1,057 research outputs found
Stauf : eine Dichtung / von Theodor Scheerer
No full textSTAUF : EINE DICHTUNG / VON THEODOR SCHEERER
Stauf : eine Dichtung / von Theodor Scheerer (1)
Cover (1)
Titelseite (5)
Widmung (7)
Vorrede (9)
Prolog im Himmel. (11)
Der Dichtung erster Theil. Die Naturwissenschaften. (19)
Der Dichtung zweiter Theil. Freundschaft und Philosophie. (65)
Der Dichtung dritter Theil. Lebensfreude. (109)
Nachspiel. Die Freude der Erschaffenen. (143)
Verbesserungen (165
Theodor W. Adorno: um crítico na era dourada do capitalismo
No full textTese (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
Was ist Judenthum und was dessen Verhältniss zu andern Religionen? Predigt zur Einsegnungsfeier seiner beiden Zöglinge Theodor und Oskar Heymann, gehalten am 17 Juni 1838.
No full textDigital imageDescription based on print version record
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
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