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The Bauhaus, the school of art and design founded in Germany in 1919 and shut down by the Nazis in 1933, brought together artists, architects and designers in an extraordinary conversation about modern art. Bauhaus 1919-1933, published to accompany a major multimedia exhibition at MoMA, is the first comprehensive treatment of the subject by MoMA since 1938 and offers a new generational perspective on the 20th century's most influential experiment in artistic education. It brings together works in a broad range of mediums, including industrial design, furniture, architecture, graphics, photography, textiles, ceramics, theatre and costume design, and painting and sculpture - many of which have rarely if ever been seen outside of Germany. Featuring about 400 colour plates and a rich range of documentary images, this publication includes two overarching images by the exhibition's curators, Leah Dickerman and Barry Bergdoll, concise interpretive essays on key objects by over twenty leading scholars, and an illustrated, narrative chronology.
Marking the centenary of the birth of Laszlo Moholy-Nagy (1895–1946), this book offers a new approach to the Bauhaus artist and theorist’s multifaceted life and work—an approach that redefines the very idea of biographical writing. In Laszlo Moholy-Nagy, Louis Kaplan applies the Derridean deconstructivist model of the "signature effect" to an intellectual biography of a Constructivist artist. Inhabiting the borderline between life and work, the book demonstrates how the signature inscribed by "Moholy" operates in a double space, interweaving signified object and signifying matter, autobiography and auto-graphy. Through interpretative readings of over twenty key artistic and photographic works, Kaplan graphically illustrates Moholy’s signature effect in action. He shows how this effect plays itself out in the complex of relations between artistic originality and plagiarism, between authorial identity and anonymity, as well as in the problematic status of the work of art in the age of technical reproduction. In this way, the book reveals how Moholy’s artistic practice anticipates many of the issues of postmodernist debate and thus has particular relevance today. Consequently, Kaplan clarifies the relationship between avant-garde Constructivism and contemporary deconstruction. This new and innovative configuration of biography catalyzed by the life writing of Moholy-Nagy will be of critical interest to artists and writers, literary theorists, and art historians.
An essential examination of how emigration and resettlement defined modernism In the fraught years leading up to World War II, many modern artists and architects emigrated from continental Europe to the United States and Britain. The experience of exile infused their modernist ideas with new urgency and forced them to use certain materials in place of others, modify existing works, and reconsider their approach to design itself. In Objects in Exile, Robin Schuldenfrei reveals how the process of migration was crucial to the development of modernism, charting how modern art and architecture was shaped by the need to constantly face—and transcend—the materiality of things. Taking readers from the prewar era to the 1960s, Schuldenfrei explores the objects these émigrés brought with them, what they left behind, and the new works they completed in exile. She argues that modernism could only coalesce with the abandonment of national borders in a process of emigration and resettlement, and brings to life the vibrant postwar period when avant-garde ideas came together and emerged as mainstream modernism. Examining works by Walter Gropius, László Moholy-Nagy, Lucia Moholy, Herbert Bayer, Anni and Josef Albers, and others, Schuldenfrei demonstrates the social impact of art objects produced in exile. Shedding critical light on how the pressures of dislocation irrevocably altered the course of modernism, Objects in Exile shows how artists and designers, forced into exile by circumstances beyond their control, changed in unexpected ways to meet the needs and contexts of an uncertain world.
A critique of Kant's philosophy revealing that the relationship between his Analytic and Dialectic is more complicated than supposed (something we thought utterly impossible). Kerszberg (philosophy, Pennsylvania State U.) dives into the Kantian universe and finds the black holes of the philosophers cosmological principle, transcendental time, the doubled illusion, the reversals of reversal oscillating between givenness and nothingness to, suggests the author, the confusion of his successors Maimon, Fichte, Schelling, and Hegel with whom we sympathize. Annotation copyright by Book News, Inc., Portland, OR
This book deals with contemporary epistemological questions, connecting Educational Philosophy with the field of Science- and Technology Studies. It can be understood as a draft of a general theory of world-disclosure, which is in its core a distinction between two forms of world-disclosure: experiment and exploration. These two forms have never been clearly distinguished before. The focus lies on the experimental form of world-disclosure, which is described in detail and in contrast to the explorational form along the line of twenty-one characteristics, which are mainly derived from empirical studies of experimental work in the field of natural sciences. It can also be understood as an attempt to integrate elements of the Anglo-Saxon Philosophy of Science with elements of the German tradition of Educational Philosophy. This is also reflected in the style of writing. In accordance to the content-level of the book, the argument for experimental forms of world-disclosure is written in an essayistic, readable style, which can be understood as an experimental form of writing. This book is a translation of the doctoral thesis 'Experiment und Exploration. Bildung als experimentelle Form der Welterschließung' (summa cum laude). The thesis was published in German in 2010 by Transcript (Bielefeld) in the series called 'Theorie Bilden', edited by Prof. Dr. Hannelore Faulstich-Wieland, Prof. Dr. Hans-Christoph Koller, Prof. Dr. Karl-Josef Pazzini and Prof. Dr. Michael Wimmer.
An exploration of the statistical foundations of scientific inference, The Nature of Scientific Evidence asks what constitutes scientific evidence and whether scientific evidence can be quantified statistically. Mark Taper, Subhash Lele, and an esteemed group of contributors explore the relationships among hypotheses, models, data, and inference on which scientific progress rests in an attempt to develop a new quantitative framework for evidence. Informed by interdisciplinary discussions among scientists, philosophers, and statisticians, they propose a new "evidential" approach, which may be more in keeping with the scientific method. The Nature of Scientific Evidence persuasively argues that all scientists should care more about the fine points of statistical philosophy because therein lies the connection between theory and data. Though the book uses ecology as an exemplary science, the interdisciplinary evaluation of the use of statistics in empirical research will be of interest to any reader engaged in the quantification and evaluation of data.
International Academic Conference on Social Sciences and Humanities in Prague 2016 (NY'sAC-SSaH 2016 in Prague), December 30 - 31, 2016