumes their relevance;
Mistrusting my images, I question their relevance.
Assuming their relevance, he assumes the fact;
Questioning their relevance, I question the fact.
When the fact fails him, he questions his senses;
When the fact fails me, I approve my senses.
He continues quick and dull in his clear images;
I continue slow and sharp in my broken images.
He in a new confusion of his understanding;
I in a new understanding of my confusion.
From the golden age of art movies and underground cinema to X-rated porn, splatter films, and midnight movies, this breathtaking thriller is a tour de force of cinematic fact and fantasy, full of metaphysical mysteries that will haunt the dreams of every moviegoer. Jonathan Gates could not have anticipated that his student studies would lead him to uncover the secret history of the movies—a tale of intrigue, deception, and death that stretches back to the 14th century. But he succumbs to what will be a lifelong obsession with the mysterious Max Castle, a nearly forgotten genius of the silent screen who later became the greatest director of horror films, only to vanish in the 1940s, at the height of his talent. Now, 20 years later, as Jonathan seeks the truth behind Castle's disappearance, the innocent entertainments of his youth—the sexy sirens, the screwball comedies, the high romance—take on a sinister appearance. His tortured quest takes him from Hollywood's Skid Row into the shadowy lore of ancient religious heresies. He encounters a cast of exotic characters, including Orson Welles and John Huston, who teach him that there's more to film than meets the eye, and journeys through the dark side of nostalgia, where the Three Stooges and Shirley Temple join company with an alien god whose purposes are anything but entertainment.
Pleasurable to read and rich in subtext and background, the book’s description of film tricks and technical devices to brainwash the audience involves dizzying elements and an increasing amount of mystery, combining the art of cinema with metaphysics.
In considering Bacon, Deleuze offers implicit and explicit insights into the origins and development of his own philosophical and aesthetic ideas, ideas that represent a turning point in his intellectual trajectory. First published in French in 1981, Francis Bacon has come to be recognized as one of Deleuze’s most significant texts in aesthetics. Anticipating his work on cinema, the baroque, and literary criticism, the book can be read not only as a study of Bacon’s paintings but also as a crucial text within Deleuze’s broader philosophy of art.
Gilles Deleuze had several paintings by Francis Bacon hanging in his Paris apartment, and the painter’s method and style, as well as his motifs of seriality, difference, and repetition influenced Deleuze’s work. In considering Bacon, Deleuze offers implicit and explicit insights into the origins and development of his own philosophical and aesthetic ideas, ideas that represent a turning point in his intellectual trajectory. First published in French in 1981, Francis Bacon has come to be recognised as one of Deleuze’s most significant texts in aesthetics. Anticipating his work on cinema, the baroque, and literary criticism, the book can be read not only as a study of Bacon’s paintings but also as a crucial text within Deleuze’s broader philosophy of art.
Geburtsakt der PhilosophieErschrocken schaut der Heide Schaf mich an,
als säh’s in mir den ersten Menschenmann.
Sein Blick steckt an; wir stehen wie im Schlaf;
mir ist, ich säh zum ersten Mal ein Schaf.
Birth of PhilosophyThe heath sheep glares at me with frightened awe
as though I were the first of men it saw.
Contagious glare! We stand as though asleep;
it seems the first time that I see a sheep.
Humans have always sought life-changing visions, and for thousands of years have used hallucinogenic compounds to achieve them. As a young doctor in California in the 1960s, Oliver Sacks had both a personal and a professional interest in psychedelics. These, along with his early migraine experiences, launched a lifelong investigation into the varieties of hallucinatory experience.Here, with his usual elegance, curiosity and compassion, Dr. Sacks weaves together stories of his patients and of his own mind-altering experiences to illuminate what hallucinations tell us about the organisation and structure of the brain. It also looks at how hallucinogens have influenced every culture’s folklore and art, and why the potential for hallucination is present in us all and a vital part of the human condition.
Hallucinations don’t belong wholly to the insane. Much more commonly, they are linked to sensory deprivation, intoxication, illness or injury.
What could it mean to live the life of an artist, and how can it be done? Is it a form of sleepwalking or a sullen selfassertion? How is it possible to unite literary, scientific or philosophical deliberations with art? The artist duo Ruth Anderwald + Leonhard Grond uses film as a tool to visually discuss the present with all its contradictions, following the realisation that to record images always correlates with a form of modeling reality. In their book, Ruth Anderwald + Leonhard Grond combine a comprehensive collection of their collaborative filmic work (1999 – 2013) with texts by authors who have accompanied them along the way.
Nineteenth-century chemists were faced with a particular problem; how to depict the atoms and molecules that are beyond the direct reach of our bodily senses. In visualising this microworld, these scientists were the first to move beyond high-level philosophical speculations regarding the unseen. In Image and Reality, Alan Rocke focuses on the community of organic chemists in Germany to provide the basis for a fuller understanding of the nature of scientific creativity. Rocke uses a variety of sources, including private correspondence, diagrams and illustrations, scientific papers, and public statements, to investigate their ability to not only imagine the invisibly tiny atoms and molecules upon which they operated daily, but to build detailed and empirically based pictures of how all of the atoms in complicated molecules were interconnected.
In this book, Rocke explores the importance of visual imagination and provides insight into the field of chemistry via portrayals of “chemical structures”. Arguing that visual mental images regularly assisted many scientists in thinking through old problems and new possibilities, the author also suggests that imagistic thinking is often at the heart of creative thinking in all fields.
This ground-breaking work of philosophy, anthropology, aesthetics, and sinology is certain to bring the audience to think and experience what may at first seem impossible: the richness of a bland sound, a bland meaning, a bland painting, a bland poem. In presenting the value of blandness through as many concrete examples and original texts as possible, Jullien allows the undifferentiated foundation of all things—blandness itself—to appear. After completing this book, readers will re-evaluate those familiar Western lines of thought where blandness is associated with a lack—the undesirable absence of particular, defining qualities. Jullien traces the elusive appearance and crucial value of blandness from its beginnings in the Taoist and Confucian traditions to its integration into literary and visual aesthetics in the late-medieval period and beyond.
Gradually developing into a positive quality in Chinese aesthetic and ethical traditions, the bland comprises the harmonious and unnameable union of all potential values, embodying a reality whose very essence is change and providing an infinite opening into the breadth of human expression and taste. More than just a cultural history, In Praise of Blandness invites those both familiar and unfamiliar with Chinese culture to explore the resonances of the bland in literary, philosophical, and religious texts and to witness how all currents of Chinese thought—Confucianism, Daoism, Buddhism—converge in harmonious accord.
In recent years, the idea of art as an act of research has gained increasing currency, greatly enlarging the parameters of art itself. Intellectual Birdhouse gathers a broad range of interpretations of this paradigm shift through writings by authors from a range of disciplines. Tom Holert offers "Scattered Thoughts on 'Artistic Research' and 'Social Responsibility'"; Hito Steyerl assesses research as an "Aesthetic of Resistance"; Hannes Rickli discusses art and biology; Michael Schwab interviews Henk Borgdorff; Sabine Flach looks at Kandinsky's merging of art and science; Penelope Haralambidou writes on "Allegory, Architecture and Figural Theory"; Florian Hecker and Sonia Matos discuss psychoactive acoustic experiences; and Renee Green writes on "Paradoxes Experienced by Artist-Thinkers." Other contributors include Jan Svenungsson, Henk Slager, Sarat Maharaj and Francisco Varela, Hans-Jorg Rheinberger, Raqs Media Collective, Marcus Steinweg, Bracha L. Ettinger, Jonathan Miles, Paul Carter, Gina Badger and Alise Upitis.
Claude Levis-Strauss approaches Mauss by combining anthropology and structural linguistics to assess his achievements and intentions arguing that Mauss - who at the time represented the mainstream of French anthropology - was in fact structuralist mangue. He then goes on to formulate the central tenets of structuralist thought: the belief in societies being organised on immutable and unconscious laws.
There is a fundamental opposition, in the history of the human mind, between symbolism, which is characteristically discontinuous, and knowledge, characterized by continuity. The signifier and the signified were constituted simultaneously and interdependently, as complementary units; whereas knowledge, that is, the intellectual process which enables us to identify certain aspects of the signifier with certain aspects of the signified...
Starting in the mid-1990s, Joachim Koester developed an oeuvre that could be described as a complex web, in which journalistic and historical research fuses with personal and fictive narratives. Walking a fine line between documentary and fiction, Koester’s films, photos, and installations re-examine and activate forgotten histories, failed utopias and the obsolete. In his work, bygone counter-cultural movements re-emerge in the same way that geographical and spiritual journeys are retraced.Joachim Koester: ‘Of Spirits and Empty Spaces’ is published to accompany five independent, complementary exhibitions of the work of Joachim Koester, at Institut d’Art Contemporain, Villeurbanne; List Visual Arts Center, Cambridge, Massachusetts; Kunsthal Charlottenborg, Copenhagen; S.M.A.K., Ghent; and Centre d’Art Contemporain, Genève.
Joachim Koester’s works refer to geographical and spiritual journeys and originate from his examinations on dizziness. ‘Of Spirits and Empty Spaces’ contains texts by Thomas Caron, Philippe-Alain Michaud, Christopher Pinney, Clara Schulmann, Catherine Wood, and Joachim Koester. Koester’s film works play a part in the research of the project and are included in related screenings.
Der Band bearbeitet die Kultur des Jahrmarkts und dessen modernen Verwandten, des Themenparks als einen Ort, an dem sich das Vergnügen manifestiert. Die Frage nach der Faszination solcher Orte streift die Geschichte des Salzburger Dult, der Luxemburger Schueberfouer, des Hamburger Hugo Haase Parks oder des Wiener Praters. Die Beiträge zeichnen die Geschichte des Karussells, des Jahrmarktkinos, der Geisterbahn, der Achterbahn oder der fast vergessenen Jahrmarktsorgel nach, arbeiten eine Sozialgeschichte der Schaustellerei heraus, analysieren die Motivationen, Jahrmärkte und Vergnügungsparks zu besuchen und zeigen, wie das Phänomen in der Literatur, im Film und in der bildenden Kunst aufgegriffen und thematisiert wird.
In this book various articles and interviews examine funfairs, amusement parks, carousels and fairground rides as settings for a culture of amusement. Distraction, euphoria and dizziness are all inextricably linked to fairground attractions.
This book begins in the tiny Greenwich Village café where Smith goes every morning for black coffee, ruminates on the world as it is and the world as it was, and writes in her notebook. Through prose that shifts fluidly between dreams and reality, past and present, and across a landscape of creative aspirations and inspirations, we travel to Frida Kahlo’s Casa Azul in Mexico; to a meeting of an Arctic explorer’s society in Berlin; to a ramshackle seaside bungalow in New York’s Far Rockaway that Smith acquires just before Hurricane Sandy hits; and to the graves of Genet, Plath, Rimbaud, and Mishima.
Der Band untersucht die Bedeutung von Mimesis für Kultur, Gesellschaft und Kunst. Gegenwärtig als Grundkonzept der Anthropologie entworfen, erschließt sich dem Menschen die Welt über mimetische Zugänge. Mimetische Prozesse lassen sich vom körperlichen Handeln bis zu ästhetischen Produktionen verfolgen, vom Konkreten bis zum Fiktiven. Der Band beschreibt ihre Wirkungsweisen zuerst auf der Ebene der sozialen Praxis, dann auf der von Ritualen und Spielen, schließlich auf jener des Ästhetischen.
In this book the relevance of mimetic processes for aesthetic and social processes are highlighted.
What sort of hallway was it? I haven’t the slight idea even now, and it ought to be that way. Everything should. Everything should take place slowly and incorrectly so that man doesn’t get a chance to start feeling proud, so that man is sad and perplexed.
Eerofeev’s Moscow-Petishki is considered to be a pseudo-autobiographical postmodernist prose poem following the journey of the intellectual alcoholic Venya, or Venitchka, on his journey from Moscow to visit his beautiful lover and his little son in Petushki, a town that is delineated in chimerical terms. "In Petushki the jasmine never stops blooming and the birds always sing."Venya, the first-person narrator, swirls between maudlin self-pity and an almost Herculean compulsion to make sense of the world.
This anthology examines the rising phenomenon of moving image practice in recent art and theory, tracing its genealogies in experimental cinema and video, body art, performance, site-specific art and installation from the 1960s onwards. Contextualizing new developments made possible by advances in digital and networked technology, it locates contemporary art centred on the moving image within a global framework.
Nachbilder sind optische Phänomene, mit denen das ¬Sehen sich selbst in den Blick nimmt. Seit der Empirismus im 18. Jahrhundert die Subjektivität der Wahrnehmung erschloss, traktierten Wissenschaftler, Künstler und Philosophen ihre Augen, um sie nicht als Empfänger, sondern als Erzeuger von Licht- und Farbphänomenen zu erfahren. Der Band stellt u. a. die Frage, welche Bildkonzepte mit der Entdeckung der visionären Möglichkeiten des Sehens auftauchen und versammelt Beiträge, die die physiologische Frage nach dem Sehen mit der produktionsästhetischen Frage nach dem Bild verknüpfen.
An ‘afterimage’ refers to an image continuing to appear in one’s vision after the exposure to the original image has ceased. This is an optical phenomena that makes us question how vision functions. Indeed, with further understanding of the subjectivity of perception, various experiments by scientists, artists and philosophers have examined the eye not only as a receiver, but as a producer of light and colour phenomena. This volume gathers articles that combine physiological questions of vision and how the ‘afterimage’ is produced and visualised.
Object-Oriented Philosophy is a blog by Graham Harman, professor at the American University in Cairo and full-time resident of Ankara, Turkey. Harman is a contemporary philosopher of metaphysics, who attempts to reverse the linguistic turn of Western philosophy. He terms his ideas ‘object-oriented ontology’.
Harman’s blog Object-Oriented Philosophy provides daily notes on the topic as well as freely available articles and books.
The multiple must be made, not always by adding another dimension, rather in the simplest way, by dint of sobriety... A rhizome as subterranean stem is absolutely different from roots and radices. Bulbs and tubers are rhizomes... Even some animals are, in their pack forms. Rats are rhizomes. Burrows are too, in all their function of shelter, supply, movement, evasion and breakout... The rhizome includes the best and the worst: potato and couch grass.
Lines of flight, thinking motion and change by means of the horizontal rhizome instead of the vertical tree: “Rhizome” substitutes pragmatic, “couch grass”, free-floating logic to the binary, oppositional and exclusive model of the tree.
Oskar Hansen’s (1922–2005) theoretical concept of “open form” was developed in the context of international debates around late-modern architecture in the 1950s. Open form assumed that no artistic expression is complete until it has been appropriated by its users or beholders. In the following decades, the concept became a key principle of performance and film art, and led to the development of process-oriented and interdisciplinary artistic techniques. Hansen’s concept revolutionised the traditional means of artistic communication.
This publication examines the impact of Hansen’s ideas within contemporary visual culture and the redefined role of the viewer since the 1960s. The book includes in-depth interviews with some of the most important protagonists of experimental art in Poland, who investigate the historical impact of the open form. Other contributions comment on the theory’s influence on a younger generation of artists. Visual material by Hansen and other artists complete this extensive volume.
This is the first critical biography of the painter and experimental filmmaker Oskar Fischinger. Active in avant-garde art circles in Germany between the two world wars, Fischinger and his family would emigrate to Los Angeles just ahead of the Nazis' denunciation of degenerate art. Fischinger's pioneering experiments in Visual Music and the melding of graphic arts, abstract design, and sound were instrumental in shaping animation into an art and cinematic form and inspiring animators to pursue its aesthetic potential. An accomplished representational animator who eventually worked uneasily under contract for Paramount, MGM, and Disney, Fischinger produced numerous abstract animated films over his lifetime, invented machines such as the "Wax Machine" and the "Lumigraph" for creating images, and became an accomplished and influential abstract painter. A labor of love for author William Moritz and the product of decades of research, Optical Poetry also includes an extensive filmography and testimonials from those who knew or were influenced by Fischinger.
Finnish philosopher Juha Varto offers ten meditations on a theme inspired by Harri Laakso, who suggested that we “stop talking about the different types of knowing and admit … that in art we are dealing with something that is ‘otherwise-than-knowing’”. Although art is seen as the ability to change the world by transforming our sensory perception of reality, it also results in a change in ideas, understanding and insight. Art is seen as the ability to change the world by orientation: by radically transforming the “sensible”, or sensory through the reality of what one sees, hears, tastes, touches and smells, which unavoidably results in a change in ideas, understanding and insight. It may be about distancing, it may be about getting closer; sometimes it is ironic or camp, sometimes it is a serious attempt to find illuminating concepts and their verbalisations, and sometimes it is the need to create new myths or just tell stories.
“As the symbolic form of representation has spread, it has marginalised those forms of representation that people could use to communicate subjective experiences, actions and interventions to others.”
Phenomenology of Perception stands in the phenomenological tradition of Husserl, Heidegger and Sartre. However, Merleau-Ponty’s contribution is decisive, as he brings this tradition and other philosophical predecessors, particularly Descartes and Kant, to confront a neglected dimension of our experience: the lived body and the phenomenal world. Charting a bold course between the reductionism of science on the one hand and ‘intellectualism’ on the other, Merleau-Ponty argues that we should regard the body not as a mere biological or physical unit, but as the body which structures one’s situation and experience within the world.
Merleau-Ponty revealed the phenomenological structure of perception in his 1945 book Phenomenology of Perception. His work reflects on his thesis by considering the impact of perception and examining the way that dizziness is experienced.The complete book is freely available via archive.orgarchive.org.
„Zum Denken gehört Selbstbeschleunigung und Präzision. Das gilt für jedes Denken: das Risiko einzugehen, ebenso präzise wie kopflos zu sein. Es gibt keine Wissenschaft, keinen Tanz, keine Politik, keine Kunst, keine Musik, keine Ökonomie – um nur sechs Denkformen zu nennen – jenseits des Wagnisses, übertrieben und exakt zu sein! Die Wissenschaft übertreibt sich auf die Grenze des Wißbaren. Im Tanz skandiert das Subjekt seinen Kontakt zum Boden, der brüchiger Grund seines Weltaufenthalts bleibt. Um mehr als entpolitisierte Administration zu sein, muss die Politik Ideen riskieren, die sie an die Grenze ihrer Handlungsfähigkeit führen. Kunst öffnet sich der Dimension der Nicht-Kunst, um Kunst statt Ästhetik zu sein. In der Musik rührt das Subjekt an die jeden Laut durchziehende Stille. Die Wahrheit der Ökonomie ist ihre Tendenz ins Anökonomische. In allen Fällen geht es darum, die Kompossibilität von Präzision und Exzess zu artikulieren.“
Marcus Steinweg’s Philosophie der Überstürzung states his concept of philosophy as a philosophy of precipitation. Connected to a helter-skelter dynamic and the act of self-acceleration, he discusses the possibilities of orientation within disorientation.
Konkordanzen – Notiz zum Körper – Die Schönheit Antigones – Was ist Kritik? – Notiz zur Blindheit – Subjekt der Geste – Wittgensteins Tier – Infinitesimalphilosophie – Was ist ein Diagramm? – Museum als Exzess – Was ist ein Objekt? – Das maritime Subjekt – Notiz zur Bühne – Was ist Spekulation?
“In the fields of observation chance favours only the prepared mind.”
Louis Pasteur (Moser, p. 95)
This book gives an account of Albert Hofmann’s incidental and hazardous discovery of LSD and its implications for scientific narratives, relating to neuroscience as well as philosophical epistemology. The well-known basis of the LSD-narrative is Hofmann’s bicycle ride after having tested the hallucinogenic ergotamines:
„Der Eintrag im Laborjournal beginnt mit Herstellung, Zusammensetzung und Menge der eingenommenen Substanz, sowie Datums- und Zeitangabe. Es folgt: ,17:00 Beginnender Schwindel, Angstgefühl. Sehstörungen, Lähmungen. Lachreiz.‘ Dann brechen die Aufzeichnungen ab. Zwei Tage später ergänzt Hofmann: ,Mit Velo nach Hause. Von 18 bis ca. 20 Uhr schwerste Krise.‘ In Klammern: ,Siehe Spezialbericht.‘ Die Substanz entfaltet ihre Wirkung im Körper, genauer noch: in der Psyche, oder in Hofmanns Worten: am ‚eigenen Geist‘. Das Experiment verändert den Experimentator.“
(p. 104, emphasis added)
Friederike Mayröcker is one of Europe’s most exciting avant-garde poets. In a career spanning more than sixty years, this “dadaelian artificer”, as she has been described by Christopher Middleton, has pushed back the limits of convention to reveal the “deep structure” of existence – its elation and its abysses.
This work offers a new philosophy of movement challenging the idea that movement is simple displacement in space, knowable only in terms of the actual. Exploring the relation between sensation and thought through the prisms of dance, cinema, art, and new media, Manning argues for the intensity of movement. From this idea of intensity—the incipiency at the heart of movement—Manning develops the concept of preacceleration, which makes palpable how movement creates relational intervals out of which displacements take form. Discussing her theory of incipient movement in terms of dance and relational movement, Manning describes choreographic practices that work to develop with a body in movement rather than simply stabilizing that body into patterns of displacement. She examines the movement-images of Leni Riefenstahl, Étienne-Jules Marey, and Norman McLaren (drawing on Bergson's idea of duration), and explores the dot-paintings of contemporary Australian Aboriginal artists.
Turning to language, Manning proposes a theory of prearticulation claiming that language's affective force depends on a concept of thought in motion. Relationscapes takes a ‘Whiteheadian perspective’, recognizing Whitehead's importance and his influence on process philosophers of the late twentieth century—Deleuze and Guattari in particular. It will be of special interest to scholars in new media, philosophy, dance studies, film theory, and art history.
What does it mean to live dangerously? This is not just a philosophical question or an ethical call to reflect upon our own individual recklessness. It is a deeply political issue, fundamental to the new doctrine of ‘resilience’ that is becoming a key term of art for governing planetary life in the 21st Century. No longer should we think in terms of evading the possibility of traumatic experiences. Catastrophic events, we are told, are not just inevitable but learning experiences from which we have to grow and prosper, collectively and individually. Vulnerability to threat, injury and loss has to be accepted as a reality of human existence.
In this original and compelling text, Brad Evans and Julian Reid explore the political and philosophical stakes of the resilience turn in security and governmental thinking. Resilience, they argue, is a neo-liberal deceit that works by disempowering endangered populations of autonomous agency. Its consequences represent a profound assault on the human subject whose meaning and sole purpose is reduced to survivability. Not only does this reveal the nihilistic qualities of a liberal project that is coming to terms with its political demise. All life now enters into lasting crises that are catastrophic unto the end.
Schwindel zählt zu den häufigsten Symptomen mit denen HNO-Ärzte konfrontiert sind. Die adäquate Diagnostik und Therapie der verschiedenen Schwindelformen ist komplex. Im aktuellen Band aus der Reihe HNO Praxis heute teilt ein interdisziplinäres Expertenteam sein Wissen.
Schwindel is a medical book written by ear, nose and throat (ENT) specialists. It focuses on the symptoms of dizziness, the different forms of dizziness as well as diagnostics and therapy.
Orientierung ist eine Frage der Perspektive. Im Sinne der historischen Epistemologie entwickelt Rebekka Ladewig diese Perspektive in theoretischen und experimentellen Szenen des Schwindels. Diese umfassen die philosophischen Gedankenexperimente des 17. und 18. Jahrhunderts sowie die sinnesphysiologische Experimentalisierung des Schwindels zwischen 1800 und 1900 bis hin zu den technischen Milieus des frühen 20. Jahrhunderts mit ihren apparativen Techniken und der materiellen Kultur der Schwindelerzeugung. Michael Polanyis Konzept des impliziten Wissens ist theoretischer Einsatz- und Endpunkt dieser Analyse. Sie verschiebt das Augenmerk von der Theorie der Wissenschaft auf deren Randzonen, auf die personengebundene, lokale und praktische Verfasstheit des Wissensprozesses, die sich dem Fokus der traditionellen Wissenschaftsforschung systematisch entzieht.
The book Schwindel brings together questions of orientation and perspective in relation to vertigo, turbulences and vortexes.
Kaum eine Erfahrung dürfte ein bündigeres Resümee der Befindlichkeiten der Gegenwartskultur, ihrer Verunsicherungen und Verlockungen, ihrer Erwartungen und Zweifel geben als jene des Schwindels, in der Angst und Lust nah beieinander liegen und Taumel und Täuschung zweideutig ineinander spielen. Folgt man dem Schwindel als einem Leitsymptom der kulturhistorischen Diagnose, so stößt man in den ästhetischen und wissenschaftlichen Diskursen, in denen Schwindelerfahrungen zumal in den letzten zwei Jahrhunderten thematisiert und inszeniert wurden, auf jene irritierenden Herausforderungen an den Gleichgewichtssinn moderner Subjekte, die den Weg der Modernisierung von ihren emphatischen Anfängen bis zur Enttäuschung in der Posthistoire begleitet haben.
This omnibus edition discusses various phenomenons of dizziness. Both positive and negative aspects are described: from joyful dizziness and ‘whirls of excitement’, to disorientation and being ‘swindled’. Articles vary from medical texts, analysis in film and literature studies and the field of cultural history.
Openness to experience is characterized by flexible and inclusive cognition. Here we investigated whether this extends to basic visual perception, such that open people combine information more flexibly, even at low-levels of perceptual processing. We used binocular rivalry, where the brain alternates between perceptual solutions and times where neither solution is fully suppressed, mixed percept. Study 1 showed that openness is positively associated with duration of mixed percept and ruled out the possibility of response bias. Study 2 showed that mixed percept increased following a positive mood induction particularly for open people. Overall, the results showed that openness is linked to differences in low-level visual perceptual experience. Further studies should investigate whether common neural processes may drive this.
These extraordinary letters give the fullest and most poignant record we have of John Keats’s aspirations as a poet, his life as a literary man about town, his close relationship with his siblings, and, later, his passionate, jealous, and frustrated love for Fanny Brawne.
Events are always passing; to experience an event is to experience the passing. But how do we perceive an experience that encompasses the just-was and the is-about-to-be as much as what is actually present? In Semblance and Event, Brian Massumi, drawing on the work of William James, Alfred North Whitehead, Gilles Deleuze, and others, develops the concept of "semblance" as a way to approach this question.
It is, he argues, a question of abstraction, not as the opposite of the concrete but as a dimension of it: ‘lived abstraction’. A semblance is a lived abstraction. Massumi uses the category of the semblance to investigate practices of art that are relational and event-oriented -- variously known as interactive art, ephemeral art, performance art, art intervention -- which he refers to collectively as the ‘occurrent arts’. Each art practice invents its own kinds of relational events of lived abstraction, to produce a signature species of semblance. The artwork's relational engagement, Massumi continues, gives it a political valence just as necessary and immediate as the aesthetic dimension.
Written between 1945 and 1947, the essays in Sense and Non-Sense provide an excellent introduction to Merleau-Ponty's thought. They summarize his previous insights and exhibit their widest range of application-in aesthetics, ethics, politics, and the sciences of man. Each essay opens new perspectives to man's search for reason.
The first part of Sense and Non-Sense, ‘Arts’, is concerned with Merleau-Ponty's concepts of perception, which were advanced in his major philosophical treatise, Phenomenology of Perception. Here the analysis is focused and enriched in descriptions of the perceptual world of Cezanne, the encounter with the Other as expressed in the novels of Simone de Beauvoir and Sartre, and the gestalt quality of experience brought out in the film art form. In the second part, ‘Ideas’, Merleau-Ponty shows how the categories of the phenomenology of perception can be understood as an outgrowth of the behavioral sciences and how a model of existence based on perception sensitizes us to the insights and limitations of previous philosophies and suggests constructive criticisms of contemporary philosophy. The third part, ‘Politics’, clarifies the political dilemmas facing intellectuals in post-war France.
A la fois dispositif technique et spectacle, manière de penser les images et système de représentations, le cinéma est une détermination instable. Selon une démarche qui trouve son origine dans la méthode d’analyse développée par Aby Warburg au cours des années 1920, ce recueil montre les échanges et les transferts qui se produisent entre histoire de l’art et cinéma, des recherches d’Étienne-Jules Marey et des films Lumière au cinéma expérimental (Jack Smith, Anthony McCall...), de l’art des tapis et des spectacles pyrotechniques à la bande dessinée et au dessin animé (George Herriman, Walt Disney). Le cinéma est envisagé depuis ses bords, c’est-à-dire depuis ses origines et ses marges - expérimentales, underground et populaires -, là où ses propriétés rencontrent celles de la peinture, de la sculpture, du dessin, voire de la musique, esquissant une histoire ouverte où les registres, les médiums et les techniques ne sont pas entièrement fixés.
In his book, Philippe-Alain Michaud draws a line between the practice of filmmaking and the act of weaving a carpet. He argues that the movement and flow of the film reel compare with that of the looms of material used in carpet weaving. Further to this he describes how dizziness is associated with the movement taking place in both practices.
Years of remodelling the welfare state, the rise of technology, and the growing power of neoliberal government apparatuses have established a society of the precarious. In this new reality, productivity is no longer just a matter of labour, but affects the formation of the self, blurring the division between personal and professional lives. Encouraged to believe that we ourselves are flexible and autonomous, we experience a creeping isolation that has both social and political impacts, and serves the purposes of capital accumulation and social control.
In State of Insecurity, Isabell Lorey explores the possibilities for organisation and resistance under the contemporary status quo, and anticipates the emergence of a new and disobedient self-government of the precarious.
This is a guidebook to a free-form utopia. Through examples from history, philosophy, short essays, and poetic historical analysis, Bey suggests the best way to create a non-hierarchical society: namely by living in the present and releasing the mind from the controlling influences that surround us.
The novel The Attack pictures the reality of terrorism and its incalculable spiritual costs. Intense and humane, devoid of political bias, hatred and polemics, it probes deep inside the Muslim world and gives readers a profound understanding of what seems impossible to understand.
The first chapter describes the impact of a rocket. This artfully written passage recounts a moment of being lost, confused, confounded and exposed. This scene is continued in the last chapter when Dr. Jaafari is killed, the space between these scenes reveal a life in turmoil.
Italo Calvino’s The Baron in the Trees is the story of an Italian boy who leaves his aristocratic childhood home to lead a new life. He finds this in the adjoining expanse of trees covering the nearby town and countryside. Cosimo Piovasco di Rondo, the protagonist, applies his ingenious and free-thinking perspective to life. He finds unusual ways of continuing to learn and the innovations he makes are for both the betterment of his own lifestyle and for those people who live underneath his treetop home. Cultivating a one-of-a-kind passion-filled love of life he lives at once removed from, but also intimately bonded with his family and fellow townspeople. He dies as creatively and note-worthily as he lived, leaving his friends and family inspired by his story.
A black swan is a highly improbable event with three principal characteristics: It is unpredictable; it carries a massive impact; and, after the fact, we concoct an explanation that makes it appear less random, and more predictable, than it was. The astonishing success of Google was a black swan; so was 9/11.
For Nassim Nicholas Taleb, black swans underlie almost everything about our world, from the rise of religions to events in our own personal lives. Why do we not acknowledge the phenomenon of black swans until after they occur? Part of the answer, according to Taleb, is that humans are hardwired to learn specifics when they should be focused on generalities. We concentrate on things we already know and time and time again fail to take into consideration what we don’t know. We are, therefore, unable to truly estimate opportunities, too vulnerable to the impulse to simplify, narrate, and categorise, and not open enough to rewarding those who can imagine the ‘impossible’.
Nassim Nicholas Taleb is speaking about a space between philosophical thought and ‘disorderly reality’, a place from where ‘dizziness’ can arise.
This book is an extraordinary ethnography of an ordinary disease. Drawing on fieldwork in a Dutch university hospital, Annemarie Mol looks at the day-to-day diagnosis and treatment of atherosclerosis. A patient information leaflet might describe atherosclerosis as the gradual obstruction of the arteries, but in hospital practice this one medical condition appears to be many other things. From one moment, place, apparatus, specialty, or treatment, to the next, a slightly different “atherosclerosis” is being discussed, measured, observed, or stripped away. This multiplicity does not imply fragmentation; instead, the disease is made to cohere through a range of tactics including transporting forms and files, making images, holding case conferences, and conducting doctor-patient conversations.
This book is a beautiful example of how different text sorts can be brought together on a single book page to make research accessible for the reader.
Mental imagery has always been a controversial topic in psychology. The major problem has been the inherently private nature of mental images, which has traditionally prevented objective assessment of their structure and function. Between researchers in cognitive psychology and computer-science, a debate, now commonly called ‘the imagery debate’ arose about what exactly constitutes a mental image. Although the imagery researchers in cognitive psychology assumed that mental images were in fact images, and hence often compared them to pictures, the computer-science researchers relied on language-like internal representations that are easy to implement in programming languages. In this volume, Stephen Kosslyn revisits the debate some 30 years later, when it has evolved to bear on a much more general concern: the relation between mental phenomena and underlying natural substrates.
Located within the field of creativity research this book examines how mental imagery operates. Further, it states the importance of visual imagery from a cognitive science perspective.
In The Concept of Anxiety, Kierkegaard describes the nature and forms of anxiety, placing the domain of anxiety within the mental-emotional states of human existence that precede the qualitative leap of faith to the spiritual state of Christianity. It is through anxiety that the self becomes aware of its dialectical relation between the finite and the infinite, the temporal and the eternal.
Anxiety may be compared with dizziness. He whose eye happens to look down the yawning abyss becomes dizzy. But what is the reason for this? It is just as much in his own eye as in the abyss, for suppose he had not looked down. Hence, anxiety is the dizziness of freedom, which emerges when the spirit wants to posit the synthesis and freedom looks down into its own possibility, laying hold of finiteness to support itself. Freedom succumbs to dizziness. Further than this, psychology cannot and will not go. In that very moment everything is changed, and freedom, when it again rises, sees that it is guilty. Between these two moments lies the leap, which no science has explained and which no science can explain. He who becomes guilty in anxiety becomes as ambiguously guilty as it is possible to become.
Exhausted is a whole lot more than tired. "It's not just tiredness, I'm not just tired, in spite of the climb." The tired no longer prepares for any possibility (subjective): he therefore cannot realize the smallest possibility (objective). But possibility remains, because you never realize all of the possible, you even bring it into being as you realise some of it. The tired has only exhausted realisation, while the exhausted exhausts all of the possible.
Deleuze’s philosophy of life in terms of pure immanence is inseparable from his radical rethinking of the subject. Having identified the situatedness as the subject’s form and syntactical link with the world that prevents it from engaging in the universal communication of events, he envisions a de-situated subject who is exhausted, and who exhausts itself by depotentialising space as already situated, defined by an a priori scheme. Deleuze’s reading of literature from this perspective thus gestures towards a social epiphenomenology, whereby to attain to the affirmation of disjunctive syntheses beyond logical contradictions as well as alogical incompatibilities.
A labyrinth is an ancient device that compresses a journey into a small space, winds up a path like thread on a spool. It contains beginning, confusion, perseverance, arrival and return. There at last the metaphysical journey of your life and your actual movements are one and the same. You may wander, may learn that in order to get to your destination you must turn away from it, become lost, spin about, and then only after the way has become overwhelming and absorbing, arrive, having gone the great journey without having gone far on the ground.
In The Faraway Nearby, Rebecca Solnit is asking us to pause, to consider the stories we tell ourselves about our lives, and to rethink the unstated assumption of our own epic narratives. Solnit explores states of dizziness through her own story. This book is an essay on travel, storytelling, illness and empathy.
In premodern China, elite painters used imagery not to mirror the world around them, but to evoke unfathomable experiences. Considering their art alongside the philosophical traditions that inform it, The Great Image Has No Form explores the “non-object”—a notion exemplified by paintings that do not seek to represent observable surroundings.
François Jullien argues that this non-objectifying approach stems from the painters’ deeply held belief in a continuum of existence, in which art is not distinct from reality. Contrasting this perspective with the Western notion of art as separate from the world it represents, Jullien investigates the theoretical conditions that allow us to apprehend, isolate and abstract objects. His comparative method lays bare the assumptions of Chinese and European thought, revitalising the questions of what painting is, where it comes from, and what it does. Provocative and intellectually vigorous, this sweeping inquiry introduces new ways of thinking about the relationship of art to the ideas in which it is rooted.http://press.uchicago.edu/ucp/books/book/chicago/G/bo6853060.html
In this work, François Jullien argues that this nonobjectifying approach stems from the painters’ deeply held belief in a continuum of existence, in which art is not distinct from reality. Contrasting this perspective with the Western notion of art as separate from the world it represents, Jullien investigates the theoretical conditions that allow us to apprehend, isolate, and abstract objects. His comparative method lays bare the assumptions of Chinese and European thought, revitalizing the questions of what painting is, where it comes from, and what it does. Provocative and intellectually vigorous, this sweeping inquiry introduces new ways of thinking about the relationship of art to the ideas in which it is rooted.
Should we assign logical priority to creative persons, creative processes or creative products? How do forms of creativity relate to different domains of human activity? How does our knowledge of the circumstances of creativity effect our appreciation of its products? Can a recipient of a creative work also be a creator of it? The Idea of Creativity discusses these questions and the conditions of creativity within the field of the arts, philosophy and natural science. With texts by Margaret Boden, Larry Briskman, John M. Carvalho, David Davies, Berys Gaut, Rom Harré, Carl R. Hausman, Albert Hofstadter, Arthur Koestler, Michael Krausz, Peter Lamarque, Thomas Leddy, Paisley Livingston, Michael Polany, Dean Keith Simonton and Francis Sparshott.
In this volume seventeen philosophers, scientists and artists reflect on the role that skill plays in creativity and the relationship between creativity and self-transformation. The book considers questions about the very notion of creativity, the criteria of what constitutes creativity in general and reflects on different aspects of creative work. The articles examine the ‘mysterious aspect’ which is sometimes ascribed to creativity, and discusses whether creativity is inspirational or rationalistic.
“Cornelius Castoriadis (1922–1997) was an important intellectual figure in France for many decades, beginning in the mid-1940s. Trained in philosophy, Castoriadis also worked as a practicing economist and psychologist while authoring over twenty major works and numerous articles that span many of the traditional philosophical subjects, including politics, economics, psychology, anthropology and ontology. While his works exhibit a vast range of specialised expertise, his work can be understood broadly as a reflection on the concept of creativity, especially on the opposition of traditional ontology to what he would call the fact of radically creative humanity, and perhaps most importantly, on the dangerous political and ethical consequences of a contemporary world that has lost sight of autonomy, a world that ignores the urgency to give limits or laws to itself.”
(Internet Encyclopedia of Philosophy)
„Das Rad, das sich um eine Achse dreht, ist eine absolute ontologische Schöpfung; es hat ontologisch mehr Gewicht als eine Galaxie, die vielleicht morgen abend zwischen Milchstraße und Andromeda aus dem Nichts auftaucht. Denn es gibt schon Milliarden Galaxien – während der Erfinder des Rades oder eines Schriftzeichens nichts nachahmt und nichts wiederholt.“
(Cornelius Castoriadis, Gesellschaft als imaginäre Institution, Frankfurt/Main: Suhrkamp 1984, p. 335)
See also: mitpress.mit.edu/books/imaginary-institution-society
Oliver Sacks considers in this book fundamental questions: How do we see? How do we think? How important is internal imagery–or vision, for that matter? In The Mind’s Eye, Oliver Sacks tells the stories of people who are able to navigate the world and communicate with others despite losing indispensable senses and abilities such as the power of speech, the capacity to recognise faces, the sense of three-dimensional space, the ability to read and the sense of sight. For all of these people the challenge is to adapt to a radically new way of being in the world. Dr. Sacks also tells the story of his own eye cancer and the bizarre and disconcerting effects of losing his vision on one side.
The Mind’s Eye is a testament to the complex nature of vision and the brain and to the power of creativity and adaptation. It also provides a whole new perspective on the power of language and communication, as we try to imagine what it is to see with another person’s eyes, or another person’s mind.
Written in third person, but in the manner of stream of consciousness, the novel begins in 1937 with composer Dimitri Dimitrievich Shastakovich in a state of dizziness. Oscillating between memories and bouts of anxiety that drag him back to the here and now, he awaits been taken to his demise by the police in front of the lift of his apartment building. His remembering seems to stabilize him, to give him strength. The narration follows the appearing and fading of memories, at times fleeting impressions, at times longer narrative streaks. Eventually the imminent danger abates only to increase again in a different manner. “The worst time was not at the same time the most dangerous time. Because the most dangerous time was not the time when you were most in danger.This was something he hadn’t understood before.”
“He admired those who stood up and spoke truth to Power. He admired their bravery and their moral integrity. And sometimes he envied them; but it was complicated, because part of what he envied them was their death, their being put out of the agony of living. As he had stood waiting for the lift door to open on the fifth floor of Bolshaya Pushkarskaya Street, terror was mixed with the pulsing desire to be taken away. He too had felt the vanity of transitory courage.But these heroes, these martyrs, whose death often gave a double satisfaction – to the tyrant who ordered it, and to the watching nations who wished to sympathise and yet feel superior – they did not die alone. Many around them would be destroyed as a result of their heroism. And therefore it was not simple, even when it was clear.And of course, the intransigent logic ran the opposite direction as well. If you saved yourself, you might also save those around you, those you loved. And since you would do anything in the world to save those you loved, you did anything in the world to save yourself. And because there was no choice, equally there was no possibility of avoiding moral corruption.”
Since its initial publication in 1958, this book has been a muse to philosophers, architects, writers, psychologists, critics, and readers alike. A rare work of irresistibly inviting philosophy, Bachelard’s seminal work brims with quiet revelations and stirring, mysterious imagery. This lyrical journey takes as its premise the emergence of the poetic image and finds an ideal metaphor in the intimate spaces of our homes. Guiding us through a stream of meditations on poetry, art, and the blooming of consciousness itself, Bachelard examines the domestic places that shape and hold our dreams and memories.
Lion Feuchtwanger (1884–1958) was a celebrated German-Jewish novelist and outspoken enemy of the Nazis. He began his literary career as a theater critic and turned his talent to writing plays in the 1910s and 1920s. He first became internationally known for his historical novel ‘Jud Süss’ published in 1925 and was a close friend and mentor to Berthold Brecht. In 1933, he went into exile in Southern France, where he wrote his book ‘The Pretender’ (Der falsche Nero), in which based on historical facts he tells the story of a political scheme by Roman ex-Senator Varro to bring the Roman upstart and potter Terence to power by claiming him to be Nero. A scathing comparision with Hitler’s ascent to power ‘The Pretender’ is about a con pitched on a truly heroic scale, the story of Nero's double who, by his startling resemblance to the dead emperor, was able for a time to infect the Roman world with political, spiritual and emotional dizziness.In 1941 Feuchtwanger emigrated to the United States. Feuchtwanger passed away in 1958. He died stateless as he was never returned his German citizenship and was denied American citizenship during the McCarthy era.
“Can you remember, Acte...how much easier our belief in Nero made life for us in the old days? And can you remember the paralysis, the numbness that seized the whole world when Nero died? Didn't you feel as if the world had grown bare and colorless all of a sudden? Those people on the Palatine have tried to steal our Nero from us, from you and me. Isn't splendid to think that we can show them they haven't succeeded? They have smashed his statues into splinters, erased his name from all the inscriptions, they even replaced his head on that huge statue in Rome with the peasant head of old Vespasian. Isn't it fine to teach them that all that hasn't been of the slightest use? Granted that they have been successful for a few years. For a few years, they have actually managed to banish all imagination from the world, all enthusiasm, extravagance, everything that makes life worth living. But now, with our Nero, all these things are back again.”
This essay presents aspects of the philosophy of nature by Nishida Kitarō (1870–1945) (Kyoto School) and its relation to the physics of his day. Which aspects of Einstein’s Theory of Relativity are treated in Nishida’s Logic of Field? Through explanations of the fundamental differences between physics and philosophy, this essay aims to clarify the construction of logic in philosophy and physics while considering interdisciplinary aspects.http://jcc.icc.org.ro/wp-content/uploads/2013/06/Hisaki_Hashi_5_28.pdf
To grow up is to grow old. With time, great love can turn into indifference. And even the most earnest revolution can imperceptibly become its own system of privilege and corruption - just as global warming has slowly modified the climate by degrees. These are examples of the kind of quiet, unseen changes that François Jullien examines in The Silent Transformations, in which he compares Western and Eastern - specifically Chinese - ways of thinking about time and processes of change.Jullien argues that our failure to notice the effects of cumulative changes over time is due to Western thought’s foundations in classical Greek philosophies of being, which encourage thinking in terms of determined forms and neglect the indeterminable nature of the transition taking place. In contrast, Chinese thought, having a greater sense of the fluidity of life, offers a more flexible way of understanding everyday transformations and provides insightful perspectives from which to consider our relation to history and nature. In particular, a Chinese approach, argues Jullien, allows us to discover that there may be occasions when it is more efficacious to yield to situations than to confront them head-on.(http://press.uchicago.edu/ucp/books/book/distributed/S/bo11454188.html)
Jullien’s work uses alienation and estrangement as a research tool for his philosophy, as he alienates himself purposely from European and Western philosophy to cast new light on the things and thoughts one apparently knows too well. There is the thing that I think but also the thing that I use as the source of my thinking, which I therefore cannot think at the same moment.
Through the story of an ordinary man unwittingly drawn into a senseless murder on an Algerian beach, Camus explored what he termed “the nakedness of man faced with the absurd.” Written in 1946, Camus’s compelling and troubling tale of a disaffected, apparently amoral young man has earned a durable popularity in part because it reveals so vividly the anxieties of its time. Alienation, the fear of anonymity and spiritual doubt show a subject spiralling out of control.
The Terror of Evidence offers meditations, maxims, aphorisms, notes, and comments—191 texts ranging in length from three words to three pages—the deceptive simplicity of which challenges the reader to think. "Thinking means getting lost again and again," Steinweg observes. Reality is the ever-broken promise of consistency; "the terror of evidence" arises from the inconsistency before our eyes. Thinking is a means of coping with that inconsistency.
The subjects of these short texts vary widely. ("The table of contents is in itself excessive and ambitious," writes Hirschhorn.) They include pathos, passivity, genius, resentment, love, horror, catastrophe, and racism. And club sandwiches (specifically, Foucault's love for this American specialty), blow jobs, and dance. Also: "Two Kinds of Obscurantism," "Putting Words in Spinoza's Mouth," "Note on Rorty," and "Doubting Doubt." The Terror of Evidence can be considered a guidebook to thinking: the daily journey of exploration, the incessant questioning of reality that Steinweg sees as the task of philosophy.
Combining philosophy and aesthetics, this book is a unique exploration of creative practice as a form of thinking. Challenging the common opposition between the conceptual and the aesthetic, Erin Manning and Brian Massumi “think through” a wide range of creative practices in the process of their making, revealing how thinking and artfulness are intimately, creatively, and inseparably intertwined. They rediscover this intertwining at the heart of everyday perception and investigate its potential for new forms of activism at the crossroads of politics and art.
Emerging from active collaborations, the book analyzes the experiential work of the architects and conceptual artists Arakawa and Gins, the improvisational choreographic techniques of William Forsythe, the recent painting practice of Bracha Ettinger, as well as autistic writers’ self-descriptions of their perceptual world and the experimental event making of the SenseLab collective. Drawing from the idiosyncratic vocabularies of each creative practice, and building on the vocabulary of process philosophy, the book reactivates rather than merely describes the artistic processes it examines. The result is a thinking-with and a writing-in-collaboration-with these processes and a demonstration of how philosophy co-composes with the act in the making. Thought in the Act enacts a collaborative mode of thinking in the act at the intersection of art, philosophy, and politics.
Living with people who differ—racially, ethnically, religiously, or economically—is the most urgent challenge facing civil society today. We tend socially to avoid engaging with people unlike ourselves, and modern politics encourages the politics of the tribe rather than of the city. In this thought-provoking book, Richard Sennett discusses why this has happened and what might be done about it.
Sennett contends that cooperation is a craft, and the foundations for skilful cooperation lie in learning to listen well and discuss rather than debate. In Together he explores how people can cooperate online, on street corners, in schools, at work, and in local politics. He traces the evolution of cooperative rituals from medieval times to today, and in situations as diverse as slave communities, socialist groups in Paris, and workers on Wall Street. Divided into three parts, the book addresses the nature of cooperation, why it has become weak, and how it could be strengthened. The author warns that we must learn the craft of cooperation if we are to make our complex society prosper, yet he reassures us that we can do this, for the capacity for cooperation is embedded in human nature.
Tom Sawyer Abroad is a novel by Mark Twain published in 1894. It features Tom Sawyer and Huckleberry Finn in a parody of adventure stories like those of Jules Verne. In the story, Tom, Huck, and Jim set sail to Africa in a futuristic hot air balloon, where they survive encounters with lions, robbers, and fleas to see some of the world's greatest wonders, including the Pyramids and the Sphinx.
In her lecture ‘Personalities of Boundary Crossers’ Maya Shmailow looks for personality traits of so-called boundary crossers and finds some in the literary figure of Tom Sawyer.
This book features many of Britain's finest writers and poets reflecting on the meaning of 're-enchantment', in reference to an actual, particular place or region as they see it.
Markus Herz definierte den Schwindel, im Einklang mit dem Selbstverständnis der Erfahrungsseelenkunde, als eine Krankheit der Seele, als „Zustand der Verwirrung, in welchem die Seele wegen der zu schnellen Vorstellungen der Empfindungen sich befindet“. Mit dieser Bestimmung rückt der Schwindel in die Nähe des Begriffs der Überwältigung des „vernünftigen Subjekts“, und damit zu zeitgenössischen Definitionen des „Wahnsinns“.
Dr. Markus Herz’s medical book about dizziness and vertigo was written in 1786, as an attempt to deal with vertigo attacks. The digitised version is online via Göttinger Digitalzentrum.
In her book Verteilte Aufmerksamkeit: Eine Mediengeschichte der Zerstreuung. (Distributed Attention: A Media History of Distraction) Petra Löffler discusses distributed attention. Löffler develops a media history of distraction in relation to media theory and the theory of modernity. She also considers the role and impact of modern mass entertainment facilities such as moving panoramas and cinema. Further, she examines the epistemology of distraction in various discources, media technologies and cultural practices.
In modern life sciences, distraction is no longer considered a disability in strict opposition to the mental faculty of attention. According to Immanuel Kant, distraction has become a necessity, even an art of living, and it is important for what Michel Foucault has called “taking care of oneself’’.As early as the 1800s distraction was seen as distributed attention and thought of as a perceptual skill. The distribution of attention across many things is also considered a self-technique utilised in anticipation of something. This publication examines distraction as this important perceptual skill, as well as as a tool of recreation and recovery in relation to media history and modernity.
Vulnerability and resistance have often been seen as opposites, with the assumption that vulnerability requires protection and the strengthening of paternalistic power at the expense of collective resistance. Focusing on political movements and cultural practices in different global locations, including Turkey, Palestine, France, and the former Yugoslavia, the contributors to Vulnerability in Resistance articulate an understanding of the role of vulnerability in practices of resistance. They consider how vulnerability is constructed, invoked, and mobilized within neoliberal discourse, the politics of war, and resistance to authoritarian and securitarian power, in LGBTQI struggles, and in the resistance to occupation and colonial violence. The essays offer a feminist account of political agency by exploring occupy movements and street politics, informal groups at checkpoints and barricades, practices of self-defense, hunger strikes, transgressive enactments of solidarity and mourning, infrastructural mobilizations, and aesthetic and erotic interventions into public space that mobilize memory and expose forms of power. Pointing to possible strategies for a feminist politics of transversal engagements and suggesting a politics of bodily resistance that does not disavow forms of vulnerability, the contributors develop a new conception of embodiment and sociality within fields of contemporary power.
Hannah Arendt war ein "Genie für die Freundschaft" (Hans Jonas) und besaß eine Begabung für die Liebe. In ihren Briefen lernen wir nicht nur diese private Seite der großen Denkerin kennen, sondern auch die inspirierende Kraft der Freundschaft. Selten hat sich ein Mensch solch ein Universum der Freundschaft erschlossen wie Hannah Arendt. Darin findet die vor den Nationalsozialisten Geflohene Halt, davon erzählen ihre Briefe: Botschaften der Liebe an ihren Mann Heinrich Blücher und an Martin Heidegger, philosophische Gespräche mit ihrem Lehrer Karl Jaspers und ihrem wichtigsten jüdischen Freund Kurt Blumenfeld, Bekenntnisse zur Literatur an den jungen Schriftsteller Uwe Johnson. Mit ihrer Freundin Mary McCarthy tauscht sie sich nicht nur über Philosophie und Politik aus, sondern auch über die "uralten" Probleme zwischen Mann und Frau. "Wahrheit", schreibt Arendt an Blücher, "gibt es nur zu zweien". Wie viele Facetten das Gespräch unter vier Augen für sie hat, zeigt diese Auswahl ihrer Briefe.
Hannah Arendt travelled throughout Europe, the U.S., and Israel during which she always wrote letters to friends and colleagues. This book is about wandering, the passing of time, and friendships.
In this work, Deleuze and Guattari differentiate between philosophy, science, and the arts, seeing as means of confronting chaos, and challenge the common view that philosophy is an extension of logic. The authors also discuss the similarities and distinctions between creative and philosophical writing. Fresh anecdotes from the history of philosophy illuminate the book, along with engaging discussions of composers, painters, writers, and architects.
Gerade darin liegt auch die Aktualität dieses ca. 3000 Jahre alten Werks: das Nicht-Meßbare und das Un-Nütze als Garanten wahren Lebens ins Bewußtsein zu rücken. Wieder und wieder betont Zhuangzi, daß ein Bewußtsein, das alles von vorne bis hinten durchplant, absurd erscheint – weil es gegen die Gesetze des Lebens verstößt. Der Kerngedanke ist: das Leben so anzunehmen, wie es ist, „dem zu folgen, was ist“. (Henrik)
The Zhuangzi is comprised of a large collection of anecdotes, allegories, parables and fables, often humorous or irreverent in nature. Its main themes are of spontaneity in action, and of freedom from the human world and its conventions. The fables and anecdotes in the text attempt to illustrate the falseness of human distinctions between good and bad, large and small, life and death, and human and nature.
ilinx (griech.: Wirbel) steht für eine selbstreflexive Form interdisziplinären Denkens, in der das erforschte Material und die verwendeten Theorien gleichberechtigt aufeinander treffen. Die Ausgabe beschäftigt sich mit Metaphoriken, die Wirbel und Strudel begleiten: Sie wirbeln Staub auf, schlagen Wellen, trüben ein und klären auf; mobilisieren, destabilisieren, erzeugen Sogwirkungen, Kraftfelder, Unterströmungen, Stromschnellen, Untiefen, Rauschen; sie reißen mit, hin, fort und weg. Mit dem inhaltlichen Schwerpunkt Wirbel, Ströme, Turbulenzen werden Konfigurationen der Destabilisierung, der Unterbrechung, der Störung, des Rausches und des Schwindels als prägende Momente von Kultur in den Blick genommen. Dabei wird nach den epistemologischen, wissensgeschichtlichen, kulturtechnischen und lebensweltlichen Dimensionen von Wirbeln, Strömen und Turbulenzen gefragt.
The issue Wirbel, Ströme, Turbulenzen of Berlin based scientific journal ilinx, considers the phenomenon of vortexes, currents and turbulences from the perspective of cultural studies.
Ilya and Emilia Kabakov created the genre of ‘total’ installation, a special atmosphere created by the interaction of images, text, objects and sounds. In these alternative environments, time appears for the viewers to stand still.
This book contains the lectures delivered by Ilya Kabakov on the theory of ‘total’ installation as well as documents, photographs, plans, drawings and sketches of some of the Kabakov’s ‘total’ installations around the world.
Theory and research in both personality psychology and creativity share an essential commonality: emphasis on the uniqueness of the individual. Both disciplines also share an emphasis on temporal consistency and have a 50-year history, and yet no quantitative review of the literature on the creative personality has been conducted. The 3 major goals of this article are to present the results of the first meta-analytic review of the literature on personality and creative achievement, to present a conceptual integration of underlying potential psychological mechanisms that personality and creativity have in common, and to show how the topic of creativity has been important to personality psychologists and can be to social psychologists. A common system of personality description was obtained by classifying trait terms or scales onto one of the Five-Factor Model (or Big Five) dimensions: neuroticism, extraversion, openness, agreeableness, and conscientiousness. Effect size was measured using Cohen's d (Cohen, 1988). Comparisons on personality traits were made on 3 sets of samples: scientists versus nonscientists, more creative versus less creative scientists, and artists versus nonartists. In general, creative people are more open to new experiences, less conventional and less conscientious, more self-confident, self-accepting, driven, ambitious, dominant, hostile, and impulsive. Out of these, the largest effect sizes were on openness, conscientiousness, self-acceptance, hostility, and impulsivity. Further, there appears to be temporal stability of these distinguishing personality dimensions of creative people. Dispositions important to creative behavior are parsed into social, cognitive, motivational, and affective dimensions. Creativity like most complex behaviors requires an intra- as well as interdisciplinary view and thereby mitigates the historically disciplinocentric attitudes of personality and social psychologists.
Empirical approaches to cognitive ability claim that divergent thinking represents a useful estimate for the potential of creative thought. According to associative approaches, the ability to fluently retrieve and combine remote associations was suggested to facilitate creative solutions. Taken together, these approaches suggest a close relationship of associative processes and divergent thinking, which so far, however, has not been properly tested. Therefore, the present study examines the validity of associative abilities with respect to divergent thinking, and also, on a more general level, with respect to creativity and intelligence. Four different word-association tasks were employed to assess associative fluency, associative flexibility, dissociative ability, and the ability of associative combination. The sample comprised 150 students from studies with varying amount of creativity-related demands. Associative abilities were found to explain about half of the variance of divergent thinking ability. Latent variable modelling confirmed the significance of dissociation and associative combination for creativity, but also substantiates the relevance of basic associative retrieval processes for intelligence. It is concluded that associative abilities represent valid elementary cognitive abilities underlying creativity.
A recent special issue of the Journal of Anxiety Disorders reviewed the experimental and clinical findings related to comorbidity of balance disorders and anxiety [J. Anxiety Disord. 15 (2001) 1.]. The studies mentioned in that issue were based mostly on adult subjects but prevalence of balance disorders in childhood anxiety is yet to be established. We have tested a small sample of children diagnosed for general or separation anxiety disorder and a control group of normal children. Extensive neurological examination revealed no clinically relevant vestibular impairment. Nevertheless, detailed questionnaires and balance tests confirmed an excessive sensitivity of anxiety disordered children to balance-challenging situations. Moreover, balance-challenging tasks triggered more balance mistakes and slower performance in anxiety versus control children. These findings support the notion of subclinical balance disorder in childhood anxiety. Results are discussed in terms of the two-stage theory of learning, which predicts that anxiety disorder may be an offshoot of lasting balance dysfunction.
Performers improvising together describe special moments of ‘being in the zone’ – periods of high performance, synchrony, and enhanced sense of togetherness. Existing evidence suggests a possible route for attaining togetherness – interpersonal synchrony, the fine-grained sensory-motor coordination that promotes social connectedness. Here, we investigated the physiological characteristics of togetherness using a practice from theatre and dance, the mirror game. Pairs of expert improvisers jointly improvised synchronized linear motion, while their motion tracks and cardiovascular activity were continuously monitored. Players also provided dynamic ratings of togetherness while watching video recordings of their games. We identified periods of togetherness using kinematic and subjective markers and assessed their physiological characteristics.
The kinematic and the subjective measures of togetherness showed some agreement, with more extensive game periods being marked by the subjective than the kinematic one. Game rounds with high rates of togetherness were characterized by increased players’ cardiovascular activity, increased correlation of players’ heart rates (HRs), and increased motion intensity. By comparing motion segments with similar motion intensity, we showed that moments of togetherness in the mirror game were marked by increased players’ HRs, regardless of motion intensity. This pattern was robust for the subjectively defined periods of togetherness, while showing a marginal effect for the kinematically defined togetherness. Building upon similar findings in flow research we suggest that the observed increase of players’ HRs during togetherness periods in the mirror game might indicate the enhanced engagement and enjoyment reported by performers going into ‘the zone.’ The suggested approach, combining temporal measurements of kinematic, physiological and subjective responses, demonstrates how the dynamics of spontaneously emerging dyadic states can be studied empirically.
The power of the unaided individual mind is highly overrated. Although society often thinks of creative individuals as working in isolation, intelligence and creativity result in large part from interaction and collaboration with other individuals. Much human creativity is social, arising from activities that take place in a context in which interaction with other people and the artifacts that embody collective knowledge are essential contributors. This paper examines: (1) how individual and social creativity can be integrated by means of proper collaboration models and tools supporting distributed cognition; (2) how the creation of shareable externalizations ("boundary objects") and the adoption of evolutionary process models in the construction of meta-design environments can enhance creativity and support spontaneous design activities ("unselfconscious cultures of design"); and (3) how a new design competence is emerging one that requires passage from individual creative actions to synergetic activities, from the reflective practitioner to reflective communities and from given tasks to personally meaningful activities. The paper offers examples in the context of collaborative design and art practice, including urban planning, interactive art and open source. In the effort to draw a viable path "beyond binary choices", the paper points out some major challenges for the next generation of socio-technical environments to further increase the integration of individual and social creativity.
Bringing together an international and interdisciplinary group of scholars, Intermedialities: Philosophy, Arts, Politics is a comprehensive collection devoted to the new field of research called 'intermedialities.' The concept of intermedialities stresses the necessity of situating philosophical and political debates on social relations in the divergent contexts of media theories, avant-garde artistic practices, continental philosophy, feminism, and political theory. The 'intermedial' approach to social relations does not focus on the shared identity but instead on the epistemological, ethical, and political status of inter (being-in-between). At stake here are the political analyses of new modes of being in common that transcend national boundaries, the critique of the new forms of domination that accompany them, and the search for new emancipatory possibilities. Opening a new approach to social relations, intermedialities investigates not only engagements between already constituted positions but even more the interval, antagonism, and differences that form and decenter these positions. Consequently, in opposition to the resurgence of cultural and ethnic particularisms and to the leveling of difference produced by globalization, the political and ethical analysis of the 'in-between' enables a conception of community based on difference, exposure, and interaction with others rather than on identification with a shared identity.
Investigations of 'in-betweenness,' both as medium specific and between heterogeneous 'sites' of inquiry, range here from philosophical conceptuality to artistic practices, from the political circulation of money and power to the operation of new technologies. They inevitably invoke the crucial role of embodiment in creative thought and collective acting.
Leibniz's well-known thesis that the actual world is just one among many possible worlds relies on the claim that some possibles are incompossible, meaning that they cannot belong to the same world. Notwithstanding its central role in Leibniz's philosophy, commentators have disagreed about how to understand the compossibility relation. We examine several influential interpretations and demonstrate their shortcomings. We then sketch a new reading, the cosmological interpretation, and argue that it accommodates two key conditions that any successful interpretation must satisfy.
Intercorrelations among ratings on 35 personality traits, selected as representative of the personality domain, were obtained for eight samples. These samples differed in length of acquaintanceship from 3 days to more than a year; in kind of acquaintanceship from assessment programs in a military training course to a fraternity house situation; in type of subject from airmen with only a high-school education to male and female undergraduate students to first-year graduate students; and in type of rater from very naive persons to clinical psychologists and psychiatrists with years of experience in the evaluation of personality. Centroid or multiple-group factors were extracted and rotated orthogonally to simple structure. For one study, an independent solution was obtained in which analytic rotations were accomplished on an IBM 650 computer using Kaiser's normal varimax criterion. Five fairly strong and recurrent factors emerged from each analysis, labeled as (a) Surgency, (b) Agreeableness, (c) Dependability, (d) Emotional Stability, and (e) Culture.
Bachelard’s concept of lived space makes a significant contribution to an understanding of the connections between emotion and space. This essay argues that it provides a relational alternative to the common understanding of space as Euclidean, as an empty, inert distance that gains life only through the projections of human subjects. Bachelard gives primacy to a living space that is simultaneously inside and outside, insisting that the life of this space is in a non- locatable relation. In doing so, Bachelard also gives primacy to deep or archetypal emotions that come not from the subject but from living space.
In this philosophical as well as autobiographical book, Kofman deconstructs the function and meaning of the ancient Greek notion of aporia within Platon’s philosophy. The genealogical reading of aporia gives an account of the philosophical Eros, whose mythological parents were Poros and Penia, meaning strategy and distress in ancient Greek. Poros’ mother was Metis, meaning cunning intelligence in ancient Greek, and whose first child was Athena, the goddess of wisdom. These genealogical relations are needed when it comes to face and understand aporia, the emotional and intellectual situation of not finding any “way out”.
Dizziness is linked to these questions because both situations – having no choice anymore and having too many choices – can make one dizzy.
„Ich bin entbunden oder eingesperrt, atmend oder erstickend, verbrennend vom Feuer drinnen oder zerrieben vom scharfen Nordwind, tot oder lebendig. Ich versinke oder ich existiere. Es gibt einen Ort, gleich einem Punkt, von dem der gesamte Körper in der räumlichen Erfahrung der Passage kündet. Global springt das Ich auf die Seite dieses lokalen Punktes, entschlossen geht es von einer Hälfte in die andere über in dem Augenblick, wo dieser Punkt die Scheidewand von der Innenseite zur Außenseite passiert. Seit meinem Beinahe-Schiffbruch pflege ich diesen Ort Seele zu nennen.“
In his essay, philosopher Michel Serres describes his near death experience and how he almost became shipwrecked. He recalls trying to leave a burning ship through a tiny porthole, the physical experience of the enclosed space, where he faced on one side the freezing wind and the other the raging fire. In light of this unique experience he reflects on the complex relationship between the body and the soul.
In this context experimental film is defined as a practice that uses specific procedures to extend the possibilities of fine art in cinematography. Lowder analyses the contribution of fine art in film and the potential and limitations of the use of formal systems in filmic practices. Lowder also explores neurological aspects of visual perception in relation to the succession of film frames. Her work includes the use of brain imaging and film reels. Further to this she exposes subjects to rapid successions of images in order to examine spatiotemporal organisation within the brain.
Lowder examines film as an instrument for visual research. She looks at practices, relations, similarities and differences. Further, she considers the part aesthetics play in an exploratory approach, theoretical development concerning the subject and problems and perspectives for research in cinema in general.
Münsterberg, a philosopher and psychologist, set up an experimental laboratory at Harvard University in the 1890s. It was there that he linked image technology to representational apparatuses. He conducted scientific research on mental processes and the expression of affects and also raised questions regarding the art and film industry. Münsterberg coined the term “psychotechnology”, for he was interested in the flow of new technology as a psychic instrument. For Münsterberg, cinema works as an actual “projection” of the mind and film is represented as a psychic projection, picturing the mind moving like a motion picture.
In her article, Giuliana Bruno examines the importance of Hugo Münsterberg’s laboratory of moving images, considering it to be a site of cultural importance for the whole of film studies. She also discusses the construction of the laboratory itself.
What nature teaches us is the streaming of the endless flow, the atomiccascade and its turbulences – waterspouts and whirlwinds, the celestial wheel endlessly spinning, the conic spiral that generates things. The soul, like the body, like bodies, is made up of hot atoms, airborne and windswept, unnamed; that is to say, it is made up of the principles of heat, of fluidity in general, and of weight; it is the seat of turbulences. It burns, it is disturbed, it loses its balance, like the sea, like a volcano, like thunder. The same space and the same substance produce the same phenomena according to the same laws. Disturbances that we give names to out of our fear of the gods, or of the anguish of death. The soul is tied in knots, just like the world. And like the world, it is unstable, in a state of disequilibrium. (Serres)And thus Serres is correct: the question is reversed. It is no longer necessary to ask where the clinamen comes from or how one might justify the disturbing of laws. All laminar flows can become unstable past a certain threshold of velocity, and that was known just as the productive nature of organized forms, of bifurcating evolution, of what we call dissipative structures, was known. One must ask how an abstraction of this knowledge could have been made to describe the world in order, subject to a universal law. We already know one answer given by Serres. Classical science is a science of engineers who knew, of course, that their flows were never perfectly laminar, but who made the theory of laminar flow perfectly controllable and directable, the only flow for which knowing is controlling. (Prigogine/Stengers)
Dizziness connects to this intention of the French philosopher Michel Serres, as it means losing control in order to gain equilibrium again, like it happens by the means of equilibrioception.
The article “To create or to recall? Neural mechanisms underlying the generation of creative new ideas” shows the results of a study on general creative idea generation. The study is by creativity researchers Mathias Benedek, Emanuel Jauk, Andreas Fink, Karl Koschutnig and Aljoscha C. Neubauer, and radiologist scientists Gernot Reishofer and Franz Ebner. The team investigated brain activation during creative idea generation (i.e. divergent thinking) using a novel approach allowing spontaneous self-paced generation and expression of ideas. Specifically, they addressed the fundamental question of what brain processes are relevant for the generation of genuinely new creative ideas, in contrast to the mere recollection of old ideas from memory.
Social scientist and management philosopher Harald Katzmaier examines the areas of networks and resilience. In this article, Katzmaier comments on ‘limits’, and the need to deconstruct and transform them in order to flee disorientation and gain a new perspective on development. The article can be downloaded via FASresearch. „Würde die Raupe nicht zum Schmetterling, würde sie nicht das bestehende System sprengen und ein vollkommen neues Regime von Grenzen etablieren, die Raupe würde erstarren und zugrunde gehen.“
In 1995 Harald Katzmaier founded the FASresearch, a social network analytics and strategies firm. Its aims are to provide visionary solutions to empower organisations and their leaders, to take robust and resilient decisions and to navigate through the increasing complexities of a world in transformation.
The Moving Image Archive is a continually expanding selection of videos, films and artworks. Together this collection seeks to provide an overview of artworks that are related to ‘Dizziness–A Resource’. The online archive provides a hyperlink on each artwork where further information can be found. This archive develops in cooperation with Vivian Ostrovsky and Ruth Gadish.
Take a look at 15:11 to 17:42
take a look at 1:25