The ArgumentThis essay attempts to show the decisive importance of the “scientific discipline” for any historical or sociological analysis of modern science. There are two reasons for this:1. A discontinuity can be observed at the beginning of modern science: the “discipline,” which up until that time had been a classificatorily generated unit of the ordering of knowledge for purposes of instruction in schools and universities, develops into a genuine and concrete social system of scientific communication. Scientific disciplines as concrete systems (...) (Realsysteme) arise as a result of (a) the communicative stabilization of “scientific communities” at the end of the eighteenth century and the formation of “appropriate” roles and organizational structures (in universities); (b) the structural differentiation of the new scientific disciplines from the established professions (law, theology, medicine) in Europe; (c) the formation of scientific communication in the standardized form of scientific publication; the distinction of the separate action-type “scientific research” and the differentiation of these two elementary acts of all future scientific endeavor in relation to each other.2. The scientific discipline as primary unit of the internal differentiation of science has, since its genesis, been stabilized by two conditions: (a) The fact of a science differentiated into a plurality of (competing, mutually stimulating) disciplinary perspectives becomes the chief causal factor underlying the developmental dynamism of modern science; (b) Similar to the way in which the discipline functions as a cognitive address within the system of science, science also links the discipline up as a structural unit (utilized in both systems) with curricular structures in the system of education — i.e., it is stabilized by the central system/environment relation of science. (shrink)

Rudolf Steiner, the often undervalued, multifaceted genius of modern times, contributed much to the regeneration of culture. In addition to his philosophical teachings, he provided ideas for the development of many practical activities including education--both general and special--agriculture, medicine, economics, architecture, science, religion, and the arts. Today there are thousands of schools, clinics, farms, and many other organizations based on his ideas. Steiner's original contribution to human knowledge was based on his ability to conduct spiritual research, the investigation of (...) metaphysical dimensions of existence. With his scientific and philosophical training, he brought a new systematic discipline to the field, allowing for conscious methods and comprehensive results. A natural seer from childhood, he cultivated his spiritual vision to a high degree, enabling him to speak with authority on previously veiled mysteries of life. Topics include: true human nature as a basis for medical practice; the science of knowing; the mission of reverence; the four temperaments; the bridge between universal spirituality and the physical; the constellation of the supersensible bodies; the invisible human within us: the pathology underlying therapy; cancer and mistletoe, and aspects of psychiatry; case history questions: diagnosis and therapy; anthroposophic medicine in practice: and three case histories. (shrink)

Rudolf Steiner, the often undervalued, multifaceted genius of modern times, contributed much to the regeneration of culture. In addition to his philosophical teachings, he provided ideas for the development of many practical activities including education--both general and special--agriculture, medicine, economics, architecture, science, religion, and the arts. Today there are thousands of schools, clinics, farms, and many other organizations based on his ideas. Steiner's original contribution to human knowledge was based on his ability to conduct spiritual research, the investigation of (...) metaphysical dimensions of existence. With his scientific and philosophical training, he brought a new systematic discipline to the field, allowing for conscious methods and comprehensive results. A natural seer from childhood, he cultivated his spiritual vision to a high degree, enabling him to speak with authority on previously veiled mysteries of life. Topics include: from pre-science to science; the origin of mathematics; the roots of physics and chemistry, and the urge to experiment; the boundaries of science; understanding organisms: Goethe's method; the quest for archetypal phenomena; light, darkness, and color; the rediscovery of the elements; the nature of warmth; the scale of nature; the function of the ethers in the physical; subnature; the nature of atoms; and the natural and spiritual sciences. (shrink)

Excerpt from Worterbuch der Philosophischen Begriffe, Vol. 1: Historisch-Quellenmassig Bearbeitet; A bis N Die Anordnung des Materials ist so getroffen worden, dafs in erster Linie die Ubersichtlichkeit des Stoffes gesichert wurde. Die logisch - systematische und die chronologisch-genetische Dispositions weise wurden nach Moglichkeit miteinander combiniert. Auf allzu subtile Einteilungen kam es hier, in einem Worterbuchs, nicht so sehr an, verfuhrt doch eine solche, die gewohnlich durch allerhand Voraussetzungen und Annahmen bedingt ist, selbst also den Charakter einer Theorie, einer Hypothese hat, (...) zur Subjectiviernug der Darstellung, wahrend doch dem Herausgeber au moglichster Objectivitat lag; diese ist denn auch von der Kritik anerkannt werden. Den eigenen Standpunkt, den der Fachmann als einen in so mancher Beziehung selbstandigen erkennen wird, hat der Herausgeber in den an der Spitze der einzelnen Artikel stehenden Begriffs. Bestimmungen zwar kurz, pracis, aber, wie er glaubt, nicht nu wissenschaftlich, entwickelt. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.". (shrink)

Rudolf Steiner, the often undervalued, multifaceted genius of modern times, contributed much to the regeneration of culture. In addition to his philosophical teachings, he provided ideas for the development of many practical activities including education--both general and special--agriculture, medicine, economics, architecture, science, religion, and the arts. Today there are thousands of schools, clinics, farms, and many other organizations based on his ideas. Steiner's original contribution to human knowledge was based on his ability to conduct spiritual research, the investigation of (...) metaphysical dimensions of existence. With his scientific and philosophical training, he brought a new systematic discipline to the field, allowing for conscious methods and comprehensive results. A natural seer from childhood, he cultivated his spiritual vision to a high degree, enabling him to speak with authority on previously veiled mysteries of life. Topics include: the origins and nature of architecture the formative influence of architectural forms the history of architecture in the light of human spiritual evolution new architecture as a means of uniting with spiritual forces art and architecture as manifestations of spiritual realities metamorphosis in architecture aspects of a new form of architecture the first and second Goetheanum buildings the architecture of a community in Dornach the temple is the human being the restoration of the lost temple. (shrink)

Rudolf Steiner's vision of art, as with all forms of human expression, is that it should reflect our human experience of the Divine. This was not intended to suggest vague, mystical fantasy. As one of the few true initiates of the twentieth century, he was able to experience the realms from which humanity and all nature descend into temporal and spatial existence. He was able to speak with confidence of the qualitative and dynamic worlds of soul and spirit, from (...) which all the phenomena we experience spring, including our individual existence. The means by which the living nature of these realms can be expressed is not through rationally expressed concepts--which point only to the material, quantitative perceptions from which they are derived--but through the various forms and languages of art. Through art, human beings express the qualitative experiences of life. But Steiner goes even further. In the more recent history of art, especially that of the West, artistic expression has become less a product of spiritual inspiration and more the expression of personal experience, which is identified with materialistic existence. Naturalistic and realistic representations of the physical world are devoid of spiritual expression. As humanity has descended into a materialized, spiritually void experience of life, art has followed that trend. Today, it is little more than expressions of subjective, sensory views of the world. Modern nonrepresentational art, on the other hand, is an instinctive backlash against that trend, but does not get beyond personal expression. Contemporary art remains sadly isolated from the source of its own being: the world of soul and spirit. Steiner, however, attempts to unite personal human experience with the spiritual source of art, so that artists are spiritually conscious of the realm from which inspired expression descends into human existence. Such artists are neither isolated from the spirit, nor do they act as automatic mediumistic channels, but as a conscious and cooperative instruments of spirit. Human consciousness must come to truly sense some experience of spirit before real progress in art can occur, and this is what Steiner tries to help artists achieve in the lectures and writings collected in this volume. Some of the works in this collection have been unavailable in English for some time. Topics include the being of the arts; Goethe as the founder of a new science of aesthetics; technology and art; new millenniums; the purpose of modern art and architecture; living walls; glass windows; wall colors; moving the circle; the seven planetary symbols in the first Goetheanum; "The Group" statue; and color, faces, and physiognomy. (shrink)

Rudolf Steiner, the often undervalued, multifaceted genius of modern times, contributed much to the regeneration of culture. In addition to his philosophical teachings, he provided ideas for the development of many practical activities including education--both general and special--agriculture, medicine, economics, architecture, science, religion, and the arts. Today there are thousands of schools, clinics, farms, and many other organizations based on his ideas. Steiner's original contribution to human knowledge was based on his ability to conduct spiritual research, the investigation of (...) metaphysical dimensions of existence. With his scientific and philosophical training, he brought a new systematic discipline to the field, allowing for conscious methods and comprehensive results. A natural seer from childhood, he cultivated his spiritual vision to a high degree, enabling him to speak with authority on previously veiled mysteries of life. Topics include: a social basis for education; the spirit of the Waldorf school; educational methods based on anthroposophy; children at play; teaching through the insights of spiritual science; adolescents after the fourteenth year; science, art, religion, and morality; the spiritual basis of education; the role of caring in education; the roots of education and the kingdom of childhood; address at a parents' evening; and education within the broader social context. (shrink)

Relying on Husserl as well as on the reflections by Merleau-Ponty on Cézanne, Henry on Kandinsky and Deleuze on Bacon, this essay sketches some basic problems that arise in a phenomenological account of non-figurative painting. An investigation of the distinction between phenomenological and pictorial perception, of the transposition of the painter’s mode of perception into a painted image, and of the expressive force of paintings inevitably confronts one with the enigma of the appearing of something invisible. The essay proceeds in (...) three steps. The first step describes pictorial perception in terms of a ‘seeing according to’. Such a mode of perception pays attention to visual ambiguities, to the ‘gaze of things’ and to the conditions of visibility that are ordinarily overlooked. The second step moves on to the issue of the transposition of a pictorial perception in a painted image. Deleuze’s account of “manipulated chance” proves to be very helpful here. In the final step, Henry’s and Deleuze’s emphasis on the painting’s expression of totally invisible ‘forces’ is discussed. (shrink)

The Philosophy of Freedom describes Rudolf Steiner's path to freedom. It contains the nonconformist ideals of his youth that result from his study of mathematics, science, and philosophy culminating in a philosophy of life founded upon individualistic truth and ethical individualism. This is the first English translation and the only one sanctioned by Rudolf Steiner himself. Joint translators Prof. and Mrs. R. F. Alfred Hoernlé were selected for their outstanding qualifications. First published in 1916, it is based on (...) the original 1894 German "Die Philosophie der Freiheit". Other translations have been based on the 1918 revised German edition and renamed "The Philosophy Of Spiritual Activity" and "Intuitive Thinking As A Spiritual Path". This original edition includes inspiring passages about individualism that were removed from the book in 1918 and are missing in later translations: "We no longer believe that there is a norm to which we must all strive to conform." "If only we probe deep enough into the very heart of our being, there dwells something noble, something worthy of development." Learn all about Rudolf Steiner's The Philosophy Of Freedom at https: //philosophyoffreedom.com/. (shrink)

Das Wissen, nach dem die Menschen streben, ist oft nur jenes Mindestmaß, dessen sie bedürfen, um ihr Leben zu fristen. Aber nicht alle Menschen begnügen sich damit. Es gab und es gibt einige, die auch in einem stärkeren und höheren Sinn neugierig sind. Sie empfinden das Bedürfnis, über eine einmal erreichte Stufe ihrer Kenntnisse und Einsichten hinauszukommen. Daher denken sie über Mittel und Methoden nach, die sie bis dahin verwendet haben, und sie trachten danach, jene zu verbessern. Auch verschaffen sie (...) sich Klarheit darüber, was ihnen bis jetzt Erfolg brachte, und sie erkennen, daß es am besten ist, in der bewährten Weise fortzufahren. Es wird ihnen aber auch klar, was sie dar an gehindert hatte, noch erfolgreicher zu sein. Daß sie immer bewußter und immer kritischer werden, ist daher unvermeid lich. Manches, was früher als "Wissen" galt, wird jetzt verworfen. Aber nicht immer be bewahrt und ausgebaut und was aufgegeben werden muß; steht Einigkeit darüber, was denn was Erfolg und was Mißerfolg ist, wird nicht von sämtlichen Beobachtern in gleicher Weise beurteilt. Oft gilt dem einen als Wissen, was der andere für ein Hirngespinst hält; häufig ist gerade das, was der eine am höchsten schätzt und als "absolute" oder "ewige" Wahrheit verehrt, dem anderen fragwürdig oder lächerlich. Damit beschreibe ich nicht nur vergangene, sondern auch gegenwärtige Zu stände. Wir alle wissen, daß gerade in unserer Zeit die krassesten Gegensätze herrschen. (shrink)

Dieses historische Buch kann zahlreiche Tippfehler und fehlende Textpassagen aufweisen. Kaufer konnen in der Regel eine kostenlose eingescannte Kopie des originalen Buches vom Verleger herunterladen (ohne Tippfehler). Ohne Indizes. Nicht dargestellt. 1898 edition. Auszug:...so viel uber allen Zweifel erhoben zu haben, dass es sich hier um ein einheitliches, planvoll angelegtes, genau durchdachtes und folgerichtig durchgefuhrtes Ganzes, um eine Schopfung aus einem Gusse handelt, kurz ausgedruckt: unsere heutigen Umgangsformen enthalten eine vollstandige Organisation des Umgangs, ein ebenburtiges Seitenstuck zu der Organisation des (...) Verkehrs in Form des Rechts. Eine solche Behauptung lasst sich mit einigen allgemeinen Bemerkungen und einzelnen wenigen Beispielen nicht abthun, sie erfordert einen stringenten Beweis, und derselbe ist nur zu erbringen durch Aufbringung eines reichen Apparates. Auch bei dieser Aufgabe werde ich des Stofflichen eher zu viel als zu wenig bringen, getreu der Maxime, die ich bei diesem Werk unausgesetzt befolgt habe, meinen Abstractionen eine moglichst breite Unterlage an einem reichen Detail zu geben. Wem ich des Guten zu viel zu thun scheine, der moge sich erinnern, dass ich genothigt bin, die Sache erst aus dem Groben herauszuarbeiten--ware ich auf diesem Gebiete mein eigener Nachfolger, ich wurde mich kurzer fassen. 0. Wissenschaftliche Kritik der Umgangsformen--echte und unechte Anstandsregeln. Alle Umgangsformen haben den Zweck, den Umgang zu ermoglichen, zu sichern, zu fordern, angenehm und behaglich zu gestalten, --sie enthalten die durch die Sitte beschaffte und gehandhabte Disciplin des gesellschaftlichen Benehmens, wie sie den Vorstellungen der massgebenden Gesellschaftskreise dieses Volks und dieser Zeit entspricht. Es sind die massgebenden d. h. die relativ hoch oder hochst gestellten Kreise, welche die Formen des geselligen Verkehrs...". (shrink)

Views the process of artistic creation in light of the conflict between man's quest for order and increasing universal disorder.

From the Introduction: The papers collected in this book are based on the assumption that art, as any other activity of the mind, is subject to psychology, accessible to understanding, and needed for any comprehensive survey of mental functioning. The author believes, furthermore, that the science of psychology is not limited to measurements under controlled laboratory conditions, but must comprise all attempts to obtain generalizations by means of facts as thoroughly established and concepts as well defined as the investigated situation (...) permits. Therefore the psychological findings offered or referred to in these papers range all the way from experiments in the perception of shape or observations on the art work of children to broad deliberations on the nature of images or of inspiration and contemplation. It is also assumed that every area of general psychology calls for applications to art. The study of perception applies to the effects of shape, color, movement, and expression in the visual arts. Motivation raises the question of what needs are fulfilled by the production and reception of art. The psychology of the normal and the disturbed personality searches the work of art for manifestations of individual attitudes. And social psychology relates the artist and his contribution to his fellow men. A systematic book on the psychology of art would have to survey relevant work in all of these areas. My papers undertake nothing of the kind. They are due to one man's outlook and interest, and they report on whatever happened to occur to him. They are presented together because they turn out to be concerned with a limited number of common themes. Often, but unintentionally, a hint in one paper is expanded to full exposition in another, and different applications of one and the same concept are found in different papers. I can only hope that the many overlappings will act as unifying reinforcements rather than as repetitions. These papers represent much of the output of the quarter of a century during which I have been privileged to live, study, and teach in the United States. To me, they are not so much the steps of a development as the gradual spelling-out of a position. For this reason, I have grouped them systematically, not chronologically. For the same reason, I did not hesitate to change the words I wrote years ago wherever I thought I could clarify their meaning. Removed from my original intimacy with the content, I approached the text as an unprepared reader, and when I stumbled, I tried to repair the road. In some instances, I recast whole sections, not in order to bring them up to date, but in the hope of saying better what I meant at the time. Some of the earlier papers led to my book, _Art and Visual Perception_, which was written in 1951 and first published in 1954- Sections of the articles on perceptual abstraction, on the Gestalt theory of expression, and on Henry Moore are incorporated in that book. Others continued where the book left off, for instance, the attempts to describe more explicitly the symbolism conveyed by visual form. The short piece on inspiration provided the substance for the introductory chapter on creativity in my more recent book, Picasso's Guernica. Finally, in rereading the material, I was surprised to find how many passages point to what is shaping up as my next task, namely, a presentation of visual thinking as the common and necessary way of productive problem solving in any human activity. Ten of the papers in this book were first published in the _Journal of Aesthetics and Art Criticism_. To mention this is to express my indebtedness to the only scholarly periodical in the United States devoted to the theory of art. In particular, Thomas Munro, its first editor, showed a great trust in the contribution of psychology. He made me feel at home among the philosophers, art historians, and literary critics whose lively propositions inhabit the hostel he founded and sustained. To him, as well as to my friends of the University of California Press, who are now publishing my fourth book, I wish to say that much of what I thought about in these years might not have been cast into final writing, had it not been for their sympathy, which encouraged the novice and keeps a critical eye on the more self-assured pro. There are a few scientific papers here, originally written for psychological journals but free, I hope, of the terminological incrustation that would hide their meaning from sight. There are essays for the educated friend of the arts. And there are speeches, intended to suggest practical consequences for art education, for the concerns of the artist, and for the function of art in our time. These public lectures are hardly the products of a missionary temperament. In fact, I marveled why anybody would go to a theorist for counsel, illumination, and reassurance in practical matters. However, when I responded to such requests I noticed, bewildered and delighted, that some of my findings pointed to tangible applications, which were taken to be useful. (shrink)