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The papers here collected are divided in an English and an Italian section, to facilitate the reader who is confident, or prefers, only one of these languages. In both sections, Critical Theory is addressed in a twofold way: as regards its origins in the so-called School of Frankfurt and as concerns its further and contemporary developments, from an interdisciplinary perspective.
Adam Smith formulated a fundamental critique of economic growth in his philosophical oeuvre The Theory of Moral Sentiments, published in the year 1759. What might seem to be irony concerning the history of ideas – irony in the sense of the exclamation “he of all people” – is actually not irony at all. Smith wrote a substantial review of Rousseau’s Second Discourse, referring to Rousseau’s critique of commercial society. Additionally, one of the principal topics of Rousseau’s critique, the deformation of fundamental needs to passions in service of the satisfaction of self-love, is a major subject in Smith’s Theory of Moral Sentiments. But whereas Rousseau suggests egalitarian politics, Smith proposes individual stoicism: “In ease of body and peace of mind, all the different ranks of life are nearly upon a level, and the beggar, who suns himself by the side of the highway, possesses that security which kings are fighting for.” Nevertheless, both authors and analysts of pre-capitalist society identify the difference between fundamental needs and desires as having been born out of comparison as both a source of unhappiness and of economic development.
Arnd Wedemeyer's article focuses on the German artist Joseph Beuys (1921–86), who did not shy away from describing the social order with traditional organic metaphors, such as the notion of a 'central organ'. However, it is above all the - plastic - relationship between society and art that is at issue in Wedemeyer's article, entitled 'Pumping Honey: Joseph Beuys at the documenta 6'. Using the term 'Soziale Plastik', Beuys not only classified his own artistic practice as essentially sculptural but, more importantly, thematized its heterogeneous yet anything but passive relationship to art market, exhibition, museum, and various modes of reception, as well as staked its political claim. Wedemeyer looks at Beuys's contribution to the 1977 documenta, 'Honey Pump at the Workplace', in order to argue that the layered invocation of plasticity characteristic of Beuys's practice and theorizing ought not be historicized, as is commonly done, as an instantiation of the excessive, transgressive - and quite possibly disingenuous - zeal of the neo-avant-garde. Beuys's 'Plastik' should not be confused with anti-aesthetic formlessness, base materialism, a post-Duchampian ruination of the 'objet trouvé', and least of all a Neoromantic or Wagnerian projection or hypostatization of the autonomous work of art. The avant-gardes of the twentieth century have rendered the relationship of art and aesthetics tenuous at best, their artistic 'innovations' straining against the supratemporally or anthropologically defined characteristics of aesthetic valuation, play, or force. While many have sought to address this problem by tethering art to society in a shared 'contemporaneity', the article explores the implications of recasting this relation as one of plasticity, using the conceptual richness harvested by Catherine Malabou.