To what extend is there a relevance of aesthetics for life? By postulating a non-discursive and emotional relevance of forms Cassirer, Langer and Krois open the door for this idea. -/- Inwieweit spielt die Ästhetik im Leben eine Rolle? Indem sowohl Cassirer, Langer und Krois eine nicht-diskursive und emotionale Relevanz von Formen unterstellen, öffnen sie die Türen für diese Idee.

My research into Virtual Reality technology and its central property of immersion has indicated that immersion in Virtual Reality (VR) electronic systems is a significant key to the understanding of contemporary culture as well as considerable aspects of previous culture as detected in the histories of philosophy and the visual arts. The fundamental change in aesthetic perception engendered by immersion, a perception which is connected to the ideal of total-immersion in virtual space, identifies certain shifts in ontology which are relevant (...) to a better understanding of the human being. This understanding was achieved through a broad inquiry into the histories of Virtual Reality, philosophy, and the visual arts and has lead to the formulation of an aesthetic theory of immersive consciousness indicative of immersive culture. The primary subject of this discourse is immersion then: an experience which will be identified within the dissertation as the indispensable characteristic of Virtual Reality. The understanding of immersion arrived at here will be used to fashion a synchronous theory of art particularly informed by encounters and concepts of immersion into virtuality. To sufficiently address this subject in a scholarly fashion, I have researched, found and accumulated aesthetic and philosophic examples of immersive tendencies, as found within the histories of art and philosophy, which subsequently contributed towards the articulation of what I have come to call immersive consciousness. As a result of formulating such an immersive consciousness, a good deal of the basis for the questioning of the Western ontological tradition has been found in the Western tradition itself when we look with new eyes and ask new uncertain questions. Moreover, this immersive consciousness will be used to propose some abstract questions encircling today's electronic-based culture. Through the structuring of the argument within the thesis - and overtly within the conclusion - I have articulated a non-teleological creative strategy which provides the basis for an unconstraining integration of noologies (ways of semblancing the thinking process). This strategy provides a means of exemplifying - and for honoring - various methods of thinking. This structuring strategy is consistent with the 'hacker ethic' as defined by Steven Levy, as a demand that access to computers - and anything which might teach us something about the way the world works - should be unlimited and total. To follow this strategy, this dissertation has set out to understand how topical conceptions of virtual immersion connect to pre-existing systems of thought as revealed in art as they have extended out of antecedent ontological self-understandings, historical human self-understandings which have evidenced themselves in the elaboration of technological objectives. To do this I have forged a certain rhizomatic paternity/maternity for Virtual Reality within this dissertation by joining choice immersive examples of simulacra technology into mental connections with the relevant examples culled from the histories of art, architecture, information-technology, sex, myth, space, consciousness and philosophy. (shrink)

Summary It is about 100 Years ago that the German-American philosopher Susanne K. Langer started a bold and courageous appearance on the stage of consciousness-research - until then exclusively dominated by male and paternalistic figures. This contribution is to highlight SK Langers work and impact on the theory of consciousness, especially on her final three volume publication: “Mind. An Essay on Human Feeling” (1967, 1972, 1982) which, until now, has not been translated into German. What stands out in Langer’s work (...) is her intuitive closeness to many Gestalt-theorists and the overriding importance she attributes to symbolization in the specific make-up of the human mind. Her main focus is centered on presentative symbolics; meaning those early forms of human expression (prior or along the development of human language) in magic rituals, rhythm, music, painting and sculpturing, early collective work experience, formalized playing or funeral activities. Langers view on symbols goes far beyond the typical meaning of reference towards a much more sophisticated intertwinement of form, event and being in a matrix of “living tensions”. I would like to point out that her research is of important value to a revised thinking on mental health and mental crisis in reshaping the complex interaction between image, Gestalt and Symbol. (shrink)

An aesthetic and epistemological departure from ocular centrism has occurred in the wake of current technological evolutions and the posthuman turn. The sonic exploration of the more-than-human takes artists and philosophers beyond anthropomorphism to reveal the hidden patterning of life forms and yet-unfathomed universes. The conflation of nature with culture is one shift that takes place when thinking with sounds and rhythm and studying our environments. On an ontological level, a reordering of subject and object occurs when encountering the reciprocal (...) relationship of sounding. What if culture is actually nature? How does technology connect with botany, and what does it mean to engage the environment with the expanded tactility of the ear? This essay observes current inter-species practices in sound art by revisiting philosopher Susanne Langer’s theory of an embodied and embedded mind. Her “new key” in philosophy emphasizes music as a dynamic sound-pattern to conceptualize a semiology of artistic forms that renders human feeling in regard to non-human antecedents. This serves as a tool to trace the preconceptual substrata of mind, leading us through process-oriented studies of nature and psychophysical affect. Thinking with Langer involves the interconnection of natural systems, behavioural patterns, and human expression, which emerges in art. (shrink)

What is art? The arts establishment has a simple answer: anything is art if a reputed artist or expert says it is. Though many people are skeptical about the alleged new art forms that have proliferated since the early twentieth century, today's critics claim that all such work, however incomprehensible, is art. A groundbreaking alternative to this view is provided by philosopher-novelist Ayn Rand (1905-1982). Best known as the author of The Fountainhead and Atlas Shrugged, Rand also created an original (...) and illuminating theory of art, which confirms the widespread view that much of today's purported art is really not art at all. In What Art Is, Torres and Kamhi present a lucid introduction to Rand's esthetic theory, contrasting her ideas with those of other thinkers. They conclude that, in its basic principles, her account is compelling, and is corroborated by evidence from anthropology, neurology, cognitive science, and psychology. The authors apply Rand's theory to a debunking of the work of prominent modernists and postmodernists--from Mondrian, Jackson Pollock, and Samuel Beckett to John Cage, Merce Cunningham, and other highly regarded avant-garde figures. Finally, they explore the implications of Rand's ideas for the issues of government and corporate support of the arts, art law, and arts education. Table of Contents / Chapter Summaries / Introduction (excerpts) / Endorsements / Reviews & Responses: Choice (Association of College and Research Libraries, 2001); The Art Book (U.K. Association of Art Historians, 2001); and more. Jacques Barzun (1907-2012), Cultural Historian - Bio / Endorsements / Letters from / "In Depth" interview on Book TV [C-SPAN2]: Endorsement. (shrink)

The controversy over imageless thought versus picture thinking , with the recent reconsideration of model-based reasoning in the physical sciences is briefly examined. The main focus of the article is on the role of instrumentally elicited images in the sciences, especially in the physical sciences, with special reference to optics, experimental particle physics and observational astronomy, against the background of the civilization of digital images, though to some degree every scientific discipline is implicated. Imaging, today chiefly in the mode of (...) electronic digital visual imaging, reaches into every phase of scientific inquiry, observational, experimental, simulational, even in mathematical research. The combination of algorithms and image-intensive science with the plethora of big data results in an epistemic pattern of "mathematical imagism". The epistemological issues regarding the image-intensiveness as of data-intensiveness of scientific research deserve further probing, in pursuance of the discussions of the ideal of mechanical objectivity in machine vision versus trained judgment in the selection and assessment of scientific images: as for now tacitly we depend on conventions regarding what we called "warranted imageability". (shrink)

A philosophical position may be characterized in different ways. Here we try to say how the naturalist answers certain . The questions come from very different areas; the spectrum of subjects is therefore quite mixed. There are, however, aspects of order: We start with (questions about) abstract subjects like logic, mathematics, metaphysics, then turn to problems of realism. And since in general naturalists are realists, the following questions on truth, laws of nature, origin of the universe, cosmology, evolution, body-mind-problem, freedom (...) of the will, religion, moral, and pseudoscience, are answered against a realistic background. German Eine philosophische Haltung kann man auf verschiedene Weisen charakterisieren. Hier versuchen wir zu sagen, wie der Naturalist auf bestimmte Kernfragen antwortet. Die Fragen stammen aus sehr verschiedenen Gebieten; das Themenspektrum ist deshalb recht bunt. Es gibt aber durchaus Ordnungsgesichtspunkte: Wir beginnen mit (Fragen zu) eher abstrakten Gegenständen wie Logik, Mathematik, Metaphysik, kommen dann zu Problemen des Realismus. Und da Naturalisten im Allgemeinen Realisten sind, werden die anschließenden Fragen über Wahrheit, Naturgesetze, Weltentstehung, Kosmologie, Evolution, Leib-Seele-Problem, Willensfreiheit, Religion, Moral und Pseudowissenschaften vor einem realistischen Hintergrund beantwortet. (shrink)

Susanne K. Langer is best known as a philosopher of culture and student of Ernst Cassirer. In this chapter, however, I argue that this standard picture ignores her contributions to the development of analytic philosophy in the 1920s and 1930s. I reconstruct the reception of Langer’s first book *The Practice of Philosophy*—arguably the first sustained defense of analytic philosophy by an American philosopher—and describe how prominent European philosophers of science such as Moritz Schlick, Rudolf Carnap, and Herbert Feigl viewed her (...) as one of the most important allies in the United States. In the second half of this chapter, I turn to Langer’s best-selling *Philosophy in a New Key* and reconstruct her attempts to broaden the scope of the, by then, rapidly growing U.S. analytic movement. I argue that her book anticipated various developments in analytic philosophy but was largely ignored by her former colleagues. I end the chapter by offering some clues as to why New Key did not incite the same laudatory responses from analytic philosophers as her earlier work. (shrink)

This paper argues that twentieth-century philosopher Cornelius Castoriadis’ innovative concept of imagination is closely related to his treatments of dance. More specifically, it revolves around his concept of “figure,” which thereby suggests a productive partnership with my own philosophy of dance, which I call “Figuration.” The first and second sections below review the interpretations of Castoriadis’ imagination in the two book manuscripts on him in English, Jeff Klooger’s Psyche, Society Autonomy (which supplements Castoriadis with Fichte) and Suzi Adams’ Castoriadis’ Ontology (...) (which supplements him with hermeneutics). My final section defends Castoriadis against these two critical supplements through a close reading of his magnum opus, The Imaginary Institution of Society. There I re-choreograph Castoriadis’ use of the Freudian concept of “leaning on” (Anlehnung, from the Greek anaclisis) as “bending back” (anaclasis, following Klooger’s misspelling of anaclisis). In short, the imagination is like a dancer, bending back to nature understood as “the region which resists” (to varying degrees) the social. (shrink)

Susanne K. Langer contributed an exhaustive account of aesthetics, Feeling and Form, in which she articulated her schema of the virtual and wove together the aesthetic elements of music, visual arts, dance, and literature/theater. This analysis of her work centers on two key concepts within her philosophy: the virtual as the aesthetic effect of the work and the perception of the work through intuition. In this paper, I re-read Langers philosophy through a perspective built on intersections between phenomenology, pragmatism, and (...) post-structuralist theory in order to reveal the relevance of her work to current understandings of how the dancing body produces and conveys meaning. I endeavor to show how her work provides a practical, conceptual system for understanding dance as an a-linguistic form of meaning-making, bodily experience, and knowledge. (shrink)

This paper approaches Badiou’s essay, ‘Dance as a Metaphor for Thought,’ on its own terms, considering its stated approach and central claims. This is in order to avoid the indignant tone of some responses from the field that desire other approaches to philosophy’s engagement with dance. Badiou’s project in ‘Dance as a Metaphor for Thought’ is antithetical to my own current, advocatory research, thus offering an adversary of sorts. If it is the case that dance is ‘instrumental’ for the art-philosophy (...) schema that Badiou is formulating, that is, being ‘incorporated’ into the strategies of a philosophy of art, what’s in it for dance? Can Badiou’s project be repurposed for our own disciplinary concerns? For instance, if his conception of dance is seen as lacking from a disciplinary perspective, then what is the idea of dance that positions his as ‘wrong’? (shrink)

Anhand der Schillerschen Konzeption des Scheins und ihrer theoretischen Weiterführung durch die Philosophin Susanne Langer wird der anthropologische Stellenwert der Virtualität entfaltet und in seinen Entlastungspotentialen sowie Hermetisierungsproblematiken mit Blick auf professionshermeneutische Fragestellungen bezogen, die in der Polizeiseelsorge von Bedeutung sind.

Ethik und Seelsorge sind Bereiche, in denen menschliches Sein und Handeln reflektierend begleitet wird, um Orientierung, Unterstützung oder Trost zu geben. Bei Berufen, in denen Menschen auf eine gewaltverstrickte Lebenswelt treffen, ihrerseits staatlich legitimiert Gewalt ausüben und selbst von Gewalt betroffen sind, tauchen dabei besondere Widersprüche und Sinnfragen auf. Diese Herausforderungen in den Blick zu nehmen und an der Schnittstelle von Philosophie und praktischer Theologie zu erörtern, so wie es der Münsteraner Theologe Werner Schiewek richtungsweisend vorgezeichnet hat, ist das Ziel (...) des vorliegenden Bandes. (shrink)

The purpose of this article is to explore the concept of rhythm as enabling relations and thus as an appropriate mode of analysis for digital sound art installation. In particular, the article argues for a rhythmanalysis of the sonic event as a ‘vibrating sensation’ (Deleuze and Guattari) that incorporates the virtual without necessarily actualizing it. Picking up on notions such as rhythm, time, affect, and event, particularly through their discussion in relation to Susanne Langer’s work, I argue for the consideration (...) of the sonic event as an instance of a different kind of temporality subsisting underneath clock-time and sense perception. Ultimately, and this is the position of this essay, an investigation into experimental projects that interweave digital, sound, and aesthetic dimensions enables the articulation of a rhythmic time that helps account for the unknown, indeterminate, and unintentional forces immanent to the sonic. (shrink)