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Understanding the world is important for everyone. For me, it takes the form of analyzing colorful images and artifacts in the built environment. In the broad traditions of the global northwest, color is regarded as deceptive and unreliable. For centuries now, and throughout disparate media and technical systems, color has had to maintain this secondary, subordinate status as “other,” linked to falsity, manipulation, and deceit or, to quote David Batchelor, “some ‘foreign’ body". In my work, I argue that we have all inherited this tradition in the global northwest, fetishizing color as both excessive and yet indispensable in its capacity to retroactively confirm the sanctity of what it is not.
Once again, some of our most profound insights into contemporary culture derive from a deep understanding of history. For example, why is there a fundamental distrust of surfaces and shiny “bling”?
In The Republic, and in “Book X” in particular, Plato outlines a theory of images, truth, deception, and appearances that we continue to relive in everyday life.
Long regarded as the most accurate rendering of Plato's Republic that has yet been published, this widely acclaimed work is the first strictly literal translation of a timeless classic. In addition to the annotated text, there is also a rich and valuable essay,as well as indices,which will better enable the reader to approach the heart of Plato's intention. This new edition includes a new introduction by acclaimed critic Adam Kirsch, setting the work in its intellectual context for a new generation of readers.
Understanding the world is important for everyone. For me, it takes the form of analyzing colorful images and artifacts in the built environment. In the broad traditions of the global northwest, color is regarded as deceptive and unreliable. For centuries now, and throughout disparate media and technical systems, color has had to maintain this secondary, subordinate status as “other,” linked to falsity, manipulation, and deceit or, to quote David Batchelor, “some ‘foreign’ body". In my work, I argue that we have all inherited this tradition in the global northwest, fetishizing color as both excessive and yet indispensable in its capacity to retroactively confirm the sanctity of what it is not.
Fredric Jameson’s Postmodernism, or The Cultural Logic of Late Capitalism was one of the first accounts of “postmodern aesthetics” and why it continues to matter today.
Circa 1990, Jameson showed how a new age of high-tech and transnational corporations fundamentally transformed how we create and experience art, design, and aesthetics.
Now in paperback, Fredric Jameson's most wide-ranging work seeks to crystalize a definition of "postmodernism". Jameson's inquiry looks at the postmodern across a wide landscape, from "high" art to "low" from market ideology to architecture, from painting to "punk" film, from video art to literature.
Understanding the world is important for everyone. For me, it takes the form of analyzing colorful images and artifacts in the built environment. In the broad traditions of the global northwest, color is regarded as deceptive and unreliable. For centuries now, and throughout disparate media and technical systems, color has had to maintain this secondary, subordinate status as “other,” linked to falsity, manipulation, and deceit or, to quote David Batchelor, “some ‘foreign’ body". In my work, I argue that we have all inherited this tradition in the global northwest, fetishizing color as both excessive and yet indispensable in its capacity to retroactively confirm the sanctity of what it is not.
Also one of the most comprehensive philosophical accounts of aesthetic judgment and why taste is taste and not something else…Even though it was penned circa 1790, it still has many gems of insight for the present, especially when it comes to our biases and prejudices regarding color, charm, and sense perception.
For example, Kant writes of color: “The colours which give brilliancy to the sketch are part of the charm. They may no doubt, in their own way, enliven the object for sensation, but make it really worth looking at and beautiful they cannot.” (¶14; p. 56)
'beauty has purport and significance only for human beings, for beings at once animal and rational'
In the Critique of Judgement (1790) Kant offers a penetrating analysis of our experience of the beautiful and the sublime, discussing the objectivity of taste, aesthetic disinterestedness, the relation of art and nature, the role of imagination, genius and originality, the limits of representation and the connection between morality and the aesthetic. He also investigates the validity of our judgements concerning the apparent purposiveness of nature with respect to the highest interests of reason and enlightenment.
The work profoundly influenced the artists and writers…
Understanding the world is important for everyone. For me, it takes the form of analyzing colorful images and artifacts in the built environment. In the broad traditions of the global northwest, color is regarded as deceptive and unreliable. For centuries now, and throughout disparate media and technical systems, color has had to maintain this secondary, subordinate status as “other,” linked to falsity, manipulation, and deceit or, to quote David Batchelor, “some ‘foreign’ body". In my work, I argue that we have all inherited this tradition in the global northwest, fetishizing color as both excessive and yet indispensable in its capacity to retroactively confirm the sanctity of what it is not.
In 1810, after decades of color rationalizations in early modern science, romantic poet Johann Wolfgang von Goethe (1749–1832) attempted to return color to its pre-Socratic, Homeric lifeworld.
His Zür Farbenlehre (Theory of Colors) glorified color for all of its inconsistencies and mysteries, making subjective perception—in marked contrast to Newton’s 1704 color theory—the most central and sacred to human experience, in service of achieving the “highest aesthetic ends.” For Goethe, color arose “in the spectrum” between black and white, a phenomenological observation dating back to Aristotelean antiquity.
Over two centuries later, this is still a fantastic guidebook for anyone interested in the phenomenology of color, light, and scintillations of subjective perception.
By closely following Goethe's explanations of the color phenomena, the reader may become so divorced from the wavelength theory—Goethe never even mentions it—that he may begin to think about color theory relatively unhampered by prejudice, ancient or modern.
By the time Goethe's Theory of Colours appeared in 1810, the wavelength theory of light and color had been firmly established. To Goethe, the theory was the result of mistaking an incidental result for an elemental principle. Far from pretending to a knowledge of physics, he insisted that such knowledge was an actual hindrance to understanding. He based his conclusions exclusively upon…
As a graduate student during the late 1970s, my mentor, Martin Jay, generously introduced me to two members of the Frankfurt School: Herbert Marcuse and Leo Lowenthal. These memorable personal encounters inspired me to write a dissertation on Walter Benjamin, who was closely allied with the Frankfurt School. The completed dissertation, Walter Benjamin: An Aesthetic of Redemption, became the first book on Benjamin in English and is still in print. The Frankfurt School thinkers published a series of pioneering socio-psychological treatises on political authoritarianism: The Authoritarian Personality, Prophets of Deceit, and One-Dimensional Man. These studies continue to provide an indispensable conceptual framework for understanding the contemporary reemergence of fascist political forms.
The ever-contentious debate about Heidegger’s filiations with Nazism was re-enlivened with the appearance of the so-called “Black Notebooks” in 2014.
However, unless one closely heeds the existential verbiage of Heidegger’s commitment to Nazism, one risks tilting at windmills; hence, succumbing to a plethora of misconceptions and misunderstandings.
This invaluable collection of original texts – which, in addition to Heidegger political speeches of 1933-34, contains the indispensable Der Spiegel interview, “Only a God Can Save Us!” – has taken on an entirely new meaning and importance in light of the “Black Notebooks’” publication.
This anthology is a significant contribution to the debate over the relevance of Martin Heidegger's Nazi ties to the interpretation and evaluation of his philosophical work. Included are a selection of basic documents by Heidegger, essays and letters by Heidegger's colleagues that offer contemporary context and testimony, and interpretive evaluations by Heidegger's heirs and critics in France and Germany.In his new introduction, "Note on a Missing Text," Richard Wolin uses the absence from this edition of an interview with Jacques Derrida as a springboard for examining questions about the nature of authorship and personal responsibility that are at the heart…
I grew up in a world steeped in pre-Vatican II Catholicism including four years spent in a Catholic religious order. My theological training led me to philosophy, to question my theology, and to my life as a philosophy professor. There's a blaze of light in every word, Leonard Cohen says, so I've been seeking the blaze of light in the word God. My idea is that God is neither a real being nor an unreal illusion but the focus imaginarius of a desire beyond desire, and the “kingdom of God” is what the world would look like if the blaze of light in the name of God held sway, not the powers of darkness.
This book contains a magisterial rendering of the mystical poet Angelus Silesius’s verse, “The Rose Is Without Why” as part of a critical analysis of the emergence of the modern idea of “reason.”
This book has never left me since I first encountered it in my doctoral dissertation on Heidegger back in the 1960s. It landed like a bombshell on a young Catholic like me, opening a poetic and mystical sense of life free from the creeds and authoritarianism of religion as well as from the doctrinaire dismissiveness of Enlightenment rationalism.
Written at the end of his career, it encapsulates everything Heidegger was getting at. We must never forget the horrible stain of Heidegger’s National Socialism, which I have analyzed (Demythologizing Heidegger), but there is more to Heidegger than that, and you can find it here.
The Principle of Reason, the text of an important and influential lecture course that Martin Heidegger gave in 1955-56, takes as its focal point Leibniz's principle: nothing is without reason. Heidegger shows here that the principle of reason is in fact a principle of being. Much of his discussion is aimed at bringing his readers to the "leap of thinking," which enables them to grasp the principle of reason as a principle of being. This text presents Heidegger's most extensive reflection on the notion of history and its essence, the Geschick of being, which is considered on of the most…
I’m a political theorist recently retired from the University of Toronto. Around fall 2014, I became aware that a hyper-energetic, well-educated intelligentsia was trying to move heaven and earth to make fascism intellectually respectable again. I resolved to educate myself about these scary characters. I was truly alarmed, and wrote my book to convey my alarm to fellow citizens who hadn’t yet woken up to the threat. Sure enough, within a couple of years, Richard Spencer rose to media stardom; and one of the first things that Trump did after being elected in November of 2016 was to decide that a crypto-fascist Steve Bannon was worthy of a senior position in the White House.
Faye’s book has been extremely controversial, exposing him to sometimes quite nasty attacks by Heidegger apologists. But with respect to the core of what his book is about—the pro-Hitlerite seminars given by Heidegger during the years when he was most closely aligned with the Nazis—it’s an absolutely devastating account. The book is a must-read. Should be read in conjunction with Charles Bambach’s 2003 book, Heidegger’s Roots.
In the most comprehensive examination to date of Heidegger's Nazism, Emmanuel Faye draws on previously unavailable materials to paint a damning picture of Nazism's influence on the philosopher's thought and politics. In this provocative book, Faye uses excerpts from unpublished seminars to show that Heidegger's philosophical writings are fatally compromised by an adherence to National Socialist ideas. In other documents, Faye finds expressions of racism and exterminatory anti-Semitism. Faye disputes the view of Heidegger as a naive, temporarily disoriented academician and instead shows him to have been a self-appointed 'spiritual guide' for Nazism whose intentionality was clear. Contrary to what…
My fascination with magic and the occult emerged from growing up in Scotland, which has a long, rich history of witchcraft, fairies, and the 19th century Celtic Revival, which saw a relation between art and magic. For me, the occult is primarily about liberating the imagination and this is what surrealism does. I became enchanted by surrealist art as a teenager which then led me to study History of Art at university. After graduating in 1989, I wrote my book at a time when there was so little available on the relationship between surrealism and occultism, determined to share my passion with other readers.
André Breton, the leader of the surrealist movement, wrote L’Art Magique in his later years, making explicit what was before then only hinted at, namely, the magical origins of art. This is a lavishly illustrated historical survey of art across different cultures and centuries and although the book has a French text and hasn’t been translated, its wonderful selection of images really conveys the surrealist perspective on what makes art magic. The book was first published in 1957 and a second edition in 1991, but was out of print for many years until this new and affordable edition which I would highly recommend.
Publi en 1957 tirage limit (rserv un cercle de bibliophiles), L'Art magique reprsentait aux yeux d'Andr Breton la somme de toute une vie : rien de moins qu'une histoire universelle de l'art, des origines prhistoriques jusqu' nos jours - mais une histoire de l'art revisite de fond en comble par le regard et la pense surralistes. Projet grandiose que cette chevauche travers les paysages de la Beaut, servi par la passion ttue d'un homme qui lui consacra, tout au long de son existence, ses recherches et le meilleur de ses intuitions. Projet exaltant surtout : car l'un des premiers crivains…
I am a historian at The Ohio State University. When I started my academic studies in Israel, I was initially interested in European history and only later began focusing on Jewish and Israeli history. I’m not exactly sure what attracted me to this career, but it’s probably the desire to better understand my own society and identity. I enjoy studying migration because it has played such an important role in Israeli and Jewish history, and even in my own life as an “academic wanderer.” Migration also provides a fascinating perspective on the links between large-scale historical events and the lives of individuals, and on the relationships between physical place, movement, and identity.
Hans Jonas was born in 1903 in Mönchengladbach, studied philosophy with Martin Heidegger in the 1920s, and after Hitler’s rise to power left Germany for British Mandate Palestine, where he enlisted in the Zionist Haganah militia. During World War II he served in the British Army’s Jewish Brigade and then fought in the 1948 Arab-Jewish war in Palestine. After demobilization, he could not secure a permanent academic position in newly established Israel, and moved to Canada and then to the United States, where in 1955, he accepted a professorship at the New School of Social Research in New York, eventually becoming a prominent philosopher and public intellectual. His beautifully written memoir illuminates the impact of migration and the upheavals of the 20th century on the life of a Jewish intellectual.
When Hans Jonas died in 1993 at the age of 89, he was revered among American scholars specializing in European philosophy, but his thought had not yet made great inroads among a wider public. In Germany, conversely, during the 1980s, when Jonas himself was an octogenarian, he became a veritable intellectual celebrity, owing to the runaway success of his 1979 book, The Imperative of Responsibility, a dense philosophical work that sold 200,000 copies. An extraordinarily timely work today, The Imperative of Responsibility focuses on the ever-widening gap between humankind's enormous technological capacities and its diminished moral sensibilities. The book became…
My mother’s death from an E. coli outbreak over a decade ago was my wake-up call to an awareness of my own mortality and was the emotional foundation of both my first novel and my latest. I’ve reached a point in my own life where advancing age is a lived experience, and I’ve read broadly about this phase of life that goes largely unexamined despite the fact that we’re all destined for it. My essays have appeared in the New York Times, the San Francisco Chronicle, and the San Jose Mercury News. I’m a graduate of Denison University and Columbia Law School.
The title itself is a consolation to me, and it turns out there really are several strong arguments for why we should be glad we don’t live forever, no matter how appealing that may seem. I found Stark’s whimsical tone throughout the book to be a pleasant departure from the leaden prose of most academic philosophers.
This book didn’t completely convince me that worrying about death is a waste of time, but it did get me part of the way there, and that was and is an enormous comfort to me.
A penetrating and provocative exploration of human mortality, from Epicurus to Joan Didion
For those who don't believe in an afterlife, the wisdom of the ages offers four great consolations for mortality: that death is benign and good; that mortal life provides its own kind of immortality; that true immortality would be awful; and that we experience the kinds of losses in life that we will eventually face in death. Can any of these consolations honestly reconcile us to our inevitable demise?
In this timely book, Andrew Stark tests the psychological truth of these consolations and searches our collective literary,…
