| 1. |
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Aisthesis : Estetikens historia del 2, andra bandet
- 2023
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Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- Estetik kommer av aisthesis, det grekiska ordet för sinnlig varseblivning. På vilket sätt skapar sinnena ett eget fält för vetande? På vilket sätt ska vi förstå deras roll som förmedlare mellan människa och värld, kropp och medvetande, idéer och objekt? Hur ska vi betrakta relationen mellan sinnlig erfarenhet och framväxandet av moderna perceptionsteknologier? Aisthesis: Estetikens historia del 2 samlar i två band centrala texter som aktualiserar den estetiska teorins historia och utveckling från tiden kring det första världskriget till det tidiga 2000-talet. Det andra bandet rymmer texter av Leonora Carrington, Clarice Lispector, Peter Eisenman, Susan Sontag, Michel Foucault, Fredric Jameson, Jean-François Lyotard, Julia Kristeva, Sylvia Wynter, Jean-Luc Nancy, Rosalind Krauss, Jacques Rancière med flera.
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| 2. |
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| 3. |
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Arkitekturteorier
- 1999
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Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)
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| 4. |
- Bartonek, Anders, 1977-, et al.
(författare)
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Introduction
- 2021. - 1
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Ingår i: Critical Theory. - Huddinge : Södertörns högskola. - 9789189109353 - 9789189109360 ; , s. 7-23
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 5. |
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| 6. |
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Benjamin Höijer : Metafysik, estetik, historia
- 2021. - 1
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Samlingsverk (redaktörskap) (refereegranskat)abstract
- I nära dialog med Immanuel Kant, Johann Gottlieb Fichte och Friedrich Schelling utvecklade Benjamin Höijer kring sekelskiftet 1800 ett filosofiskt system som i samtiden väckte stor uppmärksamhet i inte bara Sverige utan också Tyskland. Hans huvudverk, Avhandling om den filosofiska konstruktionen, recenserades lyriskt av Schelling, som konstaterade att dess författare ”förtjänar en rang bland de sanna tänkarna”.Benjamin Höijer. Metafysik, estetik, historia ger en bred presentation av denna numera i hög grad bortglömde filosof. Här kan man läsa om Höijers modernitetsbegrepp och hur han förhöll sig till de samtida tyska idealisterna, om hans konstfilosofi och syn på historieskrivningens uppgifter liksom hans betydelse för Per Daniel Amadeus Atterbom och andra svenska romantiker. Fram träder en komplex bild av den första moderna svenska filosofen.
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| 7. |
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| 8. |
- Birnbaum, Daniel, et al.
(författare)
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Heideggers väg
- 1999
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Bok (övrigt vetenskapligt/konstnärligt)
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| 9. |
- Birnbaum, Daniel, et al.
(författare)
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Spacing Philosophy : Lyotard and the Idea of the Exhibition
- 2019
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Bok (övrigt vetenskapligt/konstnärligt)abstract
- In 1985, the philosopher Jean-François Lyotard curated “Les Immatériaux” at Centre Georges Pompidou. Though widely misunderstood at the time, the exhibition marked a “curatorial turn” in critical theory. Through its experimental layout and hybrid presentation of objects, technologies, and ideas, this pioneering exploration of virtuality reflected on the exhibition as a medium of communication, and anticipated a deeper engagement with immersive and digital space in both art and theory. In Spacing Philosophy, Daniel Birnbaum and Sven-Olov Wallenstein analyze the significance and logic of Lyotard’s exhibition while contextualizing it in the history of exhibition practices, the philosophical tradition, and Lyotard’s own work on aesthetics and phenomenology. “Les Immatériaux” can thus be seen as a culmination and materialization of a life’s work as well as a primer for the many thought-exhibitions produced in the following decades.
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| 10. |
- Birnbaum, D., et al.
(författare)
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Spatial thought
- 2018
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Ingår i: Superhumanity. - Minneapolis, MN : University of Minnesota Press. - 9781452957876 - 9781517905217 ; , s. 169-176
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 11. |
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| 12. |
- Birnbaum, Daniel, et al.
(författare)
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Thirteen questions about the object to Graham Harman
- 2020
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Ingår i: Artful objects : Graham Harman on art and the business of speculative realism. - Berlin ; Stockholm : Sternberg Press ; Stockholm School of Economics. - 9783956795244 ; , s. 43-72
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 13. |
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| 14. |
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| 15. |
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Critical Theory : Past, Present, Future
- 2021. - 1
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Samlingsverk (redaktörskap) (refereegranskat)abstract
- From its inception, Critical Theory was a project that not only intended to study modern society, but also to change it. Today, with almost a century passed, the term has acquired a life of its own and is used across the intellectual field, institutionally as well geographically.Thus, to ask about the past, present, and future of Critical Theory means opening it up and exposing it to new influences. This is a consequence of the claim that theory is not outside history, but must always respond to a changing present grasped in its contradictions and opened up towards other possibilities; a process that involves a constant reappraisal of what Critical Theory is today.
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| 16. |
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| 19. |
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Edmund Husserl
- 2011
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Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)
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| 20. |
- Ekholm, Rikard
(författare)
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Identical, But Still Different : On Artistic Appropriation in Visual Art
- 2012
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- In this dissertation about artistic appropriation I acknowledge that something indeed has happened in art. Visual art does not have to look in any special way anymore, or have historically validated content that can be visually grasped. Within this precondition artistic appropriation is situated. An artistic appropriation artwork is visually identical to a pre-existing artwork, but is still an independent artwork that is about something other than what the pre-existing artwork is about.The dissertation ties into, and separates itself from, two discussions: On the one hand, a discussion about the difference between a mere thing and an artwork that looks exactly like it. Duchamp’s Fountain is an example; it looks exactly like an ordinary urinal. On the other, the various ways artists have used pre-existing art throughout history to make new art. One historical example is the paraphrase. Previously, there has been no sufficient discussion about artists who make artworks that look exactly like pre-existing artworks and what this artistic practice says about the identity of art. I argue that artistic appropriation unveils the constitution of the artwork. In chapter one, a definition of artistic appropriation is introduced. Then there follows a discussion regarding previous research about appropriation and closely related concepts like adaptation and intertextuality. In chapter two, artistic appropriation is situated in relation to the historical avant-garde and later changes that made conceptual art possible. Present is also a discussion about how artistic appropriation both challenges and affirms traditional notions in art, such as originality, authorship and creativity. In chapter three there is a discussion about three artistic appropriators and their work: The artists are Elaine Sturtevant, Sherrie Levine and Michael Mandiberg. They must be understood in relation to a different set of backgrounds, which means that their artworks emerge differently.
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| 21. |
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Foucault, Biopolitics, and Governmentality
- 2013. - 1
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Samlingsverk (redaktörskap) (refereegranskat)abstract
- Foucault’s work on biopolitics and governmentality has inspired a wide variety of responses, ranging from philosophy and political science to history, legal studies, and urban planning.Drawing on historical sources from antiquity to twentieth century liberalism, Foucault presented us with analyses of freedom, individuality, and power that cut right to the heart of these matters in the present.
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| 24. |
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| 26. |
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| 27. |
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| 28. |
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| 29. |
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| 30. |
- Hogenboom, Katja, 1976-
(författare)
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Situated Freedom : Exploring the Aesthetic Practice of Rem Koolhaas/OMA
- 2023
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The thesis advocates that architecture can, as an operative medium, situate freedom. Following the work of Michel Foucault, the thesis develops an argument for an emancipatory endeavor, termed “situated freedom in architecture.” Acknowledging the contingency that can be located within power relations, situated freedom works with the positive and constitutive character of power as it shapes how we can be free (and unfree) in particular situations. To exemplify this approach within architecture practice, the thesis looks at the aesthetic practice of Rem Koolhaas/OMA. The research question asked is: How can architecture, as an aesthetic practice, through its own zone of competence, and by means of a singular, situated project, establish an emancipatory endeavor that is oriented towards enrichment, fulfillment, and joy. In responding to this question, the research analyzes three projects—a private pool (Villa dall’Ava), a media building (China Central Television Headquarters), and a public library (Seattle Public Library)—in three different situations. Through “fabulation” (Deleuze & Guattari) and the use of a “messy method” (Law) the thesis draws on multiple disciplines, such as art, film theory, theatre, architecture, and philosophy. The thesis’s methodology mobilizes a reading of architecture that traces the aesthetic strategies employed in the analyzed projects. Exploring the practice of Koolhaas/OMA offers insights into projective approaches in architecture and situates their work in a new context. The thesis aims to develop an understanding of architecture as an emancipatory endeavor of human wellbeing, enrichment, and joy within the complexity of the present reality.
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| 31. |
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| 32. |
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| 33. |
- Katz Lydén, Karl, 1979-
(författare)
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Critique and the Care of the Self : The Economy of Truth and Government in Michel Foucault's Late Work
- 2024
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This thesis engages Michel Foucault’s late work on ancient philosophy in relation to his earlier investigations of modern forms of government and events in his political present. Beginning with a reinterpretation of the function of style in Foucault’s oeuvre, it demonstrates that the ancient notion of the care of the self – the style of existence – unfolds as a critical project. The thesis considers Foucault’s last three lecture courses at the Collège de France: “The Hermeneutics of the Subject” (1982), “The Government of Self and Others” (1983), and “The Courage of the Truth” (1984). It shows that what is at stake in the ancient notions of truth-telling and the technologies of the self is not reducible to an ethical, individual subject in Greco-Roman antiquity, but rather something that bears on Foucault’s previous critical work on modern forms of subjection, on his notion of critique, and on political, collective subjects in the present. No previous study has treated this relation between Foucault’s notion of the care of the self and his theory of critique. And while shorter attempts have noted their conceptual common basis in “virtue” and “government,” this thesis opens new perspectives. Through a formal analogy to Kant’s critical project, it proposes a model of three Foucauldian kinds of critique: the historical-philosophical practice of theoretical work, truth-telling in the political field, and the individual or collective “art of not being governed like that.” Moving between the theoretical work and lesser discussed materials – specifically Foucault’s engagement with the Polish trade union “Solidarność” and the French labor union CFDT – important continuities are identified. It is demonstrated that Foucault understands critique, the care of the self, and collective movements in his own time, not only by the same conceptual framework of government, virtue, and truth, but also as non-discursive forms or practices in which means and ends merge. This is significant in relation to Foucault’s definition of modern economic government in his lecture course on neoliberalism, “The Birth of Biopolitics” (1979): a government guided by an equally non-discursive “veridiction of the market.” Building on these continuities in Foucault’s oeuvre, it is concluded that the ancient notions of truth-telling and of the style of existence offer significant tools in the art of not being governed like that: as collective configurations of critique in the present.
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| 34. |
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Konceptkonst
- 2006
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Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)
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| 35. |
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Koreografier
- 2008
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Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)
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| 36. |
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Madness, Religion, and the Limits of Reason
- 2015. - 1
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Samlingsverk (redaktörskap) (refereegranskat)abstract
- The idea of a limit of reason, a measure that defines reason and that it must not overstep, has been a constitutive part of philosophy since its beginnings in Greek thought. Placing itself in opposition to the madness of hubris, the excesses of tragedy, and the stories of religion and myth, philosophy expels its others just as much as it thrives on them. It begins and ends at the limit; it is drawn towards its outside, and exists as a perpetual attempt to find a line of demarcation that always ends up passing through its interior.The present collection analyzes the phenomenon of limit and excess, through readings that range from tragedy and Greek thought, through early Christianity and the Renaissance, to modern phenomenology and philosophy of language.
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| 37. |
- Mattsson, Helena, 1965-, et al.
(författare)
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1930|1931 : Swedish Modernism at the Crossroads
- 2009
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Bok (populärvet., debatt m.m.)abstract
- 1931, vid en tidpunkt då den moderna arkitekturen som projekt och utopi genomgår en avgörande internationell kris, publicerar sex av de viktigaste företrädarna för den moderna rörelsen i Sverige manifestet Acceptera.Med denna text inleds den svenska modernismens särutveckling. Helena Mattsson och Sven-Olov Wallenstein analyserar här detta manifest och dess retoriska strategier, hur det upprättar en ny relation till det förflutna och försöker gestalta innebörden i en specifikt svensk modernitet.
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| 38. |
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| 39. |
- Mattsson, Helena, 1965-, et al.
(författare)
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Introduction
- 2010
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Ingår i: Swedish Modernism. - London : Black Dog Publisher. - 9781906155988 ; , s. 8-33
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 40. |
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| 41. |
- Schalk, Meike
(författare)
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Imagining the Organic City : Modern Tropes of Organization
- 2007
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The thesis examines three ’organic tropes’ of modern architecture and urban design, addressing different crucial moments of change within modernist discourse. Attention is focused on the institutionalization of ‘town planning’ at the turn of the last century; the shift during the post-war years; and the beginning of urban debate in Japan during the early 1960s. The study builds upon the thesis that ‘the organic’ constitutes a basic trope of a modernism that reinvents the term over and over again. In its ambivalent relationship to modernity, which it both embraces and rejects the organic hovers between progressivist and nostalgic imaginations. There has been relatively little enquiry into ‘the organic’ as part of the larger system of modernism in architecture and urbanism. This is because of its ambiguous identity. Historically, urban organic rhetoric emerged in times of change, revision, or when a debate about basic principles of planning practice was at stake, in times that were experienced as crisis. The rhetoric of the organic springs from the desire or need to reconcile conflicting parts into a coherent whole. The urban schemes discussed here, such as Patrick Geddes’ vision of an organic city, or the megastructures of the metabolists, are based on contradictions taking in aspects of individual agency and collectivity, or fragmentation and totality. Attempting to take a holistic perspective on urban processes and city change, they opened up for a range of political issues concerning authority in city planning and the status of the citizens in this procedure. Beside formal questions we find organizational concerns that go beyond static plans in envisioning sustainable futures through the thinking in processes and the proposal of programs. This text explores discursive and theoretical works with a distinct programmatic character, which have primarily taken place at the level of visions and discussions rather than through actual materializations in the city fabric. These works are considered in the context of their projective model character, and their relevance for the discourse on cities and citizens, the nature of planning, urban and architectural design.
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| 42. |
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| 43. |
- Sehlberg, Johan, 1981-
(författare)
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Of Affliction : The Experience of Thought in Gilles Deleuze by way of Marcel Proust
- 2020
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The aim of the present thesis is to explicate the experience of thought corresponding to the critical undertaking characteristic of Gilles Deleuze’s philosophy between Nietzsche and Philosophy (1962) and Difference and Repetition (1968), from within the conjunction of Deleuze’s Proust and Signs (1964) and Marcel Proust’s In Search of Lost Time (1913-1927). The importance of Proust for the development of Deleuze’s two major themes at the time, the overturning of Platonism and transcendental empiricism, has generally not been sufficiently recognised and investigated in Deleuze scholarship. This thesis is written in response to this disregard. To this end it seeks to develop the positive side of Deleuze’s critical destruction of the “image of thought” insofar as this aspect is most elaborately and concretely expressed in relation to Proust. In order to circumscribe the real conditions of the experience of a “thought without Image”, by way of Proust, but also by way of an intricate dialogue with Plato, this study seeks to overturn the classical interrogation into the what? of thought. Proceeding from the questions which?, who?, how?, and to what effect?, a conception of the essence of thought as determined by accidents rather than substances is established to the effect that (1) thought is no longer a voluntary exercise of a given faculty, but the result of an irruption from without finding its necessity in the contingency of the event; (2) the thinker is no more the ancient Friend of Wisdom desiring to know by virtue of nature alone, but the Jealous Lover searching for truth only under the pressure of the beloved’s lies; (3) the truth is never a universal knowledge immediately recollected from a timeless past, but is extracted from randomly encountered signs distributed through time; (4) the finality of thought cannot be the recognition or representation of the Essence as an abstract and identical universal, but the experimental creation of the Essence as a singular and concrete manifestation of pure difference.
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| 44. |
- Seits, Irina
(författare)
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Architectures of Life-Building in the Twentieth Century : Russia, Germany, Sweden
- 2018
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The modernist concept of life-building as an architectural method for improving the conditions of everyday life originated in Europe during the 1920s. This book explores three modes of functionalism by way of a comparative analysis of both the theoretical discourses and architectural practices associated with functionalism in Russia, Germany, and Sweden. These three countries made significant contributions to the application of functionalism within mass housing construction, the overarching purpose of which was to transform the traditional home into a rational living space.This study provides both close readings of foundational modernist texts as well as an empirical study of the avant-garde heritage in Russia, Germany, and Sweden. As a special case study, a visual analysis of IKEA catalogues is presented, the purpose of which is to provide an illustrated history of modernist aesthetics within mass-produced living spaces, from the era of functionalism up to the present day.
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| 45. |
- Selberg, Anna-Karin
(författare)
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Politics and Truth : Heidegger, Arendt and the Modern Political Lie
- 2021
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- In 2016, the Oxford Dictionary named “post-truth” the word of the year. In the ongoing debate about post-truth it is generally assumed that facts and truth have ceased to be relevant to politics. However, questions are seldom raised about the role of truth-claims in politics, why facts matter in political contexts, or what we even mean with words such as fact and lies in politics. A general aim of the present study is to shed light on these questions. Not, however, by engaging directly in the debate about post-truth, but by investigating the relation between politics and truth in the philosophical work of Hannah Arendt and Martin Heidegger.In 1945 Arendt suggested that fascism had invented a way of “lying the truth”. She later came to call this invention the modern political lie, seeing it as one of the key elements that crystallized into totalitarianism. The study explores the paradoxical relation between politics and truth in totalitarian movements, which can reinvent itself in non-totalitarian forms in contemporary democracies. Parts of Arendt’s analysis are implicit but can be made explicit against the background of Heidegger’s political writings. Heidegger is not an advocate of the modern political lie, nonetheless his writings from the 1930s, while a member of the National Socialist party, reflect aspects of the paradoxical relation between politics and truth in totalitarian movements. Studying Heidegger and Arendt together can therefore shed light on the specific problems that Arendt addressed regarding truth and lying in politics. The study investigates the relation between politics and truth in Heidegger and Arendt respectively, but also the relation between their works. It shows that there is a proto-political aspect already in Heidegger’s early articulations of truth as aletheia and explores the central role of truth in his political writings from the 1930s. Against the background of Heidegger, Arendt’s works on the modern political lie are analyzed. The study also investigates the concept of truth developed by Arendt in works after The Origins of Totalitarianism, arguing that it should be seen partly as a response to the modern political lie.
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| 46. |
- Sigge, Erik, 1973-
(författare)
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Architecture's Red Tape : Government Building Construction in Sweden, 1963-1973. The example of the National Board of Public Building, KBS (Kungliga Byggnadsstyrelsen)
- 2017
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Architecture’s Red Tape is a critical study of the relation between public architecture and public administration in the 1960s and 1970s. The thesis focuses on the work of the Swedish National Board of Public Building, KBS, which was a government agency in charge of providing premises for the Swedish state at that time. KBS expanded its construction of new buildings during the 1960s and did extensive research and development work to find new rational and efficient working methods and building systems. The development of KBS culminated in the implementation of an official architectural philosophy in 1968, called the “structure philosophy.” The architectural ideas were drafted parallel to new administrative systems that were in turn based on rational choice theories. The thesis studies the developments of KBS’ architecture, both as processes of building production (architecture practice) and as the built result of these processes (buildings), through the analysis of four different instruments. These instruments – Program Budgeting, KBS’ Structure Philosophy, Incentive Contract, and System Building – were important means in KBS’ efforts to rationalize building production and make operations more efficient. KBS highlighted new features in the practices of architecture – emphasizing process, the user, functionality, performance, evaluations, results, etc. – that could be reviewed as a redefinition of the architectural project. This review is explicit on two different levels: firstly, as a redefinition of the architectural object most clearly found in KBS’ publicly announced shift from building construction to “premises production.” Secondly, there is a redefinition of architectural practice that relocates the interest of design, making it more about programming with a heightened interest in the processes of defining the scope and problems of design.
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| 47. |
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Startpunkter : experimentell forskning inom arkitektur och design = Beginnings : experimental research in architecture and design
- 2005
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Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- 01.AKAD – EXPERIMENTAL RESEARCH IN ARCHITECTURE AND DESIGN – BEGINNINGS is the first in a series of publications from AKAD, which aim to provoke, promote and discuss new and critically experimental research by architecture and design. This first book is structured around four themes arising from projects initiated within AKAD with financial support from the Swedish Research Council. It includes critical essays and presentations of experimental design and writing projects. The contributors are architects, designers and scholars based in Sweden, Austria, Belgium, Canada, Ireland, Italy, Switzerland, UK, and USA.
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| 48. |
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| 49. |
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Swedish Modernism : Architecture, Consumption, and the Welfare State
- 2010
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Samlingsverk (redaktörskap) (refereegranskat)abstract
- Swedish Modernism provides an in-depth, multilayered account of the process, and difficulties found, in the process of modernization. The debate is enriched from a diverse range of contributors including architects, researchers and leading academics from across the globe. Following an introduction from Helena Mattsson and Sven-Olov Wallenstein, the book is divided thematically into three sections. The first section of the book explores the construction of the welfare state. The contributions in this section analyze the peculiar modalities of this development from the point of view of sociology and political science, providing a more nuanced view of ‘Modernism’ that shows to what extent it must always be understood on the basis of local context. Here, Henrik Berggren argues that the social contract has deep roots in Swedish political culture and social philosophy as it evolved during the nineteenth century whilst text from Yvonne Hirman deals with the formation of Swedish politics in the 1930s. This section also includes an essay from Jens Bartelson, Professor of International Relations at the Department of Political Science, University of Copenhagen.The second section of Swedish Modernism delves into the importance of consumers and spectacles analyzed in relation to the wide range of ‘state programs’ from housing to national marketing programs. This section includes case studies highlighting the importance of consumption for the formation of subjectivity, both in the pre- and post-war period, and range from analyses of exhibition architectures and debates on standardization to the Co-Op movement and the gendering of taste. Contributions to the second section of the book include an essay from Ylva Habel looking at the exhibition Modern Leisure, 1936, and exploring how exhibitions were highly instrumental during the formation of the Swedish welfare state. Helena Mattsson looks at how strategies of consumption are formulated in the political and architectural debates of the 1930s, tracing how the emergence of ideas of standardization and personality worked as a mediator between individual and society in the process of constructing the new subject of the welfare state. Reinhold Martin’s essay “Mass Customization: Consumers and Other Subjects” outlines, in historical perspective, developments in post-war corporate architecture related to emergent “technologies of the self” that have become known as “mass customization”. Further essays from Lisa Brunnstrom, Thordis Arrhenus and Penny Sparke also provide valuable insights into the role of architecture in the Swedish Co-operative movement, the role of architectural exhibitions in the promotion of societal models and the modulation of cultural identity and the subject of production and consumption of the domestic interior, respectfully. The third and final section of the book deals with the problem of historiography on a broad level. Eva Rudberg asks “What is the Question to which Functionalism is the Answer?” whilst Joan Ockman explores the paradigm shift that occurred following the Second World War and in the context of the Cold War. The section also includes contributions from Roger Jonsson and Sven-Olov Wallenstein, who draw on the work of Michel Foucault and delineate a genealogical model of analysis that focuses on how architecture can take part in the production of subjectivity.
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| 50. |
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