In the ongoing research of the functions of consciousness, special emphasis has been put on integration of information: the ability to combine different signals into a coherent, unified one. Several theories of consciousness hold that this ability depends on – or at least goes hand in hand with – conscious processing. Yet some empirical findings have suggested otherwise, claiming that integration of information could take place even without awareness. Trying to reconcile this apparent contradiction, the “windows of integration” hypothesis claims (...) that conscious access enables signal processing over large integration windows. The hypothesis applies to integration windows defined either temporally, spatially, or semantically. In this review, we explain the hypothesis and re-examine it in light of new studies published since it was suggested. In line with the hypothesis, these studies provide compelling evidence for unconscious integration, but also demonstrate its limits with respect to time, space, and semantic distance. The review further highlights open questions that still need to be pursued to demonstrate the applicability of the WOI hypothesis as a guiding principle for understanding the depth and scope of unconscious processes. (shrink)

This article is an email conversation between the artist Thomas Hirschhorn and the philosopher Jacques Rancière that took place from December 2009 to February 2010. The images of ‘The Bijlmer Spinoza-Festival’, an artwork by Thomas Hirschhorn that occurred in the outskirts of Amsterdam in 2009, portray the levels of engagement by the local participants and the interaction with invited speakers and performers. The interview with Jacques Rancière addresses the problem of classifying collaborative art projects within the conventional categories (...) of art and politics. It explores the vital function of artistic presence and the possibility of establishing a mode of aesthetic exchange that proceeds from the experience of equality. (shrink)

This biography, the first of Richard Spencer Childs, begins in the Progressive Era when Childs initiated and pursued two fertile ideas: the short ballot doctrine and the council-manager plan. Childs understood that the simplification of the task of the voter was a question pressing for solution and that the council-manager plan would transform municipal government. This comprehensive work discusses other aspects of Childs' broad reform agenda. His proposals included: county government reform; reform in state government administration; unicameral state legislatures; reapportionment (...) of state legislatures; selection of judges by appointment; replacement of elective county coroners with appointed professional medical examiners; democratization of state political parties; and reform of the Presidential nominating system. Based on Childs' papers and personal interviews with Childs, this biography advances scholarship on the Progressive Era and contributes to the historiographical debate on the nature of reform. (shrink)

Thomas Hirschhorn is an artist who has maintained an engaged approach to politics. His method of working is collaborative and speculative. It has a strong emphasis on community development and intellectual reflection. In this brief introduction I focus on the Bijlmer Spinoza Festival and his ongoing relationship and response to the ideas of the philosopher Jacques Rancière.

Drawing upon Bernard Stiegler’s and Jacques Rancière’s conceptions of medium as a milieu this article seeks to address the question of the political aspects of the aesthetic in relation to the notion of medium. Based on the analysis of this theoretical question the article interprets and discusses artistic endeavors to re-appropriate and reconfigure conservative symbolic orders and media milieus that have become dissociated in relation to works of art by Alfredo Jaar and Thomas Hirschhorn.

Throughout the twentieth century, critical art history often chose to ally itself with a restrictive brand of formalism. As a result, representation- and ideology-critical analyses regularly reduced the artwork to the bare bones (Hegel) of the material signifier in its social use. By contrast, in the texts assembled here, elements of a critical materialism are combined with an effort to reevaluate the meta-physical implications of modern abstraction and art since the 1960s. Taking Gilles Deleuze s readings of Spinoza, Nietzsche, and (...) Bergson as his starting point, the author delineates a topic in which the artwork s capacity for resistance is grounded in its relationship to an immanent infinity: the Spinozian substance, Nietzsche s Becoming, Bergson s duree. Against the backdrop of a critical rereading of Heidegger, this infinite dimension is interpreted in temporal and ontological terms as the vertical past of production, which can only be grasped in broken and technically encrypted form in the present shape and materiality of the artwork. Hence the notion of an aesthetics of production does not imply a nostalgia for the artisanal or for the artwork s singularity. The concept of production developed in this book aims at a realm that lies beyond finite representation but is still understood in materialist terms, and that threatens the circulation of positive, conceptually standardized knowledge. In case studies on Piet Mondrian, Marcel Duchamp, Thomas Hirschhorn, and Michael Asher and in framing essays on Kant and Nietzsche as well as Heidegger and Spinoza, this book articulates a concept of the artwork in the long modern era which takes account of the twentieth century s critique of metaphysics but without surrendering the truth claim of art and philosophy in favor of a culturalist and sociological relativism. ". (shrink)

Die Autorin geht der Frage nach, welche Raum- und Ortskonzeptionen in den 1990er Jahren - nach der kritischen Relektüre der Ortspezifik - in der Kunst Verwendung gefunden haben. Dabei erweist sich "The Ambient" als Schlüsselphänomen. Ursprünglich für die Musik entwickelt, ist das Konzept des "Ambient" durch die Konstruktion eines vorübergehenden, prozessualen Ortes gekennzeichnet. Hergestellt wird dieser einerseits durch künstlerische Produktionsprozesse, die in bestehende Architektur- und Landschaftsräume verändernd eingreifen. Andererseits basiert "Ambient" auf kollektiven Praktiken. Sabine Gebhardt Fink erläutert, wie die ortspezifische (...) Kunst der 1960er Jahre weiterentwickelt wurde. Sie beschreibt spezifische Formen immersiven ästhetischen Erlebens und beleuchtet den Einfluss des Ortskonzeptes von Ambient Music und Ambient Sound. Anhand künstlerischer Projekte von Ricardo Basbaum, Janet Cardiff, Alice Creischer / Andreas Siekmann / Christian von Borries, Thomas Hirschhorn, San Keller und Hendrikje Kühne / Beat Klein wird schließlich geklärt, was unter einer Ästhetik des Mit-Seins zu verstehen ist. (shrink)

Mary Jane Jacob, the author of Dewey for Artists, is neither a philosopher nor an artist, but a renowned curator who came to the writings of Dewey in the course of her work. For many years, Jacob has organized exhibitions championing artists who make social practice art, including Rirkrit Tiravanija, Thomas Hirschhorn, and Theaster Gates, to name a few who appear in this book. Their art is not primarily about making objects but is instead about producing social interactions between (...) people. It is Jacob's conviction that Dewey's writings help explain the aesthetic and political value of this kind of art making.The title, Dewey for Artists, is a bit misleading as it suggests the book is for all artists, but the... (shrink)

Meditations, maxims, aphorisms, notes, and comments address topics that range from pathos and genius to careerism and club sandwiches. Marcus Steinweg's capacity to implicate the other is beautiful, bright, precise, and logical, grounded in everyday questions, which to him are always big questions. —from the foreword by Thomas Hirschhorn The houses of philosophy need not be palaces. —Marcus Steinweg, “House,” The Terror of Evidence This is the first book by the prolific German philosopher Marcus Steinweg to be available in (...) English translation. The Terror of Evidence offers meditations, maxims, aphorisms, notes, and comments—191 texts ranging in length from three words to three pages—the deceptive simplicity of which challenges the reader to think. “Thinking means getting lost again and again,” Steinweg observes. Reality is the ever-broken promise of consistency; “the terror of evidence” arises from the inconsistency before our eyes. Thinking is a means of coping with that inconsistency. Steinweg is known for his collaborations with Thomas Hirschhorn and the lectures and texts he has provided for many of Hirschhorn's projects. This translation of The Terror of Evidence includes a foreword by Hirschhorn written especially for the MIT Press edition. The subjects of these short texts vary widely. (“The table of contents is in itself excessive and ambitious,” writes Hirschhorn.) They include pathos, passivity, genius, resentment, love, horror, catastrophe, and racism. And club sandwiches (specifically, Foucault's love for this American specialty), blow jobs, and dance. Also: “Two Kinds of Obscurantism,” “Putting Words in Spinoza's Mouth,” “Note on Rorty,” and “Doubting Doubt.” The Terror of Evidence can be considered a guidebook to thinking: the daily journey of exploration, the incessant questioning of reality that Steinweg sees as the task of philosophy. (shrink)

Suzanne Lacy introduced the term ‘New Genre Public Art’ (NGPA) to refer to art practices that depart from those traditional of public art (such as installing works in parks and plazas) and focus instead on the direct engagement of artists with audiences to deal with pressing socio-political issues. In this paper, I argue that some works of NGPA should be valued for the intellectual value grounded in their artistic features, not dissimilarly to works of conceptual art. In developing my argument, (...) I take distance from Vid Simoniti’s recent account of ‘Socially Engaged Art’, offer a thorough analysis of Thomas Hirschhorn’s Bataille Monument (2002) and Kathrin Bohm’s and Stefan Saffer’s Mobile Porch (1999), and submit that both such works qualify as good works of NGPA. (shrink)

Prehistory is an invention of the later nineteenth century. It was in this moment of technological progress and the acceleration of production and circulation, that three major Western narratives about time took shape. One after another, these new fields of inquiry delved into the obscure immensity of the past: first, to reckon the age of the Earth; second, to find a point of emergence of human beings; and third, to ponder the age of art. Maria Stavrinaki's Transfixed by Prehistory considers (...) the inseparability of these accounts of temporality from the disruptive forces of modernity. She asks what a history of modernity and its art would look like if it was considered through these three, at once consecutive and interwoven, inventions of the longue durée? This book attempts to articulate such a history, which turns out to be more complex than that of an inevitable march of progress leading up to the "Anthropocene." Rather, it's a history of stupor, defamiliarization, regressive acceleration and incessant invention, since the "new" was also found in the deep sediments of the Earth. Composed as much of speed as of slowness, as much of change as of deep time, as much of confidence as of skepticism and doubt, modernity is a complex phenomenon that needs to be thought again. This book focuses on this intrinsic tension through major artistic practices (Cézanne, Matisse, De Chirico, Ernst, Picasso, Dubuffet, Smithson, Morris, and contemporary artists such as Pierre Huyghe and Thomas Hirschhorn), philosophical discourses (Bataille, Blumenberg, and Jünger) and the human sciences. This groundbreaking book will attract readers interested in the intersections of art history, anthropology, psychoanalysis, mythology, geology, and archaeology. (shrink)

Prehistory is an invention of the later nineteenth century. It was in this moment of technological progress and the acceleration of production and circulation, that three major Western narratives about time took shape. One after another, these new fields of inquiry delved into the obscure immensity of the past: first, to reckon the age of the Earth; second, to find a point of emergence of human beings; and third, to ponder the age of art. Maria Stavrinaki's Transfixed by Prehistory considers (...) the inseparability of these accounts of temporality from the disruptive forces of modernity. She asks what a history of modernity and its art would look like if it was considered through these three, at once consecutive and interwoven, inventions of the longue durée? This book attempts to articulate such a history, which turns out to be more complex than that of an inevitable march of progress leading up to the "Anthropocene." Rather, it's a history of stupor, defamiliarization, regressive acceleration and incessant invention, since the "new" was also found in the deep sediments of the Earth. Composed as much of speed as of slowness, as much of change as of deep time, as much of confidence as of skepticism and doubt, modernity is a complex phenomenon that needs to be thought again. This book focuses on this intrinsic tension through major artistic practices (Cézanne, Matisse, De Chirico, Ernst, Picasso, Dubuffet, Smithson, Morris, and contemporary artists such as Pierre Huyghe and Thomas Hirschhorn), philosophical discourses (Bataille, Blumenberg, and Jünger) and the human sciences. This groundbreaking book will attract readers interested in the intersections of art history, anthropology, psychoanalysis, mythology, geology, and archaeology. (shrink)