Sven-Olov Wallenstein: Nihilism, Art, and Technology (2010)

Beginning in an analysis of three paradigmatic instances of the encounter between art and technology in modernism—the invention of photography, the step beyond art in Futurism and Constructivism, and the interpretation of technology in debates on architectural theory in the 1920s and ’30s—this book analyzes three philosophical responses to the question of nihilism—those of Walter Benjamin, Ernst Jünger, and Martin Heidegger—all of which are characterized by an avant-garde sensibility that looks to art as a way to counter the crisis of modernity.

These responses are then brought to bear on the work of the architect Mies van der Rohe, whose “silence”—understood as a withdrawal of language, sense, and aesthetic perception—is analyzed as a key problem in the interpretation of the legacy of modernism. From this, a different understanding of nihilism, art, and technology emerges. These concepts form a field of constant modulation, which implies that the foundations of critical theory must be subjected to a historical analysis that acknowledges them as ongoing processes of construction, and that also accounts for the capacity of technologies and artistic practices to intervene in the formation of philosophical concepts.


Originally presented as a compilation thesis in theoretical philosophy, the work was published as a book by Axl Books in 2011.

Doctoral Thesis
Department of Philosophy, Stockholm University, 2010
ISBN 9789174470734
92 pages

Publisher (Thesis)
Publisher (Book)

PDF (Thesis; without images)

Scapegoat: Architecture/Landscape/Political Economy journal, No. 2: Materialism, No. 3: Realism (2011-2012)

“This issue arose out of a series of reflections on the contemporary meaning of realism in the representational strategies of the design disciplines. Realism, in this context, departs from the nineteenth century preoccupation with presenting environments and subjects typically excluded from pictorial representation. Today, while the ‘realistic’ is favoured and celebrated in student and professional renderings, it seems closer to a contemporary naturalism, at times verging on mannerism: for instance, impossibly lit buildings at dusk, exaggerated perspectives which amplify the speed toward a vanishing point, or, at its most intense, landscapes populated by ghostly figures simultaneously performing every possible cliché of ‘leisure’. While the ‘realistic’ is a recurring theme within both design education and professions, there seems to be a lack of realism. This issue attempts to set up a conversation between both terms by bringing together a series of reflections and practices hinged on both contemporary and historical usages of realism, situating conflict­ng accounts of its meaning side by side.” (from the Editorial Note)

Issue 3: Realism
Summer 2012
Issue Editors: Adrian Blackwell, Adam Bobbette
42 pages

PDF

“Materialism continues the commitment of our first two issues on Property and Service to examine foundational yet overlooked concepts in architecture and landscape architecture. In our estimation, these disciplines are haunted by materialism. We see its specular presence invoked in design research’s emphasis on large-scale flows and sites of material production, in the renewed focus on ‘performance’ and the rehabilitation of functionalism, in the centrality of ‘material’ as an expressive layer of tectonics, and through the import of non-human actors into discussions about spatial design. Each of the above invokes matter as its base.” (from the Editorial Note)

Issue 2: Materialism
Winter 2011
Issue Editors: Adam Bobbette, Jane Hutton
Publisher Scapegoat Publications, Toronto
40 pages

PDF

authors
Previous two issues

Allan Janik, Stephen Toulmin: Wittgenstein’s Vienna (1973)

“The central figure in this portrait of a crumbling society giving birth to the modern world without realizing it was Wittgenstein, the brilliant and gifted young thinker whose great book remains the key to modern thought and who went on to influence a whole generation of English thinkers, artists and scientists.

As a portrait of a man, this book is superbly realized. It is even better as a portrait of the age and milieu in which our modern ideas were born–not only in philosophy, but in art, music, literature, architecture, design and style.”

Publisher Simon and Schuster, New York, 1973
A Touchstone Book
ISBN 0671217259, 9780671217259
314 pages

Review: Barry Seldes (H-Net, 1996).

Wittgenstein’s Vienna (English, 1973)
La Viena de Wittgenstein (Spanish, trans. Ignacio Gomez de Liaño, 1998; removed on 2017-10-3 upon request of publishre)