999 research outputs found
Theodor W. Adorno: um crítico na era dourada do capitalismo
Get PDFTese (doutorado) - Universidade Federal de Santa Catarina, Centro de Filosofia e Ciências Humanas, Programa de Pós-Graduação em Filosofia, Florianópolis, 2015.A presente tese apresenta a teoria crítica tardia de Theodor W. Adorno por meio da análise dos diversos elementos que a compõe: sua dimensão política; seu público-alvo; seu objeto de crítica; suas críticas ao capitalismo, à racionalidade predominante na modernidade, à dominação da natureza e à vida danificada; seu projeto de emancipação e sua justificação normativa. Argumenta-se que, ao contrário do que defende a interpretação predominante, não houve uma substituição do objeto da crítica ao longo do percurso teórico do pensador frankfurtiano, da economia política à razão instrumental ou à dominação da natureza, mas sim uma complementação: de forma que a crítica ao capitalismo seguia sendo necessária, mas já não era mais suficiente como análise dos obstáculos que impedem a emancipação. O trabalho visa tanto expor o procedimento teórico crítico adorniano, a dialética negativa, como também questionar o diagnóstico de época e as tendências sociais observadas pelo autor frankfurtiano, e, na medida em que obtiver sucesso nessa dupla empreitada, almeja conseguir, ainda, estabelecer um diálogo crítico entre o autor, o seu tempo e o nosso.Abstract : This Doctoral Dissertation aims to present the late critical theory of Theodor W. Adorno by analyzing the various elements that compose it: its political dimension; its target audience; its object of criticism; its criticism of capitalism, of the prevailing rationality in modernity, of nature?s domination and of the damaged life; its emancipation project and its normative justification. It is argued that, contrary to the predominant interpretation defends, there was not a replacement of the object of criticism during the theoretical trajectory of the Frankfurtian thinker, from political economy to instrumental reason or to nature?s domination, but rather a complement: so the critique of capitalism was still necessary, but it was no longer sufficient as analysis of the obstacles to emancipation. The work aims to expose both the critical theoretical procedure, the negative dialectics, as well as to question the diagnosis of the time and social trends observed by the Frankfurtian author, and, in the extent that succeeds in this double endeavor, seeks also to be able to establish a critical dialogue between the author, his time and ours
Fluctuat nec mergitur or what happened to Reikian psychoanalysis?
No full textThe official published version can be obtained from the link below - Copyright @ 2006 American Psychological AssociationAlthough Theodor Reik was a celebrated psychoanalyst during the 1950s and 1960s, his work has not resulted in the development of a specific psychoanalytic tradition, and his name has gradually disappeared from Western cultural memory. Following the mode of argumentation of the reductio ad absurdum, the author critically examines six possible explanations for this remarkable observation, thereby drawing on published materials and archival sources relating to the life and works of Reik. Once these explanations have been discarded, the author argues that the main reason for the absence of a Reikian tradition within psychoanalysis stems from Reik's belief in the analytic virtue of intellectual independence. This belief may have contributed to his own departure from the psychoanalytic training institution that he helped to create, yet it also implies that Reikian psychoanalysis somehow lives on in all those practitioners who do not seek to affiliate with a doctrinal school of thought
#01-06 the phygital
No full textDuring an Artistic Research day at KHiO’s dpt. of design (13.08.21), PhD fellow Ida Falck Øien asked the author (Theodor Barth) a direct question on how to incorporate diary-keeping into the practices of arenas devoted to the presentation and discussion of results and reflections from artistic research: for instance, the PhD viva.
Finding that the question was asked by Ida from a place of research practice, and my answer (Theodor Barth) was formulated within the constraints of the mentioned discussion-arena, there was a risk that the question remained substantially unanswered, or tautological, and rather reproduce the problem (if only moving it).
Which is why we took the initiative to let the question have the chance of being processed—and met—in a diary: that is, an experimental diary of exactly one-week duration, and posting it here on KHiODA one week after the question was asked during the gathering above.
Which means that the question was sought to be addressed, as different tasks conspired to (randomly) meet during this week, using them as occasions to process Ida’s question: we did this as a collaborative venture. She sometimes pitched the flyer entries, alternatively responded to them, with images from her own doctoral work.
In this way, we engaged a transaction in knowledge, design and ways of being-in-the world, the led us from criticality to critical theory, and also to some fundamental questions concerning the ethics of glass-plate media. The topics covered by me are representative for the type of exchange that I have at this time of the year (term startup).
The concept of ‘agentic’ used by Christina Lindgren in her exposé of the Costume Agency Project. Then an exchange with composer Henrik Hellstenius on Mette Kaabye’s MA thesis on Georges Aperghis (music theatre): discussing e.g. 3rd party readability and 3rd party stakes (ownership, use-value etc.).
How, the notion of the phygital—physical + digital = phygital—which gave name to the present flyer series. The borderland role of the unconscious in the edgeland between the physical and the digital. Along with the affordances of parcours (itinerancy) to map unto discours (the journey), in terms of evolving situations and shifting positions.
Things that are characteristic of creative processes, featuring design as the animating principle of such processes (in the delimited aspect discussed in the series). How the contingent, speculative and agentic become bundled in what can understand as signs, or sign-production (semiosis). Where specify, rather than generality, is a virtue.
What is the contribution of artistic research to contemporary knowledges? In which aspects are these portable and transportable into other disciplines as archaeology, architecture and anthropology? In other words, what is the AR defence, that can also be brought down to a viva. Bringing STEAM to the controversies from the STEM-subjects.
In the “crack” between environmental humanities and science technology studies (STS) lays buried a question of how we conceive explanation, and explanatory mechanisms. Can we argue that the STEM subjects—environmentally—is in a state of flux, lateral drift and fragmentation? What can artistic research do that philosophy doesn’t?
Whoever is looking for definitive answers to these questions in the present series will find none. But you will find that they are processed in terms that are rich in implications for criteria we may want to discuss, that are critical to what we call a viva in Artistic Research. Essentially, a contribution to an ongoing discussion on the subject matter.
The last flyer in the series attempts to deconstruct the phygital down to its workings, as one that is facilitated by a particular work of illustration, to which my attention was drawn by Prof. Andreas Berg. This flyer therefore crosses over from design thinking to a discussion with methodological implications for visual methods in archive studies
EXPERIMENTAL diary/DIARY experiment
No full text1 cover_descriptor, 6 flyers (1HEX): #01—attempt; #02—try again; #03—do something else; #04—return; #05—unlearn; #06—crossover.During an Artistic Research day at KHiO’s dpt. of design (13.08.21), PhD fellow Ida Falck Øien asked the co-author (Theodor Barth) a direct question on how to incorporate diary-keeping into the practices of arenas devoted to the presentation and discussion of results and reflections from artistic research: for instance, the PhD viva.
Finding that the question was asked by Ida from a place of research practice, and my answer (Theodor Barth) was formulated within the constraints of the mentioned discussion-arena, there was a risk that the question remained substantially unanswered, or tautological, and rather reproduce the problem (if only moving it).
Which is why we took the initiative to let the question have the chance of being processed—and met—in a diary: that is, an experimental diary of exactly one-week duration, and posting it here on KHiODA one week after the question was asked during the gathering above.
Which means that the question was sought to be addressed, as different tasks conspired to (randomly) meet during this week, using them as occasions to process Ida’s question: we did this as a collaborative venture. She sometimes pitched the flyer entries, alternatively responded to them, with images from her own doctoral work.
In this way, we engaged a transaction in knowledge, design and ways of being-in-the world, the led us from criticality to critical theory, and also to some fundamental questions concerning the ethics of glass-plate media. The topics covered by me are representative for the type of exchange that I have at this time of the year (term startup).
The concept of ‘agentic’ used by Christina Lindgren in her exposé of the Costume Agency Project. Then an exchange with composer Henrik Hellstenius on Mette Kaabye’s MA thesis on Georges Aperghis (music theatre): discussing e.g. 3rd party readability and 3rd party stakes (ownership, use-value etc.).
How, the notion of the phygital—physical + digital = phygital—which gave name to the present flyer series. The borderland role of the unconscious in the edgeland between the physical and the digital. Along with the affordances of parcours (itinerancy) to map unto discours (the journey), in terms of evolving situations and shifting positions.
Things that are characteristic of creative processes, featuring design as the animating principle of such processes (in the delimited aspect discussed in the series). How the contingent, speculative and agentic become bundled in what can understand as signs, or sign-production (semiosis). Where specify, rather than generality, is a virtue.
What is the contribution of artistic research to contemporary knowledges? In which aspects are these portable and transportable into other disciplines as archaeology, architecture and anthropology? In other words, what is the AR defence, that can also be brought down to a viva. Bringing STEAM to the controversies from the STEM-subjects.
In the “crack” between environmental humanities and science technology studies (STS) lays buried a question of how we conceive explanation, and explanatory mechanisms. Can we argue that the STEM subjects—environmentally—is in a state of flux, lateral drift and fragmentation? What can artistic research do that philosophy doesn’t?
Whoever is looking for definitive answers to these questions in the present series will find none. But you will find that they are processed in terms that are rich in implications for criteria we may want to discuss, that are critical to what we call a viva in Artistic Research. Essentially, a contribution to an ongoing discussion on the subject matter.
The last flyer in the series attempts to deconstruct the phygital down to its workings, as one that is facilitated by a particular work of illustration, to which my attention was drawn by Prof. Andreas Berg. This flyer therefore crosses over from design thinking to a discussion with methodological implications for visual methods in archive studies.draf
Theodor Herzl; Back of postcard
No full textTheodor Herzl; Back of postcard; Colorful reproduction of an illustrated portrait of Zionist author Theodor Herzl. A caption below reads: “בנימין זאב הרצל THEODOR HERZL”. Back: Printed vertically: “כל הזכויות שמורות לפלפוט בע״מ, הרצליה * COPYRIGHT BY PALPHOT LTD. HERZLIA”. Below: “MADE IN ISRAEL, 9225”
Theodor Herzl; Back of postcard
No full textTheodor Herzl; Back of postcard; Colorful reproduction of an illustrated portrait of Zionist author Theodor Herzl. A caption below reads: “בנימין זאב הרצל THEODOR HERZL”. Back: Printed vertically: “כל הזכויות שמורות לפלפוט בע״מ, הרצליה * COPYRIGHT BY PALPHOT LTD. HERZLIA”. Below: “MADE IN ISRAEL, 9225”
Dr. Theodor Herzl; Back of postcard
No full textDr. Theodor Herzl; Back of postcard; Black and white reproduction of a photographic portrait of Zionist author Theodor Herzl. Herzl is dressed in a black jacket, standing upright with his arms crossed and staring directly at the viewer. A caption below, printed in Yiddish and in Roman script, reads: “דר. טהעאָדאָר הערצל Dr. Theodor Herzl”. Back: A caption in decorative calligraphy reads: “открытое письмо. CARTE POSTALE.". A decorative dividing line is printed vertically at the center
Dr. Theodor Herzl; Back of postcard
No full textDr. Theodor Herzl; Back of postcard; Black and white reproduction of a photographic portrait of Zionist author Theodor Herzl. Herzl is dressed in a black jacket, standing upright with his arms crossed and staring directly at the viewer. A caption below, printed in Yiddish and in Roman script, reads: “דר. טהעאָדאָר הערצל Dr. Theodor Herzl”. Back: A caption in decorative calligraphy reads: “открытое письмо. CARTE POSTALE.". A decorative dividing line is printed vertically at the center
»Mit der alten Welt Schicht zu machen«. Topographische und symbolische Grenzverschiebungen in Theodor Fontanes Kolonialdiskurs
No full textI confini e l'attraversamento delle frontiere costituiscono, come è noto, un Leitmotiv nell'opera di Theodor Fontane che può essere interpretato sotto vari profili. L'autore presenta un quadro sfaccettato della società guglielmina e rappresenta in modo realistico i desideri, le ambizioni e le paure contraddittorie della classe borghese. Tale restituzione sfaccettata della società include anche le esperienze coloniali dell'impero che, nell'opera dell’autore, sono spesso associate al desiderio – e, al contempo, alla paura – dell'ignoto, dello straniero e dell'esotico. Nel presente lavoro la figura dello straniero è indagata alla luce del rapporto dialettico tra gli spazi e ai fini di una riflessione critica del concetto stesso di alterità.Borders and border-crossing constitute, as is well known, a Leitmotif in Theodor Fontane's work that can be interpreted in various ways. The author presents a multifaceted picture of Wilhelmine society and realistically depicts the contradictory desires, ambitions and fears of the bourgeois class. This multifaceted portrayal of society also includes the colonial experiences of the empire which, in the author's work, are often associated with the desire - and, at the same time, the fear - of the unknown, the foreigner and the exotic. In the present work, the figure of the foreigner is investigated in the light of the dialectical relationship between spaces and for the purposes of a critical reflection on the very concept of otherness.Grenzen und Grenzüberschreitungen bilden, wie bekannt, ein Leitmotiv im Werk von Theodor Fontane, das auf verschiedene Weise interpretierbar ist. Der Autor gibt ein facettenreiches Bild der Gesellschaft, das die widersprüchlichen Ambitionen, Wünsche und Ängste des Bürgertums im Kaiserreich realitätsnah widerspiegelt. In dieser mannigfaltigen Darstellung der Gesellschaft finden auch die Kolonialerfahrungen des Kaiserreichs Platz, die im Werk Fontanes oft mit dem Verlangen nach dem Unbekannten, dem Fremden und Exotischen und zugleich mit der Angst davor verbunden sind.
Ziel dieses Beitrags ist eine Analyse des ‚Fremden‘ und insbesondere seiner Ausprägungen im kolonialen Diskurs bei Fontane, wobei eine dialektische Beziehung zwischen Räumen immer auf das Konzept von „Andersartigkeit“ verweist. In diesem Sinne kommt dem kolonialen Diskurs im Werk Fontanes eine herausragende Rolle zu, denn der Autor webt die Repräsentation einer Realität, die damals ein wesentliches Thema der Interessen des Bürgertums war, in seine Erzählung ein und macht sie zu einem Instrument, durch das er auch metaphorisch eine kritische Darstellung seiner Zeit erzielt
Cultural Policy against the Grain 流れに逆らう文化政策: liber amicorum for Matthias Theodor Vogt in honour of his 65th birthday, edited by his colleagues and students
No full textWhat are the premises of today‘s cultural policy? What insights can the past, present and theory offer for a contemporary cultural policy? How can art counteract agoraphobia, digital isolation and populist temptations? How can local authorities give their citizens ample space to develop civil society solidarity ‘for the good of the city. For only when the city is well will you be well.’ (It should be noted that Jeremiah 29:7 addresses immigrants who are to become citizens in foreign Babylon. Does our cultural policy also achieve this?) Are the arts not precisely the place where we can first listen to the other before we think together and then act together?It is the historical achievement of Matthias Theodor Vogt, in the Free State of Saxony, which was re-established in 1990, to not only conceive the Saxon Cultural Area Act between 1991 and 1995 in a unique process of analysis and dialogue with the state, municipal and civil society levels, but also to have it enshrined in law and, last but not least, to have it implemented with little friction. It was therefore only natural that, on the thirtieth anniversary of the law‘s entry into force, the cultural areas of Saxony invited Matthias Theodor Vogt‘s colleagues and students to a conference entitled ‘Kulturpolitik gegen den Strich’ (Cultural Policy Against the Grain). We are hereby presenting the results of this conference in a commemorative publication to mark his 65th birthday.What can art do better and differently than the digital world? What political, structural, economic, and, last but not least, intellectual conditions are necessary for art to develop its own life for the benefit of humanity? The cover image shows Haus Klingewalde, Görlitz, home of the Institute for Cultural Infrastructure Saxony since 1998. The watercolour by Lynne Beal, Cologne, relates to a conversation with Matthias Theodor Vogt about the vanishing point in Alberti: De pictura | De pittura (1435 – 1436). According to Corinna Laude, in the centricus punctus of Alberti‘s intromission theory, ‘the orthogonal vanishing lines, the depth lines of the representation, converge “quasi persino in infinito” (as it were out into infinity), it lies in infinity – and thus, according to contemporary understanding, in God’. Which “vanishing points” does today‘s post-secular society use?How can political science in Chemnitz interact in a multidisciplinary, cross-continental manner, always with reference to human beings themselves, with cultural studies in Tokyo and linguistics in Leipzig, with legal studies in Naples and social sciences in Rome? This volume shows that cultural policy studies require a fact-based holistic approach and that this may be achieved by working together.:Bingen, Dieter (Köln), Stefan Garsztecki (Chemnitz), Goro Christoph Kimura (Tokyo), Luigi Ferrara (Neapel), Peter Lah (Rom), Beat Siebenhaar (Leipzig) and the other editors: Listening, Considering, Acting, Introduction by the editors
Gemkow, Sebastian (Dresden): Letter of congratulations from the Minister of State for Science and the Arts to Matthias Theodor Vogt
Sedleniece, Una (Riga): Greetings from the former students of “Culture and Management Görlitz”
Rößler, Matthias (Dresden): Greeting message from State Parliament President Dr Matthias Rößler on the occasion of the conference ‘Against the grain – cultural policy in history and present-day Saxony’ on 24 May 2024 in Görlitz
Kimura, Goro Christoph (Tokyo) 木村 護郎クリストフ: Greeting from Tokyo for the conference ‘Against the Grain’, Görlitz, 24 May 2024
*30 years of Saxony‘s Cultural Area Act and Saxony 2025 ff.
Zimmermann, Reiner (Dresden): Cultural policy crossing thread and stitch
Matthias Theodor Vogt‘s contribution to the Saxon Cultural Area Act
Meyer, Stephan (Görlitz): Outline of current problems and expectations of municipal cultural policy in Saxony
Vogt, Matthias Theodor (Görlitz): Trust and confidence - Cultural policy in Saxony 2024–2029 in the Kretschmer III cabinet
Ferrara, Luigi (Neapel): The Saxon Cultural Areas Act as a model for Italian legislation?
Franke, Annemarie (Görlitz): Contemporary witnesses in dialogue: 30 years of the Saxon Cultural Areas Act in Upper Lusatia
*Inspirations from history, present and theory
Vogt-Spira, Gregor (Marburg): Augustus and the ‘invention’ of cultural policy
Różańska, Róża Zuzanna (Krakau): Royal Cultural Policy of the Baroque Era: Artistic Patronage and Governance
Bracher, Andreas (Wien): The Golden Age of German Literature and Philosophy––from a cultural policy perspective. An outline
Lombardi, Luca (Rom): Construction of joy
Garsztecki, Stefan (Chemnitz): Province Occurs in the Minds of Men
Fujino, Kazuo (Kobe): The peer pressure of the “world” in Japan during the coronavirus pandemic and the role of art and culture
Sterbling, Anton (Fürth): How much politics can art tolerate? Ideology-critical reflections on cultural policy
Havelka, Miloš (Prag): How does order exist? On an antinomy in the foundations of our modern consciousness
Forte, Pierpaolo (Benevent): Cultural Production - Considerations on Cultural Enterprise Qualities
Vill, Susanne (Wien): Cultural Work Against Poverty in Old Age
Bingen, Dieter (Köln): Think about Poland! On hold, on hold, on hold - A chronicle 2017-2025
Simo, David (Yaounde) in conjunction with Nana Komey Daniel and Salamatou: Royal and ritual objects in colonial and postcolonial contexts. Strategies and models for dealing with cultural discontinuities. Outline of a postcolonial and decolonial culture of remembrance and cultural policy.
Pfeil, Beate Sibylle (Freiburg): Minorities in three classes - Current language policy in Ukraine
Fujino, Kazuo (Kobe): Politics and Aporia Surrounding Cultural Diversity: A Japanese Analysis of Minority Cultural Rights and of the Convention on the Protection and Promotion of the Diversity of Cultural Expressions
Reisner, Oliver (Tiflis): Georgian students in Germany 1874–1945
*Contributions by Matthias Theodor Vogt, the jubilarian
Vogt, Matthias Theodor (Görlitz): How Japan could play the ‘Ryūkyū card’ from a cultural policy perspective in response to Xi Jinping‘s imperialism. Report from the Ryūkyū Archipelago
Vogt, Matthias Theodor (Görlitz)マティアス・テーオドア・フォークト: 日本は習近平の帝国主義に対して文化政策の観点から「琉球カード」をどう使うか—琉球列島からの報告
Vogt, Matthias Theodor (Görlitz): The Corona Juventocide. Political immunosenescence due to distorted census weight at the expense of young age cohorts
Fujino, Kazuo (Kobe): フォークト教授の論文「コロナ対策が引き起こした未成年者の『過失致死』について－若年層を犠牲にした国勢調査の歪んだ比重による政治的免疫老化－」に対するピアレビュー
Vogt, Matthias Theodor (Görlitz) マティアス・テーオドア・フォークト: コロナ対策が引き起こした未成年者の「過失致死」について －若年層を犠牲にした国勢調査の歪んだ比重による政治的免疫老化－
Vogt, Matthias Theodor (Görlitz): List of publications 1979-2025
*Documentation of the conference and art night 24 May 2024 Görlitz
Documentation of the conference 30 Years of IKS on 24 May 2024
Documentation of the art night celebrating 30 years of IKS and the premiere of the film ‘Görlitz Rhythms – A Dance of Cultures’ at Benigna, Görlitz
*About the author
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