Abstract According to Habermas' colonization thesis, reification is a social pathology that arises when the communicative infrastructure of the lifeworld is 'colonized' by money and power. In this paper I argue that, thirty years after the publication of the Theory of Communicative Action, this thesis remains compelling. However, while Habermas offers a functionalist explanation of reification, his normative criticism of it remains largely implicit: he never explains what is wrong with reification from the perspective of the people whose social relations (...) are reified. As a result, Habermas cannot explain why only some forms of colonization lead to reification effects. In particular, he suggests that reification effects result from the juridification of communicatively structured domains of action but not from the commodification of labour power. I criticize this argument and suggest that if the normative dimension of the colonization thesis is made explicit, a more nuanced explanation of reification becomes possible. (shrink)

To relate theories of affordance and frame with the tradition of formal aesthetics, philosophical iconology and the life sciences (keyword Vitality Semiotics) is the starting point of the paper. According to this approach, the structural preconditions of images, as determined by materials, techniques and the composition of the design means, become essential. Through these structures, the producers are able to set impulses that become decisive for the interpretation of space and time or the "scene" as a dynamic event. Against the (...) social and cultural background of the recipients the "scene" gains a meaning to their life. This means to understand the productʼs conception and composition as an affordance which determines the framework of the reception conditions. The benefit of this approach lies in the identification of changes in the self-understanding and thus of trends in to new standards of societies. This is to be illustrated by Exekiasʼ drinking bowl around 540/30 BC in Munich. (shrink)

The form of an action has a strong influence on the interaction between humans. According to their mood, people may perform the same gesture in different ways, such as gently or rudely. These aspects of social communication are named vitality forms by Daniel Stern, represent a mean to establish a direct and immediate connection with others. Indeed, the expression of different vitality forms enables us to communicate our affective states and at the same time the perception of these vitality forms (...) enables people around us to understand how we feel in that moment. In the last years of research, different fMRI studies have been carried out to investigate the neural correlates of vitality forms recognition and execution. Moreover, recent psychophysics studies conducted from our research group have demonstrated the presence of an affective contagion effect, during which vitality forms expressed by an agent affect the action perception and the motor response of the receiver. This means that vitality forms expressed by others can influence our mood positively or negatively, modulating as consequence our behavior. Note that vitality forms pervade our lives in a continuous manner and thus they are not expressed and perceived only during social interactions. For example, when we observe an artistic representation at the theatre, the dynamic postures of dancers, together with an alternation of acceleration and deceleration in their movements, communicate to us different affective states. Also when we are in a museum in front of a painting, lines, colors and shapes used by the artist can elicit in us different sensations and modify our attitude. In this view, with the aim to extend the concept of vitality forms from neuroscience and psychology to other disciplines of study, we dedicate part of this review to discuss how art, in all its forms, can be considered a pure expression of vitality forms. (shrink)

In this paper I argue that Adorno's metacritique of freedom in Negative Dialectics and related texts remains fruitful today. I begin with some background on Adorno's conception of ‘metacritique’ and on Kant's conception of freedom, as I understand it. Next, I discuss Adorno's analysis of the experiential content of Kantian freedom, according to which Kant has reified the particular social experience of the early modern bourgeoisie in his conception of unconditioned freedom. Adorno argues against this conception of freedom and suggests (...) that freedom is always conditioned by our embodiment and by our social and historical situation. Finally, I turn to Adorno's criticism of Kant's discussion of freedom and determinism in the Critique of Pure Reason and argue that while his philosophical argument against Kant fails, his metacritical argument remains suggestive. Scepticism about freedom arises when the standpoint of theoretical reason encroaches upon the standpoint of practical reason and assimilates persons to things. (shrink)

According to the neo-Kantian and cultural anthropologist Ernst Cassirer, man always interacts with nature. This assumption forms the basis for his philosophical approach to the Philosophy of Symbolic Forms of 1929. It is based on the thesis that we do not conceive nature as objects (‘Ding-Wahrnehmung’), but immediately feel and suffer nature through the so-called ‘perception of expression’ (‘Ausdrucks-Wahrnehmung’). Thus, our understanding of the world is based on interaction with nature, because feeling and suffering depend on something we feel and (...) suffer about. In conclusion, Cassirer developed already a theory of Enaktivismus, embodiment, and respectively to modern film theories of immersion. The thesis of the following paper is based on these findings of Cassirer and states that that there is no dichotomy between nature and man. (shrink)

Everyday media consumption leaves no doubt that the perception of moving images from various media is characterized by experience and understanding. Corresponding research in this field has shown that the stimulus patterns flooding in on us are not only processed mentally, but also bodily. Building on this, the following study argues that incoming stimuli are processed not only visually, but multimodally, with all senses, and moreover affectively. The classical binding of a sensory organ to a medium, on whose delimitation the (...) common understanding of multimodality is based, is thus abolished. Can arguments for this assumption be found? Building on the research of cultural anthropologist Ernst Cassirer and his successors, the two American philosophers Susanne K. Langer and John M. Krois, and supported by research from the life sciences in which, in parallel, the arts also play an important role in understanding image formation, as in the work of Heinz Werner and, following on from this, in the more recent research of the child psychologist Daniel N. Stern in collaboration with mirror neuron research by the group of neuroscientists around Giacomo Rizzolatti in Parma, justifications for this will be provided. What the multimodal processing of film images is concretely based on will finally be made clear by means of an exemplary analysis of a video film by the Swiss artist Pipilotti Rist. It aims to prove, that the prerequisites for the thesis can only lie in the fact, that both the modes of perception (visual, tactile, auditory, olfactory, gustatory) as well as the medially conditioned modes of image formation are based on non-discursive, formal-abstract structures that are also processed affectively. At the same time, the analysis thus shows how the selection and composition of the vital experienced forms can provide information about the socio-culturally shaped self-image of the producer and the viewer. (shrink)

In this paper I examine Habermas’ conception of the market in The Theory of Communicative Action (TCA). Habermas’ characterization of the market as norm-free has been controversial and I discuss three objections to it: the claims that it (1) conflates of action types, types of action coordination and spheres of action, (2) cannot account for the normative structure of the social organization of labour, and (3) that it makes impossible to make moral judgments about behaviour in the market. I conclude (...) that while some of these objections are unfounded, we have reason to revise Habermas’ substantive claims about the market. I also stress the importance of distinguishing between the TCA’s methodology and its time-diagnostic thrust. Next, I assess the colonization thesis through a case study of the commodification of higher education. I conclude that this thesis remains plausible, but that it needs to be supplemented with a theory of ideology. (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)

Throughout its history, the relationship of phenomenology to historical reflection has appeared ambiguous. On the one hand, phenomenology—with the help of its founding figures—gave a promise to return from the world-historical speculations of the eighteenth and nineteenth centuries to the phenomenon of lived historicity, that is, to the question of how historical time is experienced within the life of the individual. On the other hand, phenomenology could not resist the temptation to critically reconsider some of the fundamental historical narratives that (...) define our modern self-understanding—narratives that concerned the revolutionary effect of the natural sciences , the birth of the subject .. (shrink)

In this paper I examine Axel Honneth’s normative reconstruction of the market as a sphere of social freedom in his 2014 book, Freedom’s Right. Honneth’s position is complex: on the one hand, he acknowledges that modern capitalist societies do not realise social freedom; on the other hand, he insists that the promise of social freedom is implicit in the market sphere. In fact, the latter explains why modern subjects have seen capitalism as legitimate. I will reconstruct Honneth’s conception of social (...) freedom and investigate how it is realised in the sphere in which Honneth sees it most successfully at work, the sphere of interpersonal relations. I then move on to the sphere of the market economy and discuss two related problems of this view that stem from his interpretation of Hegel. Next, I consider Honneth’s method of “normative reconstruction” and his reconstructions of the sphere of consumption and, finally, the labour market. My conclusion will be that market institutions cannot realise social freedom, and that this insight should orient the philosophical direction of critical social theory. (shrink)

Special commendation from the Hans-und-Lea-Grundig Prize by the Rosa-Luxemburg-Foundation 2015 - - I - - How do we perceive the world and pictures? The book is based around the hypothesis that we initially perceive the world as well as pictures by feelings and that there is a direct connection between the two. By debating fascination and horror, such as can be triggered by Anselm Kiefer´s Deutschlandbilder, the author discusses their consequences and conclusions for our cultural self-perception. The author develops a (...) comprehensive theory on image and culture which is new in this field of research and also includes the special status of the art. (shrink)

The present article is an attempt to bring together the development of mental activity and consciousness in the framework of the organism-environment theory (Jarvilehto, 1998a, 1998b, 1999); the main question is how the development of mental activity and consciousness can be formulated if the starting point is not the separation of man and environment as in traditional cognitive psychology, but a unitary organism-environment system. According to the present formulation, mental activity is conceived as activity of the whole organism-environment system and (...) connected to the general development of life as a specific form of an organism-environment system comprising neurons. The advent of consciousness is regarded as a result of co-operation of such organism-environment systems. Consciousness is based on co-operation for the achievement of common results, and shared by the co-operating individuals (general consciousness), although each individual also makes it concrete from the perspective of his/her own body in the act of participation in common results (personal consciousness). Language is the means of formation of the co-operative system in the achievement of common results, and it is suggested that the use of language is related more to the type of co-operative system and intended common results than to any symbolic representation of the world. It is claimed that on this basis it is possible to develop psychology which takes seriously the concepts of mental activity and consciousness in the description of human action, but does not reduce these concepts either to biological or social factors. The present formulation should be regarded more as a conceptual outline than as a full-blown theory. (shrink)

The relation between mental processes and brain activity is studied from the point of view of the theory of the organism-environment system. It is argued that the systemic point of view leads to a new kind of definition of the primary tasks of neurophysiology and to a new understanding of the traditional neurophysiological concepts. Neurophysiology is restored to its place as a part of biology: its task is the study of neurons as living units, not as computer chips. Neurons are (...) living units which are organised as metabolic systems in connection with other neurons; they are not units which would carry out some psychological functions or maintain states which are typical only of the whole organism-environment system. Psychological processes, on the other hand, are processes always comprising the whole organism-environment system. (shrink)

How is it possible that emotions in the community can be influenced by media? According to the paper’s concept, this is only understandable if we accept with Marshall McLuhan that media and the human body are not separable. There is no divide. The medium is the message expressed through the body/human being. This has preconditions, because the connection must be based on an analog principle that serves as the transmitter. This lies in non-discursive affectively relevant forms and an equally affectively (...) evaluative mode of perception, as empirical research now confirms. On this basis, as Daniel N. Stern shows, people operate “with vigorous goal-directedness to assure social interactions.” This points to the second premise, that every body/human being – infallibly – perceives a promise in communion with others, namely that of happiness, security, and community. This concept has far-reaching implications for how communities understand themselves, as the research of poststructuralists and frame theorists demonstrates, and as the trial and death of Socrates in ancient Athens attests. (shrink)

The present article is an attempt to give - in the frame of the theory of the organism - environment system - a new interpretation to the role of efferent influences on receptor activity and to the functions of senses in the formation of knowledge. It is argued, on the basis of experimental evidence and theoretical considerations, that the senses are not transmitters of environmental information, but they create a direct connection between the organism and the environment, which makes the (...) development of a dynamic living system, the organism - environment system, possible. In this connection process the efferent influences on receptor activity are of particular significance, because with their help the receptors may be adjusted in relation to the parts of the environment which are most important in the achievement of behavioral results. Perception is the process of joining of new parts of the environment to the organism - environment system ; thus, the formation of knowledge by perception is based on reorganization of the organism - environment system, and not on transmission of information from the environment. With the help of the efferent influences on receptors each organism creates its own peculiar world which is simultaneously subjective and objective. The present considerations have far reaching influences as well on experimental work in neurophysiology and psychology of perception as on philosophical considerations of knowledge formation. (shrink)

In this paper I criticise Axel Honneth's reactualization of reification as a concept in critical theory in his 2005 Tanner Lectures and argue that he ultimately fails on his own terms. His account is based on two premises: (1) reification is to be taken literally rather than metaphorically, and (2) it is not conceived of as a moral injury but as a social pathology. Honneth concludes that reification is ?forgetfulness of recognition?, more specifically, of antecedent recognition, an emphatic and engaged (...) relationship with oneself, others and the world, which precedes any more concrete relationship both genetically and categorially. I argue against this conception of reification on two grounds. (1) The two premises of Honneth's account cannot be squared with one another. It is not possible to literally take a person as a thing without this being a recognisable moral injury, and, therefore, I suggest that there are no cases of literal reification. (2) Honneth's account is essentially ahistorical, because it is based on an anthropological model of recognition that tacitly equates reification with autism. In conclusion, I suggest that any successful account of reification must (i) take reification metaphorically and (ii) offer a social-historical account of the origin(s) of reification. (shrink)

We propose a fundamental challenge to the feasibility of moral progress: most extant theories of progress, we will argue, assume an unrealistic level of cognitive control people must have over their moral judgments for moral progress to occur. Moral progress depends at least in part on the possibility of individual people improving their moral cognition to eliminate the pernicious influence of various epistemically defective biases and other distorting factors. Since the degree of control people can exert over their moral cognition (...) tends to be significantly overestimated, the prospects of moral progress face a formidable problem, the force of which has thus far been underappreciated. In the paper, we will provide both conceptual and empirical arguments for this thesis, and explain its most important implications. (shrink)

Albert Einstein ist für seine Arbeiten in der Physik weltberühmt. Nur wenige wissen jedoch, dass Einstein selbst auch philosophische Arbeiten publiziert hat und seine Erkenntnisse weitreichende Folgen für die Philosophie haben. Oder haben „Raum“ und „Zeit“ nichts mit Wissen zu tun?

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.

The task of the congress of the German Society for Semiotics in Passau / Germany in September 2017 was to explore and describe "boundaries". A total of 12 sections of the society wrote a call for paper for this purpose. With the present anthology it has to be made evident, how concretely also the boundaries of the own, the other and the foreign can be negotiated via pictures. -/- Papers: -/- - Martina Sauer: Ikonische Grenzverläufe. Szenarien des Eigenen, Anderen (...) und Fremden im Bild. Eine Einführung, 4 - Barbara Margarethe Eggert: Das andere Geschlecht im Altarraum – exklusive Textilien als inklusive Medien. Studien zum Gösser Ornat, 7 - Birke Sturm: Politik der Schönheit: Zur Konstruktion einer ›wissenschaftlichen‹ Bildästhetik schöner weiblicher Körper um 1900 am Beispiel des Gynäkologen Carl Heinrich Stratz, 22 - Melis Avkiran: Das rassifizierte Fremde im Bild. Zur Genese differenzbildender Konzepte in der Kunst des 15. Jahrhunderts am Beispiel des Malers Hans Memling, 40 - Leonie Licht: weiß zwischen schwarz zwischen weiß – Geschichten von Identität im Bild, 75 - Julia Austermann: Queere Interventionen im kommunistischen Polen – Krzysztof Jung und sein ›plastisches Theater‹, 91 - Sabine Engel: Tizians Porträt der Laura Dianti. Aneignung und Transformation zwischen Orient und Okzident, 111 - Anna Christina Schütz: Osman Hamdi Beys Türkische Straßenszene. Der Teppich als Verhandlungsort kultureller Identitäten im ausgehenden 19. Jahrhundert, 146 - Benjamin Häger, Claudia Jürgens: Ikonische Stadtstrategien. Das Fassadenplakat und die Musterfassade als Instrumente machtpolitischer Repräsentation, 175 - Irene Schütze: Fehlende Verweise, rudimentäre ›Markierungen‹: aufgeweichte Grenzverläufe zwischen Kunst und Alltag, 204 - Stefan Römer: Interesse an und in einem Bildarchiv für Migrant/innen und Flüchtlinge, 221 - Viola Nordsieck: Von der Fähigkeit, einen Stuhl zu ignorieren. A. N. Whiteheads Konzept der Wahrnehmung als symbolisierender Tätigkeit und die Art, wie wir Bilder als Bilder sehen, 239 - David Jöckel: Mythos und Bild. Roland Barthes’ Semiologie bildlicher Stereotypisierung, 255 -/- - Kurzbiographien der Autorinnen und Autoren, 274 - Impressum, 278. (shrink)

The paper introduces measurement of fixation-speech intervals as an important tool for the study of the reading process. Using the theory of the organism-environment system, we developed experiments to investigate the time course of reading. By combining eye tracking with synchronous recording of speech during reading in a single measure, we issue a fundamental challenge to information processing models. Not only is FSI an authentic measure of the reading process, but it shows that we exploit verbal patterns, textual features and, (...) less directly, reading experience. Reading, we conclude, is not a matter of decoding linguistic information. Far from being a text-driven process, it depends on integrating both sensory and motor processes in an anticipatory meaning generation based on the history of experience and cultural context of the reader. Finally, we conclude with remarks on the social character and cognitive history of reading. (shrink)

Philosophy from above or from below? Higher ideas or empiricism? -/- These questions have been at the forefront of the differentiation of university subjects in Germany since the mid-19th century. Questions about aesthetics or the beautiful, the true and the good and about what is beautiful, good and true played a central role. -/- Cf. my contribution in Grundriss zur Geschichte der Philosophie, vol. 1/2, Die Philosophie des 19. Jahrhunderts: Deutschsprachiger Raum 1830-1870. ed. Gerald Hartung, Basel: Schwabe, 2023, 425-447 and (...) here the original manuscript or the 2nd citable edition 2024 with extended bibliography and weblinks, published in: UB Heidelberg. Publication platform for art and visual studies, Arthistoricum. -/- . (shrink)

The theory of the organism-environment system starts with the proposition that in any functional sense organism and environment are inseparable and form only one unitary system. The organism cannot exist without the environment and the environment has descriptive properties only if it is connected to the organism. Although for practical purposes we do separate organism and environment, this common-sense starting point leads in psychological theory to problems which cannot be solved. Therefore, separation of organism and environment cannot be the basis (...) of any scientific explanation of human behavior. The theory leads to a reinterpretation of basic problems in many fields of inquiry and makes possible the definition of mental phenomena without their reduction either to neural or biological activity or to separate mental functions. According to the theory, mental activity is activity of the whole organism-environment system, and the traditional psychological concepts describe only different aspects of organisation of this system. Therefore, mental activity cannot be separated from the nervous system, but the nervous system is only one part of the organism­environment system. This problem will be dealt with in detail in the second part of the article. (shrink)

This article starts from the assumption that there is a connection between art and language and responsibility. What is it based on? It follows on from the research of the Hamburg Circle in the 1920s by Ernst Cassirer and Aby M. Warburg, and was strengthened in the 2000s by Hartmut Böhme. Their joint starting point is the emotional life of human beings. Thus, they assume that already the perception is shaped by it and can be increased in rituals. Comparably hardly (...) noticed by us, it continues to have an effect in art and language and thus influences the recipient. From this derives the demand that both the one who speaks and the one who is creatively active bears responsibility for his or her doing. With the knowledge of the effect of art and language, however, the recipient is also required to take responsibility for his actions influenced by it. The article aims to show this connection, which is deeply rooted in the nature of human beings. -/- The article was originally published in German. It has now been translated by the author with the kind permission of the Evangelical Church in Germany. Additions were made only in the notes and in the bibliography. The concept for the text goes back to a conference of the Evangelical Academy of the Martin Luther City of Wittenberg (Saxony). On this basis, the author was invited to contribute to the publication of the Evangelical Church in Germany (EKD) Mitteilungen—Zur Erneuerung evangelischer Predigtkultur (Kirche im Aufbruch 5), edited by Kathrin Oxen and Dietrich Sagert. Leipzig: Evangelische Verlagsanstalt, 2013. The selection of the text for this issue of Art Style Magazine was based on one of the fundamental ideals of Metropolis, which sees itself as democratic and based on the responsibility of each member in dealing with art and language. (shrink)

This article considers the possibility of articulating a renewed understanding of the principle of political idealism on the basis of Edmund Husserl’s phenomenology. By taking its point of departure from one of the most interesting political applications of Husserl’s phenomenological method, the ordoliberal tradition of the so-called Freiburg School of Economics, the article raises the question of the normative implications of Husserl’s eidetic method. Contrary to the “static” idealism of the ordoliberal tradition, the article proposes that the phenomenological concept of (...) political idealism ought to be understood as a fundamentally dynamic principle. As opposed to the classical understanding of political idealism as the implementation of a particular normative model—political utopianism—the phenomenological reformulation of this idea denoted a radically critical principle of self-reflection that can only be realized on the basis of perpetual renewal. In order to illustrate this point, the article considers Husserl’s distinction between two types of ideals of perfection, the absolute and the relative, and argues for their relevance for political philosophy. (shrink)

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)

In proof-theoretic semantics, meaning is based on inference. It may be seen as the mathematical expression of the inferentialist interpretation of logic. Much recent work has focused on base-extension semantics, in which the validity of formulas is given by an inductive definition generated by provability in a ‘base’ of atomic rules. Base-extension semantics for classical and intuitionistic propositional logic have been explored by several authors. In this paper, we develop base-extension semantics for the classical propositional modal systems K, KT , (...) K4, and S4, with □ as the primary modal operator. We establish appropriate soundness and completeness theorems and establish the duality between □ and a natural presentation of ♢. We also show that our semantics is in its current form not complete with respect to euclidean modal logics. Our formulation makes essential use of relational structures on bases. (shrink)

This book is an anthology about transformation processes. It brings together contributions that were made during the 16th International Congress of the German Society for Semiotics 2021. Due to the Corona pandemic, it was finally not held in attendance at the TU Chemnitz, in Germany, but took place online. 11 sections with different focuses from archaeology, architecture, design, digital humanities, on the body, from the field of literature & youth and subcultures, media, fashion, environment, and carto/atlas semiotics and sign philosophy (...) had each published their own call for papers. -/- The focus of the IMAGE & Cultural study sections' call, published with the volume, was to understand images as agents - according to art and cultural studies scholar Aby M. Warburg - and to recognize and understand not only their potential for cognition, but also their potential for action. As an active part of culture, they not only convey it, but at the same time stimulate action. In this respect, images can be understood not only as documents and testimonies of collective history, but also as active carriers and repositories of affectively effective elements of communication. As agents of cultural transformation processes, images take on a status of their own within the human capacity for expression and action. The essays in this volume bear eloquent witness to this. (shrink)

Panksepp (2001) has kindly provided an unexpected and critical commentary on my article “Feeling as knowing” (published in two parts in Consciousness & Emotion; Jarvilehto, 2000b, and 2001), in which I try to clarify some conceptual problems in emotion research on the basis of the theory of the organism-environment system (Järvilehto, 1998a, b, 1999, 2000a). While I am always grateful for any criticism of my ideas, because it is the only way to develop them further, the commentary does not contain (...) much substantial criticism of my theoretical considerations, but it is rather related to science politics (“Jarvilehto’s holistic approach would … discourage investigators…”; Panksepp, 2001, p. ), and to the problem what kind of theory could be useful in guiding neuroscientific experimental work. The commentary seems to contain also some misunderstanding of my basic ideas, indicating that I didn’t formulate them well enough in the two articles. Therefore, I try to elucidate in this reply somewhat more the background of my approach, and to move the discussion to a more substantial theoretical level. (shrink)

The chapter tackles the complex, tension-ridden, and often paradoxical relationship between relativism and conservatism. We focus particularly on radical conservatism, an early twentieth-century German movement that arguably constitutes the climax of conservatism’s problematic relationship with relativism. We trace the shared genealogy of conservatism and historicism in nineteenth-century Counter-Enlightenment thought and interpret radical conservatism’s ambivalent relation to relativism as reflecting this heritage. Emphasizing national particularity, historical uniqueness, and global political plurality, Carl Schmitt and Hans Freyer moved in the tradition of historicism, (...) stopping short of full relativism. Yet they utilized relativistic elements – such as seeing irrational decisions or the demands of “life” as the basis of politics – to discredit notions of universal political morality and law, thereby underpinning their authoritarian agendas. Oswald Spengler, by contrast, took the relativistic impulses to the extreme, interweaving his conservative authoritarianism and nationalism with full-fledged epistemic, moral, and political relativism. Martin Heidegger has recently been perceived as the key philosopher of radical conservatism, and his thought arguably channeled antimodern aspects of historicism into contemporary political thought. We conclude by analyzing how some radical conservative arguments involving cultural relativism and plurality still reverberate in contemporary theorists such as Samuel Huntington, Aleksandr Dugin, and Alain de Benoist. (shrink)

This special issue on affordances bases on the thesis, that all natural and artificial things inhere affordances that appeal to our cognitive system, and thus invite us to look at them, perceive them, think about them, interpret them, and use them. The concept roots in the studies of the American psychologist James J. Gibson from the 1960s. According to him, "things" offer a certain range of possible activities depending on their form, time patterns, and material qualities, thus becoming part of (...) human-thing-interactions. However, affordances can also be culturally trained. This aspect has been intensively discussed subsequently within different disciplines (e.g., Social Sciences, Design Studies). But only recently has the concept received attention in the field of Visual Culture Studies particularly through archaeological scholarship. (shrink)

We live in the age of postmodernism. What does that mean? With a call for essays, we asked for proposals for a better understanding. At the same time, we were looking for posts that show how the arts have processed and are still processing the change from the modern to the postmodern selfconception of man, which has been described by philosophy since the 1950s to today. This special issue thus demonstrates how architects, designers and artists have reacted to the new (...) socio-politically relevant concepts of postmodernism. -/- With contributions of Simone Kraft on architecture, Arianna Fantuzzi on self-portraits, Stephan Schmidt-Wulffen on visual arts in the 1980s, Anna Kristensson on design, Iris Laner on postmodern theory and the work of Jeff Wall, Christiane Wagner on postmodern avatars and finally, I contributed with a text on the deconstruction of the familiar in postmodern theory and the work of Karin Kneffel. (shrink)

In past decades, the subject atmosphere and mood has gone beyond the physio-meteorological and psychological scopes and become a new direction of aesthetics which concerns two sides of the same phenomenon. As the primary sensuous reality constructed by both the perceiving subject and the perceived object, atmosphere and mood are neither a purely subjective state nor an objective thing. Atmosphere is essentially a quasi-object pervaded by a specific affective quality and a ubiquitous phenomenon forming the foundation of our outer life (...) experiences, while mood is a quasi-subject pervaded by specific objective quality and thus a ubiquitous phenomenon forming the foundation of our inner life experiences. A practical dimension is thereby, from the outset, embedded in the consideration of both concepts. This is mainly characterized by actions and, correspondingly, ethical aspects, which concern the design and creation of atmosphere and thus the triggering of mood through works of art. Here, on the one hand, the process of artistic formation, long neglected in the European tradition, is given prominence as an aesthetic practice, and on the other hand, an interactive dialogue is effectively established between the artist, the work and the viewer. Due to the fact that atmosphere and mood, both as in-between, emphasize the interaction of the perceiver and the perceived from two sides, here the decisive question is: in what kind of environment do we live or participate and in what way do we experience it? The focus of aesthetics is now not on the conventional issue whether the environment is beautiful or gives us a sense of beauty, but on how the environment influences our feeling of being there (Befinden) through our own sensuality. Such an approach would contribute to a critical transformation in aesthetic methodology, namely from the ontological and/or epistemological what to the phenomenological and anthropological how. -/- The tension between atmosphere and mood, as revealed here, opens up a large space for exploring a new understanding of aesthetics. On this basis the special issue pursued to diversify this discussion on an international level. (shrink)

Do we communicate with pictures? If so, the text asks, what about their complex, dynamic appearances? Are they part of the communication process? By analysing a cover image of the journal Jugend from 1896 and by consulting the research on the logic of pictures (“Eigenlogik”) in Bildwissenschaft, Iconology and Cultural Anthropology these questions shall be persued. The analysis suggests, that instead of consenting the results of epistemological aesthetic research a new understanding of pictures shall be implemented: They can be considered (...) as parts of cultural semiotic processes. That means, it is not the view of something (epistemology) but the view of someone (culture) that is shown by the pictures. - I - -/- Kommunizieren wir über Bilder? Falls das zutrifft, stellt sich die Frage, ob daran auch deren komplexe dynamische Erscheinungsweise Anteil hat? Über die Analyse eines Titelblatts der Zeitschrift Jugend von 1896 und die Betrachtung der Forschungen zur Eigenlogik von Bildern in Bildwissenschaft, Ikonologie und Kultureller Anthropologie soll diesen Fragen nachgegangen werden. Die Auswertung veranlasst, sich von der klassischen, erkenntnisorientierten, ästhetischen Theorie zu distanzieren und sie als kulturtheoretische, semiotische Theorie neu zu fassen. Die Neuausrichtung wird im Verständnis des Gehalts der Bilder im medialen Transfer greifbar: Statt in einer Ansicht von etwas (Erkenntniswert), so eröffnet sich, liegt er in einer Ansicht über etwas (Meinung/Kulturwert). (shrink)

Since the beginning of the 20th Century to the present day, it has rarely been doubted that whenever formal aesthetic methods meet their iconological counterparts, the two approaches appear to be mutually exclusive. In reality, though, an ahistorical concept is challenging a historical analysis of art. It is especially Susanne K. Langer´s long-overlooked system of analogies between perceptions of the world and of artistic creations that are dependent on feelings which today allows a rapprochement of these positions. Krois’s insistence on (...) a similar point supports this analysis. - I - Unbestritten bis heute gilt, formwissenschaftliche und ikonologische Methoden scheinen sich grundsätzlich auszuschließen, da die ersteren auf ahistorischen und die letzteren auf historischen Grundlagen aufbauen. Dem entgegen soll mit diesem Beitrag gezeigt werden, wie insbesondere die Forschungen Susanne K. Langers und ergänzend diejenigen von John M. Krois eine Annäherung beider Positionen ermöglichen. (shrink)

Is it true that there is an analogy between modes of creation and such of perception? Respective to the cultural anthropological research of Ernst Cassirer, Susanne K. Langer and John M. Krois and by the analysis of a tape of the Swiss video-artist Pipilotti Rist this initial thesis of Formal Aesthetics shall be supported. - I - -/- Lässt sich die Behauptung stützen, dass zwischen Gestaltungsweisen und Wahrnehmungsweisen eine Analogie besteht? Aufbauend auf den kulturanthropologischen Forschungen von Ernst Cassirer, Susanne K. (...) Langer und John M. Krois sowie der Analyse eines Tapes der Schweizer Videokünstlerin Pipilotti Rist gilt es diese ursprünglich von der formalen Ästhetik aufgeworfene These zu untermauern. (shrink)

This article investigates the philosophical history of European universalism with the aim of differentiating between its two senses: the modern and the Ancient. Based on Edmund Husserl’s late interpretations on the unique character of Greek philosophy, this distinction is articulated in terms of “substantial” and “formal” accounts of universalism. Against the modern (substantial) idea of universalism, which took its point of departure especially from the natural law theories of the early modern period, Husserl conceived Greek universalism as an essentially formal (...) notion, which relied on the critique of one’s cultural-historical situation on the basis of the shared faculty of reason. Instead of a ready-made position, this idea of universalism is best described in terms of a “task”, which has its peculiar temporal horizon in infinity. By discussing the political implications of philosophical universalism, the article aims at uncovering its latent cultural implications, that is, the ideas of self-critique and self-renewal nurturing the utopian motive of culture. Thus by broadening the philosophical scope of universalism, the article will insist on its relevance for contemporary debate on Eurocentrism. (shrink)

The ability to form „images“ of our experiences with the world (imaging effect) and to adjust our drive and determination in accordance with those images (action effect) is what characterises men, as stipulated by Cassirer and subsequently confirmed by Langer and Krois. Special techniques are required to communicate to others the images of life and how we interpret them. The art as a technique does this masterly by presenting us the views of others on their experiences and wishes through aesthetic (...) experience. Therefore, it is necessary to analyse images not only with respect to their historical aspects based on experiences with the world but to emphasise their power to shape the future by their potential to affect our actions. - / - Die Fähigkeit „Bilder“ unserer Erfahrungen mit der Welt zu formen (Bildkraft) und unser Streben und Wollen (Tatkraft) nach ihnen auszurichten, das ist es, was den Menschen nach Cassirer – und nachfolgend auch nach Langer und Krois – auszeichnet. Voraussetzung dafür die Bilder des Lebens und das, was wir von ihnen halten, zu objektivieren und Anderen zu kommunizieren, bilden Techniken. Die Kunst als Technik ist darin eine Meisterin, indem sie uns über die ästhetische Erfahrung Anschauungen Anderer von ihren Erfahrungen und Wünschen, lebendig vor Augen zu führen vermag. Bei der Analyse von Bildern gilt es insofern nicht nur deren geschichtsträchtigen, auf Erfahrungen mit der Welt beruhenden Aspekte zu untersuchen, sondern vor allem auch deren zukunftsprägendes und damit unsere Tatkraft ansprechendes Potential. (shrink)

In this paper I examine Lukács’ claim that the overcoming of reification amounts to the realization of the identity philosophies of Fichte and Hegel. I suggest that Lukács does indeed contrast reification with a Hegelian conception of social freedom that remains plausible today. Reification occurs when the preconditions of freedom and social participation are eroded through practices such as commodification and juridification. I conclude with the claim that reification diminishes freedom, and that criticism of reification is itself a form of (...) freedom. (shrink)

In a historiographical and methodological comparison of Formal Aesthetics and Iconology with the method of Affordance, the latter is to be introduced as a new method in Visual Cultural Studies. In extension ofepistemologically relevant aspects relatedtostyle and history of the artefacts, communicative and furthermoreaction and decisionrelevant aspects of artefacts become important. In this respect, it is the share of artefacts in life that the new method aims to uncover. The basis for this concern is the theory and methodological tools of (...) Visual Semiotics, which I have already presented. A direct comparison of the three methods based on the same example should clarify the points of contact and the respective performance of the methods. For this purpose, theChrist among the Doctorsof Albrecht Dürer from 1506 will be used, which was already examined in 1905 and indirectly in 1915 by the prominent representative of Formal Aesthetics Heinrich Wölfflin,and in 1914 and finally in1943by the founder of Iconology Erwin Panofsky. With the new method thecommunicative-actionand decision relevant aspects and thus their share in life should be shown. (shrink)

So many things have a meaning for us. How is it possible and how can we deal with it? In "gestures of attention" (rituals) we understand it, Hartmut Böhme says, and we produce it ourselves, Aby M. Warburg and Ernst Cassirer are suggesting. That means the producer and the recipient are responsible for their doing. -/- So vieles in unserem Leben hat für uns eine Bedeutung. Wie kommt das und wie können wir damit umgehen? In "Gesten der Zuwendung" (Rituale), so (...) Hartmut Böhme, erfassen wir diese und es sind wir selbst, die diese herstellen, wie es vertiefend Aby M. Warburg und Ernst Cassirer eröffnen. D.h. nicht nur der Produzent, sondern auch der Rezipient sind für ihr jeweiliges "Tun" verantwortlich. (shrink)

Do have pictures an impact on future? Yes, say theories of embodiment by making perceptual foundations in place of representational arrangements responsible for it. -/- Wirken sich Bildern auf die Zukunft aus? Ja sagen Verkörperungstheorien und machen dafür weniger Repräsentationsmodelle als Wahrnehmungsweisen verantwortlich.

By observing processes of art perception two contradicting phenomena come to the fore: a feeling of closeness and distance at the same time. The phenomenologists Martin Heidegger and Bernhard Waldenfels describe this connection as a matter of being ("Seinsweise") of images, that allows new views of the world whereas the two cultural anthropologists Ernst Cassirer and Hartmut Böhme note that the connection between both can be seen as the basis of experience ("Erlebnisweise") of images and therefore serves for communication. Here (...) one can see, knowledge-oriented notions the former promote do not exclude semiotic notions the latter imply. (shrink)

With a Call for Essays, the special issue Multimodality sought contributions that accept not only the material but also the body-bound dependence of media perception and understanding. To this end, contributions were included that shed light on both the structural and signifying potential of artistic works through multimodal analysis. Particular attention was paid to contributions that clarify how the structural features - the modes - of the arts, their perception, and their signifying potential in terms of content are interrelated and (...) how they are to be understood in communicative and thus socioculturally relevant terms. Thus, in addition to neuroscientific contributions, those from cultural anthropology, art history, image and art studies, and literary studies were included. -/- Articles -/- 8 Martina Sauer and Christiane Wagner - Introduction -/- 11 Giada Lombardi and Giuseppe Di Cesare - From Neuroscience to Art: The Role of ‘Vitality Forms’ in the Investigation of Multimodality -/- 25 Martina Sauer - Abstract - Affective – Multimodal: Interaction between Medium and Perception of Moving Images from the Viewpoint of Cassirer’s, Langer’s and Krois’ Embodiment Theories -/- 49 Göran Sonesson - The Secrets of Plastic Language Revealed: Multimodality, Polysemiosis, and Iconicity -/- 71 Natalia Igl - Making Sense of the Material: Multisensory Reader Involvement in Contemporary Multimodal Novels -/- 87 J. Philippe Thompson - Art is All: Proust’s Life Lessons Through Perception and Art -/- 107 Hans Dieter Huber - Philippe Parreno and the Exhibition as a Multimodal Aesthetic Experience -/- 135 Jörg U. Lensing - The Performing Human Being in a Media Interaction Space: Multi- and intermodal productions by the Düsseldorf Theater der Klänge (Theatre of Sounds) . (shrink)

Aesthetics versus Art History? Ernst Cassirer as Mediator in an ongoing Controversy on the Relevance of Art for Life. Against the background of Ernst Cassirer’s cultural philosophy, art studies are to be classified as cultural studies. Central to this is Cassirer’s philosophy as the basis for answering a question that has been posed by the methods of formal aesthetics and iconology since the 19th century but is still unanswered today, namely the question of the relevance of the arts for life. (...) In this way, aesthetics/Kunstwissenschaft and art history gain a new meaning as cultural studies beyond their achievements in the humanities and in epistemology. (shrink)

What is reality? It is postmodern or poststructuralist philosophers like Roland Barthes, who realized that it only seems that the media present reality in the form of facts, because they actually spread myths. Accordingly, Jacques Derrida made it clear that communication via media is not based on logic, but is characterized by a significant “différance” between a “marque” (trace) of the past and the expectations of the future. Both agreed, that the initial misunderstanding of the concept of reality must be (...) uncovered or "deconstructed". This is more than necessary for them, because media, be it pictures or language, in truth convey values that are culturally and socially significant. They ‘iterate’ these values subliminally, because what shows up are only placeholders and thus mere forms (“structures of graphematic”) that are superficially realised as facts (“stereotypes”). In this way, according to Barthes, we all accept without question the values hidden behind them, so that they can gain a normative power that unconsciously guides our thinking, our decisions and our actions. Afterwards, it is Judith Butler who critically asked: How can we ever escape from this? Given the power of the subliminal dominant discourses, she saw the only effective solution “im Umdeuten” (in reinterpretation) of their subliminal values. In order to finally escape this “parasitic existence at the ritual”, the media philosopher Walter Benjamin already suggested to trigger "Chockwirkungen” (shock effects) in the viewer. It is the German painter Karin Kneffel, so it shall be shown, who has realized this with her series Fruits and Interiors in the most beautiful photorealistic strategy. (shrink)

Neither the art historians Panofsky and Warburg nor the philosopher Cassirer had any interest with their cultural-historical research in fact-based, historical questions. An approach that had become common in the 19th century due to the loss of validity of the speculative aesthetics. On the contrary, instead of this substantial understanding as the documentary concept represents, these researchers focused on a functional understanding of art historical sources. Nevertheless, in contrast to this starting point, Panofsky invented a methodological procedure, the so-called iconological (...) method, which in turn led back to a documentary-focused historical analysis of artistic artefacts that is still recognized today. The goal is to rediscover the original background of Panofsky´s method. This should make it clear that the original idea of the image concept pursued by Warburg and Cassirer, which had been lost or obscured by the aftermath of National Socialism in Germany, can be made fruitful in a new light today. This path may open up iconology to “image science”/Bildwissenschaft and thus transform the former from a purely historical approach to an understanding relevant to cultural processes and thus to human action. (shrink)

How does an audience receive a work of art? Does the experience only affect the viewer or does it have an effect and thus influence his or her actions? It is the cultural philosopher Ernst Cassirer and his successors in philosophy and developmental psychology as well as in neuroscience to this day who postulate that perception in general and perception of art in particular are not neutral in their origins but alive and thus meaningful. They assume that both are based (...) on analogous principles: in the perception of moving forms and spatial forms in the world and rhythms of forms, colors, light and shadow in art. In practice, this means that perception and its felt effects have an effect on the feelings of the viewer and thus help him to inform himself directly and intensively about the world through art. In contrast to this general epistemological aesthetic theory, which philosophers in particular accept, it is to be shown that this assumption must be redefined not with reference to the world, but with reference to art and design. For the latter, the approach will be extended to a semiotic theory. The background is that in contrast to the world, the designed forms and thus the designed intentions of the artist and designer or his client in relation to the chosen theme have an impact on the viewer and thus on culture and its communicative dynamics. (shrink)