Historically, the Vienna Circle and the Dessau Bauhaus were related, with members of each group familiar with the ideas of the other. Peter Galison argues that their projects are related as well, through shared political views and methodological approach. The two main figures that connect the Vienna Circle to the Bauhaus—and the figures upon which Galison focuses—are Rudolf Carnap and Otto Neurath. Yet the connections that Galison develops do not properly capture the common themes between the Bauhaus (...) and Neurath’s philosophical projects. We demonstrate this by considering Neurath’s philosophical commitments. We suggest different connections between Neurath’s projects and the Bauhaus, connections that are both substantive and philosophically interesting. (shrink)

This Open Access volume is based on the 'Early Carnap in Context’ workshop that took place in Konstanz in 2017 and looks at Rudolf Carnap’s philosophy, documented in his recently released diaries, from a combination of historical, cultural and philosophical perspectives. It enables further evaluation of the diaries and traces newly found interrelationships and their systematic definition. From a cultural and historical point of view, Logical Empiricism and Carnap’s pivotal opus, The Logical Structure of the World, did not evolve in (...) a vacuum. This applies equally in a history of philosophy context as well as under consideration of contemporary historical and cultural influences such as the socio-cultural setting in Vienna and Prague, the correlation between Logical Empiricism and Bauhaus modernism, the connection to the Life Reform Movement or the Youth Movement with its own life philosophy. Pursuing Carnap’s progression on a micro level of history and referring the results back to Carnap’s philosophy is now facilitated by recent access to his Diaries from 1908–1935. These shorthand records, reading lists, travel reports and notes constitute a valuable source for the research of networks and social movements which left their mark on him. (shrink)

The paper follows the thesis, that the perception of real or virtual media shares the anthropological state of "Ausdruckswahrnehmung" or perception of expression (Ernst Cassirer). This kind of perception does not represent a distant, neutral point of view, but one that is guided by feelings or "vitality affects" (Daniel N. Stern). The prerequisites, however, for triggering these feelings/"vitality affects" are not recognizable objects or motifs, but rather their sensually evaluable “abstract representations” or their formal logical structures. In contrast to aesthetic (...) feelings, however, they affect not only our feelings of lust or unlust or our knowledge (formal aesthetics) but also our actions (semiotics). So, when I extend aesthetic experiences to semiotic effects, I will talk about vitality semiotics. This new concept is of consequence, because the thesis of the responsibility of the producer is based on these effects. This is to be carried out by analyzing and presenting the approach of the Bauhaus master Josef Albers. (shrink)

A review of the recent exhibition of Wassily Kandinsky's artworks at the Guggenheim Museum, with interest in Kandinsky's career-wide separation of form from content.

With the aim of teaching and practicing art for the good or moreover the better, Josef Albers proves to be an idealist. At the same time, he confirms with this conviction that art can also arouse the opposite. This conviction is already evident in the grammatical form of the term, which proves that art is functional or a technique for socio-cultural applications, whether good or bad. In the presentation of the political and philosophical background of this idea as well as (...) in the analysis of Josef Albers´s ´artistic research´ on the artistic means as cultural techniques, this assumption is to be proved by the essay. (shrink)