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Lars Spuybroek [14]L. Spuybroek [1]
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Lars Spuybroek
Georgia Institute of Technology
Lars Spuybroek
Georgia Institute of Technology
  1. The Architecture of Continuity.Lars Spuybroek - 2009 - V2_NAI Publishers.
    A number of essays and interviews published between 1997 and 2008, revised for this publication with V2_.
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  2. Charis and Radiance: The Ontological Dimensions of Beauty.Lars Spuybroek - 2014 - In S. Van Tuinen (ed.), Giving and Taking: Antidotes to a Culture of Greed. pp. 119-149.
    This essay developed out of the final chapter of The Sympathy of Things where I related beauty to a notion of radical generosity. Tracing generosity back to the ancient Greeks brought me to a whole new world of grace and “charis”, the etymological root of words like charisma and charity. The essay establishes a fundamental connection between grace and beauty, deeply interrelating movement and object. In the second part the argument develops into an ontology based on the concept of radiance, (...)
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  3.  27
    Grace and Gravity: Architectures of the Figure.Lars Spuybroek - forthcoming - London, UK: Bloomsbury.
    ... to be released in November 2020 -- a pdf sample that contains the cover, contents page, preface and the back cover with endorsements and blurb.
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  4.  83
    Gothic Ontology and Sympathy.Lars Spuybroek - 2017 - In Sjoerd Van Tuinen (ed.), Speculative Art Histories. Edinburgh: Edinburgh University Press. pp. 131-161.
    This transcription of a keynote for the Speculative Art Histories conference in May 2013 is a mixture of the main argument of The Sympathy of Things and some new insights. The text might be helpful for those who have not read the Sympathy book, which has been sold out for a number of years. This essay will appear as a chapter in Sjoerd van Tuinen's Speculative Art Histories, to be published with Edinburgh University Press in 2017.
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  5. Gothic Ontology and Sympathy: Moving Away From the Fold.Lars Spuybroek - forthcoming - In Sjoerd Van Tuinen (ed.), Speculative Art Histories. Edinburgh University Press.
    This transcription of a keynote for the Speculative Art Histories conference in May 2013 is a mixture of the main argument of The Sympathy of Things and some new insights. The text might be helpful for those who have not read the Sympathy book, which has been sold out for a number of years. This essay will appear as a chapter in Sjoerd van Tuinen's Speculative Art Histories, to be published with Edinburgh University Press in 2017.
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  6. In the Thick of Things.L. Spuybroek, J. Brouwer & S. van Tuinen - 2016 - In J. Brouwer, S. van Tuinen & L. Spuybroek (eds.), The War of Appearances: Transparency, Opacity, Radiance. V2_Publishing. pp. 6-11.
    Short introduction to the V2 publication of "The War of Appearances: Transparency, Opacity, Radiance" (2016). An anthology with Matteo Pasquinelli, Luciana Parisi, Graham Harman, Tomas Saraceno, René ten Bos, Tim Morton, McKenzie Wark, Wim Delvoye, Diana Scherer, Paolo Cirio, Paul Frissen, and Willem Schinkel.
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  7.  22
    Sun and Lightning: The Visibility of Radiance.Lars Spuybroek - 2016 - In L. Spuybroek J. Brouwer (ed.), The War of Appearances: Transparency, Opacity, Radiance. Rotterdam, Netherlands: pp. 98-127.
    A long chapter for The War of Appearances: Transparency, Opacity, Radiance (V2_Publishing, 2016) building on the findings of “Charis and Radiance,” an essay published two years earlier. It discusses the inherent connection between visibility and radiance within the framework of Plato’s sun model as the source of reality.
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  8. The Ages of Beauty: Revisiting Hartshorne's Diagram of Aesthetic Values.Lars Spuybroek - 2012 - In A. Mulder (ed.), Vital Beauty: Reclaiming Aesthetics in the Tangle of Technology and Nature. pp. 32-63.
    This long essay was published in Vital Beauty, a collection including Wendy Steiner and Tim Ingold, which investigates the possibility of new ways toward beauty. This is my first encounter with Hartshorne’s Diagram of Aesthetic Values, a mandala-like structure explaining the relations between aesthetic experiences. The essay looks into the awkward history of the diagram in Hartshorne’s philosophy, its connection to Max Dessoir’s work, to Whitehead’s chapter on beauty in Adventures of Ideas and the notion of creativity in Schelling.
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  9. The Acrobatics of the Figure: Piranesi and Magnificence.Lars Spuybroek - 2015 - In Dr J. G. Wallis de Vries (ed.), ARCHESCAPE: The Piranesi Flights. 1001 Publishers. pp. 5-11.
    An essay, which I wrote for the catalog to the exhibition “ARCHESCAPE: the Piranesi Flights,” organized by the Dutch Piranesi scholar Gijs Wallis de Vries. The text, which is necessarily kept short, uses notions of the magnificent and the tragic that I discovered in Hartshorne’s Aesthetic Diagram as discussed in “The Ages of Beauty.”.
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  10. The Compass of Beauty: A Search for the Middle.Lars Spuybroek - forthcoming - In Maria Voyatzaki (ed.), Architectural Materialisms: Nonhuman Creativity. Edinburgh University Press.
    This chapter is a rethinking of my earlier “The Ages of Beauty” which investigated Charles Hartshorne’s Diagram of Aesthetic Values. The argument is placed in a long history of beauty being considered as the middle between extremes. It slowly develops into a structure not merely of aesthetic experience but of existence itself, making it a competitor of Heidegger’s fourfold.
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  11.  34
    The Compass of Beauty: A Search For the Middle.Lars Spuybroek - 2018 - In Architectural Materialisms: Nonhuman Creativity. Edinburgh, UK: pp. 176-204.
    This chapter is a rethinking of my earlier “The Ages of Beauty” which investigated Charles Hartshorne’s Diagram of Aesthetic Values. The argument is placed in a long history of beauty being considered as the middle between extremes. It slowly develops into a structure not merely of aesthetic experience but of existence itself, making it an alternative to Heidegger’s fourfold.
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  12. The Digital Nature of Gothic.Lars Spuybroek - 2011 - In L. Spuybroek (ed.), Research & Design: Textile Tectonics. pp. 8-41.
    The first chapter of The Sympathy of Things published in Research & Design: Textile Tectonics (2011). It develops the notion of a “gothic ontology” which inverts Deleuze’s baroque ontology of the fold. Where in the universe of the fold continuity precedes singularity, in the gothic singularity precedes continuity. The reversal is based on the Ruskinian notion of the rib, which is the source of “changefulness”, expressed through “millions of variations” of figures. Figures move and change only to interact with or (...)
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  13.  19
    The Grace Machine: Of Turns, Wheels and Limbs.Lars Spuybroek - 2018 - Footprint 22 (Summer):7-32.
    Starting with a few simple questions about living well and where movement originates from this essay turns into a vast map of intricate relations revolving around the notion of grace. By developing the argument from a historical perspective it quickly becomes clear that grace relies on the specific qualities of figuration and how the figure appears in what is termed “the gap between habit and inhabitation.” This article is a shorter version of the introductory chapter to my “Grace and Gravity: (...)
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  14. The Matter of Ornament.Lars Spuybroek - 2010 - In J. Brouwer A. Mulder (ed.), The Politics of the Impure. pp. 232-267.
    A shortened version of the second chapter of The Sympathy of Things as it was published in The Politics of the Impure (V2_NAI Publishers, 2010). It relates John Ruskin’s “Wall-Veil” to the better-known “Wall-Dress” (Gewand) of Gottfried Semper by understanding both as occurring at the intersection of matter and force. Matter tends to generate patterns in two ways, either downward or upward in dimensions. The first relates to tessellated ornament (cf. Owen Jones); the second to the ribboned ornamentation as we (...)
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  15. The Sympathy of Things: Ruskin and the Ecology of Design.Lars Spuybroek - 2011/2016 - V2_NAI Publishers/Bloomsbury.
    The revised and expanded edition of The Sympathy of Things with Bloomsbury Academic, which appeared in 2016. The pdf sample contains the new preface to the second edition and the foreword by Brian Massumi.
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