Gesammelte Werke Band 17


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The Fourth Dimension


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8 Lectures in Dornach, Nov 26, 1923 to Dec 22, 1923 (CW 351) In 1923 Rudolf Steiner predicted the dire state of today's honeybee. He stated that, within fifty to eighty years, we would see the consequences of mechanizing the forces that had previously operated organically in the beehive. Such practices include breeding queen bees artificially. The fact that over sixty percent of the American honeybee population has died during the past ten years, and that this trend is continuing around the world, should make us aware of the importance of the issues discussed in these lectures. Steiner began this series of lectures on bees in response to a question from an audience of workers at the Goetheanum. From physical depictions of the daily activities of bees to the most elevated esoteric insights, these lectures describe the unconscious wisdom of the beehive and its connection to our experience of health, culture, and the cosmos. Bees is essential reading for anyone interested in understanding the true nature of the honeybee, as well as those who wish to heal the contemporary crisis of the beehive. Bees includes an essay by David Adams, "From Queen Bee to Social Sculpture: The Artistic Alchemy of Joseph Beuys." The art and social philosophy of Joseph Beuys (1921-1986) is among the most influential of the twentieth century. He was strongly influenced by Rudolf Steiner's lectures on bees. The elemental imagery and its relationship to human society played an important role in Beuys's sculptures, drawings, installations, and performance art. Adams' essay on Beuys adds a whole new dimension to these lectures, generally considered to be directed more specifically to biodynamic methods and beekeeping. This volume consists of 8 lectures (of 15) from Mensch und Welt. Das Wirken des Geistes in der Natur. Über das Wesen der Bienen (GA 351).




Gesammelte Werke


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Philosophical Discussions Ancients and Moderns


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Theaetetus: The Criteria of Knowledge" Hegel's Critique of Parmenides in the Science of Logic Nietzsche on the Question of the Other PersoMs) How Can David Hume, Adam Smith, And Sophie de Grouchy Illuminate the Paradox of Tragedy through their Account of Sympathy? On the Possibility of the Capability Approach as a Political Philosophy




Max Scheler’s Acting Persons


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This book gathers six trenchant new analyses of the idea of the person as raised by the German philosopher and social theorist Max Scheler (1874–1928). The issues raised in the volume are both timely and perennial, from considerations of postmodernity, phenomenology, and metaphysics, to sharp-edged comparisons with other thinkers, including Immanuel Kant, Martin Heidegger, Emmanuel Levinas, Eric Voegelin, Richard Rorty, and Hannah Arendt.




Heidegger in the Twenty-First Century


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The current volume is comparative and inter-disciplinary, and it provides a reflection on what thinking might become after Heidegger’s philosophy. Its aim is to critically expand the current field of research by presenting unfamiliar and unchartered avenues that will guide and carry the Heidegger scholarship into the twenty-first century. By doing so, it addresses fundamental questions in the Heideggerian scholarship, including its problems, restraints, and future direction. It also engages and broadens the increasingly disparate approaches to Heidegger’s work, whether those approaches are traditional in their employment of phenomenology and hermeneutics or whether they apply to Heidegger’s thinking in new and surprising ways. The first section of the volume emphasizes the importance of methodology for the future of Heidegger studies while the second section examines the historical, ethical and vocal-poetical in Heidegger’s thought and draws conclusions relevant to the Heidegger scholar of today. The final section demonstrates Heidegger’s appeal to a variety of other discourses besides philosophy and the way his thinking could be creatively approached, utilized and implemented in our century. Contributions come from cutting-edge scholars such as Babette E. Babich, Dermot Moran, François Raffoul and Trish Glazebrook.




Cassirer and Heidegger in Davos


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The 1929 encounter between Ernst Cassirer and Martin Heidegger in Davos, Switzerland is considered one of the most important intellectual debates of the twentieth century and a founding moment of continental philosophy. At the same time, many commentators have questioned the philosophical profundity and coherence of the actual debate. In this book, the first comprehensive philosophical analysis of the Davos debate, Simon Truwant challenges these critiques. He argues that Cassirer and Heidegger's disagreement about the meaning of Kant's philosophy is motivated by their different views about the human condition, which in turn are motivated by their opposing conceptions of what the task of philosophy ultimately should be. Truwant shows that Cassirer and Heidegger share a grand philosophical concern: to comprehend and aid the human being's capacity to orient itself in and towards the world.




The Evolution of Organ Music in the 17th Century


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The 17th century was the century of the organ in much the same way the 19th century was the century of the piano. Almost without exception, the major composers of the century wrote for the instrument, and most of them were practicing organists themselves. This historical book surveys, analyzes, and discusses the major national styles of 17th century European organ music. Due to the extraordinarily extensive body of literature produced during this 100-year period, this text includes 350 musical examples to illustrate the various styles. The book also includes brief discussions of the various national styles of organ building, an appendix about the various notational methods used in the 17th century, and a chapter on Spain and Portugal written by Andre Lash, an expert on the subject.




Roth Time


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Sculptor, poet, diarist, graphic designer, pioneer artist's book maker, performer, publisher, musician, and, most of all, provocateur, Dieter Roth has long been beloved as an artist's artist. Known for his mistrust of all art institutions and commercial galleries--he once referred to museums as funeral homes--he was also known for his generosity to friends, his collaborative spirit, and for including his family in his art making. Much to the frustration of any gallery that tried to exhibit his work (supposedly none more than once), Roth thumbed his nose at those who valued high purpose and permanence in art. Constantly trying to undo his art education, he would set up systems that discouraged the conventional and the consistent: he drew with both hands at once, preserved the discarded, and reveled in the transitory. Grease stains, mold formations, insect borings, and rotting foodstuffs were just some of the materials used, both out of a fascination with their painterly, textural aspects and for their innate ability to make time visible and play to chance. "More is better," he once said, and more there always was. Roth never stopped working, and he believed that everything could be art, from his sketch pad to the table he sat at, the telephone he talked on, or his friend's kitchen (the kitchen was later sold to a museum). Roth Time: A Dieter Roth Retrospective is published to mark the first major survey exhibition of the artist's work since his death in 1998. Five decades of drawings, graphics, books, paintings, objects, installations, films and video works are represented. The publication offers a window into Roth's creative world, reflecting him and his era. The exhibition is organized by the Schaulager with The Museum of Modern Art, New York and the Museum Ludwig, Cologne.