Ernst Cassirer: Form and Technology (1930–) [DE, EN]

25 July 2016, dusan

Ernst Cassirer’s outline of a philosophy of technology in the essay ‘Form und Technik’ (1930) was written against the background of the crisis of modernity in the Weimar Republic. It may be read, along with Heidegger’s ‘The Question Concerning Technology’, as a continuation of their debate in Davos in 1929. However, Cassirer’s unnamed antagonist here is Oswald Spengler, in whom Cassirer saw a leading representative of the widespread irrational and fatalistic interpretations of modernity that threatened the future of the Weimar Republic. Cassirer’s reading of the disclosive, liberating possibilities of technology points to an affinity between modern technology and art as opposed to the affinity between ancient technology and art that Heidegger discerns in the original conception of techne.” (David Roberts, 2012).

First published in Kunst und Technik, ed. Leo Kestenberg, Berlin: Wegweiser, 1930, pp 15-61.
Reprinted in Cassirer, Symbol, Technik, Sprache. Aufsätze aus den Jahren 1927–1933, eds. Ernst Wolfgang Orth and John Michael Krois, Hamburg: Meiner, 1985, pp 39-91.
Reprinted in Cassirer, Gesammelte Werke. Hamburger Ausgabe. Band 17: Aufsätze und kleine Schriften (1927-1931), ed. Birgit Recki, Hamburg: Meiner, 2004, pp 139-183.

English translations:
Translated by Wilson McClelland Dunlavey and John Michael Krois, in Ernst Cassirer on Form and Technology, eds. Aud Sissel Hoel and Ingvild Folkvord, Palgrave Macmillan, 2012, pp 15-53.
Translated by Steve Lofts, Antonio Calcagno, John Krois, and Wilson Dunlavey, in Cassirer, The Warburg Years (1919-1933): Essays on Language, Art, Myth, and Technology, Yale University Press, 2013, pp 272-316. Trans. from 1985 edition.

German editions:
HTML (1930)
PDF (1985)
DOC (2004)

English translations:
PDF (2012)
PDF (2013)

Saltwater: A Theory of Thought Forms (2015) [English/Turkish]

21 July 2016, dusan

Catalogue for the 14th Istanbul Biennial, held 5 September – 1 November 2015 and curated by Carolyn Christov-Bakargiev.

Saltwater: A Theory of Thought Forms hovers around a material – salt water – and the contrasting image-forms of knots and waves. It looks for where to draw the line, to withdraw, to draw upon, and to draw out. It does so offshore, on the flat surfaces with our fingertips, but also in the depths, underwater, before the enfolded encoding unfolds.

This city-wide exhibition on the Bosphorus considers different frequencies and patterns of waves, the currents and densities of water both visible and invisible that poetically and politically shape and transform the world. With and through art, we mourn, commemorate, denounce, try to heal, and we commit ourselves to the possibility of joy and vitality, of many communities that have co-inhabited these spaces, leaping from form to flourishing life.”

With essays by Emin Özsoy, Aurora Scotti, Jean-Michel Vappereau, Griselda Pollock, Pietro Rigolo, Beatriz Colomina, Boris Groys, Alexander Provan, Andrew Yang, Vilayanur S. Ramachandran, Elvan Zabunyan, Penelope Deutscher, Adrian Parr, Bracha L. Ettinger, William Irvine, Chus Martínez, Jeffrey Peakall, Orhan Pamuk, and an anthology edited by Ingo Niermann.

Drafted by Carolyn Christov-Bakargiev
Edited by Süreyyya Evren
Publisher Istanbul Foundation for Culture and Arts and Yapı Kredi Publications, Istanbul, 2015
Open access
ISBN 9786055275259, 6055275252
lxii+540 pages

Exhibited works online

Publisher
WorldCat

PDF, PDF (63 MB)

ARPA Journal, 4: Instruments of Service (2016)

21 July 2016, dusan

ARPA Journal is a biannual digital publication that serves as a public forum for debate on applied research practices in architecture.

This issue questions the status of the instrument and of service. The articles explore spaces of encounter between “tangible and intangible creative work” in design practice, business models, new forms of representation and activism.

With contributions by Denise Scott Brown, Orit Halpern, Curt Gambetta, Alan Smart, Annabel Wharton, Francesca Hughes, Magdalena Miłosz, Filip, Wendy W Fok, J. Meejin Yoon and Eric Howeler, Michelle Fornabai, Ryan John King and Ekaterina Zavyalova, Lori Brown, Mustafa Faruki, Behnaz Farahi, Anab Jain, Jonathan Sun and Carlo Ratti, McLain Clutter, and Rafi Segal.

Guest Editor: Jennifer W. Leung
Based at Columbia University Graduate School of Architecture, Planning and Preservation, New York
Published May 2016
Open access

HTML

Deborah Ascher Barnstone: Beyond the Bauhaus: Cultural Modernity in Breslau, 1918-33 (2016)

19 July 2016, dusan

“Although the Breslau arts scene was one of the most vibrant in all of Weimar-era Germany, it has largely disappeared from memory. Studies of the influence of Weimar culture on modernism have focused almost exclusively on Berlin and the Dessau Bauhaus, yet the advances that occurred in Breslau affected nearly every intellectual field, forming the basis for aesthetic modernism internationally and having an enduring impact on visual art and architecture. Breslau boasted a thriving modern arts scene and one of the premier German arts academies of the day until the Nazis began their assault on so-called degenerate art. This book charts the cultural production of Breslau-based artists, architects, art collectors, urban designers, and arts educators who operated in the margins of Weimar-era cultural debates. Rather than accepting the radical position of the German avant-garde or the reactionary position of German conservatives, many Breslauers sought a middle ground.

This richly illustrated volume is the first book in English to address this history, constituting an invaluable addition to the literature on the Weimar period. Its readership includes scholars of German history, art, architecture, urban design, planning, collecting, and exhibition history; of the avant-garde, and of the development of arts academies and arts pedagogy.”

Publisher University of Michigan Press, 2016
Social History, Popular Culture, and Politics in Germany series
Creative Commons BY-NC-ND 4.0
ISBN 0472119907, 9780472119905
xi+256 pages

Publisher
OAPEN
WorldCat

PDF, PDF (32 MB)

Patrizia C. McBride: The Chatter of the Visible: Montage and Narrative in Weimar Germany (2016)

19 July 2016, dusan

The Chatter of the Visible examines the paradoxical narrative features of the photo montage aesthetics of artists associated with Dada, Constructivism, and the New Objectivity. While montage strategies have commonly been associated with the purposeful interruption of and challenge to narrative consistency and continuity, McBride offers an historicized reappraisal of 1920s and 1930s German photo montage work to show that its peculiar mimicry was less a rejection of narrative and more an extension or permutation of it—a means for thinking in narrative textures exceeding constraints imposed by “flat” print media (especially the novel and other literary genres).

McBride’s contribution to the conversation around Weimar-era montage is in her situation of the form of the work as a discursive practice in its own right, which affords humans a new way to negotiate temporality; as a particular mode of thinking that productively relates the particular to the universal; or as a culturally specific form of cognition.”

Publisher University of Michigan Press, 2016
Creative Commons BY-NC-ND 4.0
ISBN 9780472053032, 0472053035
x+236 pages

Publisher
OAPEN
WorldCat

PDF, PDF (94 MB)

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