Posts Tagged ‘Theodor Adorno’
“Whereof one cannot speak, thereof one must be silent”*…
Ludwig Wittgenstein wrote a 75 page book in his twenties, Tractatus Logico-Philosophicus, that he thought solved philosophy, then stepped away from the field. Years later, he came back and spent the rest of his life dismantling and reconstructing many of his own ideas (as reflected in his second book, Philosophical Investigations).
Marco Giancotti has created a new way to read the famously-difficult Tractatus…
Ludwig Wittgenstein wrote most of the Tractatus Logico-Philosophicus while fighting in World War I. When he was done, he believed this book made philosophy obsolete, so he found a job as an elementary school teacher. While he would later change his mind on its finality, the Tractatus remains one of the most important works of philosophy to this day.
The Tractatus has an unusual shape: it is not a sequence of chapters but a tree of statements and sub-statements and sub-sub-statements. At its root, it is made of only seven brief statements. In other words, it is not a linear read but a branching set of rabbit-holes.
This page is an attempt at making that tree maximally traversable and interactive. Use the tools available to explore, make cross-sections, annotate, fold and sculpt the book the way you prefer. Save any set of pins as a named thread in the control panel, or bookmark the page in your browser. Export the result as a Markdown or PDF file to keep, or share a special link that reopens your annotated version of the book in someone else’s browser...
A new way into Wittgenstein: “The Foldable Tractatus,” from @marcogiancotti.mastodon.social.ap.brid.gy.
Read (Wittgenstein’s mentor, then later, antagonist) Bertrand Russell‘s introduction to the Tractatus on Project Gutenberg.
* Ludwig Wittgenstein, Tractatus Logico-Philosophicus
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As we fumble with philosophy, we might send thoughtful birthday greetings to Theodor Adorno; he was born on this date in 1903. A philosopher, cultural, and music critic, he was a leading member of the Frankfurt School of critical theory. As a critic of both fascism and what he called the culture industry, he authored numerous works—such as Dialectic of Enlightenment, Minima Moralia, and Negative Dialectics—that strongly influenced the European New Left.
A classically-trained musician (who studied composition with Alban Berg), Adorno devoted his final (and posthumously-published) book, Aesthetic Theory, which he had planned to dedicate to Samuel Beckett, to arguing against the “fatal separation” of feeling and understanding long demanded by the history of philosophy and to exploding the privilege aesthetics accords to content over form and contemplation over immersion.
Adorno critiqued all forms of positivism as responsible for technocracy and disenchantment and sought to produce a theory that both rejected positivism and avoided reinstating traditional metaphysics. He has been criticized for over-applying the term “positivism,” especially in his interpretations of Wittgenstein (and Karl Popper) as positivist.
“Man’s first expression, like his first dream, was an aesthetic one”*…
From the new series, “Conjectures,” in the invaluable Public Domain Review, a piece by Octavian Esanu…
What do we want from “school”? Knowledge, surely. But other things too. Experience, perhaps? — the vibrating sense of having been present as new thinking happened, of having been affected by an encounter with ideas? Certain kinds of teaching and learning, anyway, privilege that vaunted nexus of knowing and being. Early in the first session of his seminar on Theodor Adorno’s Aesthetic Theory, the American Marxist literary scholar Fredric Jameson asserts, here below, that “aesthetics” can be thought of as precisely a project that lies “halfway between the cognitive and the artistic” — which is to say, it is the enterprise of trying to understand (conceptually) that which seems to elude reduction to concepts (because we are, somehow, there in aesthetic experiences; and we are not conceptual!). By meticulously translating his recordings of Jameson’s seminars into the theatrical idiom of the stage script, the artist and scholar (and former Jameson student) Octavian Esanu doubles down, playfully and tenderly, on this deep problem. Pedagogy as performance? Teaching and learning, about art — as a work of art?
Series editor D. Graham Burnett‘s introduction
An experiment with historical form and method: “[Door creaks open. Footsteps]: Fredric Jameson’s Seminar on Aesthetic Theory,” from @PublicDomainRev.
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As we investigate the ineffable, we might send absolutist birthday greetings to Thomas Hobbes of Malmesbury; he was born on this date in 1588. A father of political philosophy and political science, Hobbes developed some of the fundamentals of European liberal thought: the right of the individual; the natural equality of all men; the artificial character of the political order (which led to the later distinction between civil society and the state); the view that all legitimate political power must be “representative” and based on the consent of the people; and a liberal interpretation of law which leaves people free to do whatever the law does not explicitly forbid– all this, though Hobbes was, on rational grounds, a champion of absolutism for the sovereign. It was that, Hobbes reasoned, or the bloody chaos of a “war of all against all.” His 1651 book Leviathan established social contract theory, the foundation of most later Western political philosophy.
Indeed, it was in some large measure Hobbes (and his legacy) that Adorno’s Frankfurt School colleagues Max Horkheimer, Erich Fromm, Herbert Marcuse (et al.) were working to revise.
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