Since February 2017 I am Assistant Professor in Continental Philosophy/Critical Cultural Theory at the University of Amsterdam.
Before coming to Amsterdam, I held post-doc positions in Cologne and Oxford. I received my PhD (Dr. phil.) from the University of Cologne in 2014 (for a dissertation on the aesthetic experience of mobile music headphone listening) and my M.A. (Magister Artium) degree from Leipzig University in 2009.
I am mostly concerned with philosophy of culture and aesthetics. Next to these areas of specialization, I count social and political philosophy as my further areas of competence (and I do not mind to occasionally trespass into the realm of sociological theory and method). I have mostly been working on aesthetic experience and the methodology of the philosophical study of culture. Recently, I have turned to the problems of mythical thought, the persisting cultural significance of metaphysics (and its equivalents), and finally the intricate notion of “barbarism”. In historical respect, I am usually focusing on late 19th and 20th century philosophy – with a particular interest in the long shadow German Idealism is casting on this age and its different, often opposing, philosophical currents.
Deutsche Zeitschrift für Philosophie, Sonderband 40, 2019
Abstract: Reconstructive Synthesis. On the Method of the Philosophy of Culture in Ernst Cassirer ... more Abstract: Reconstructive Synthesis. On the Method of the Philosophy of Culture in Ernst Cassirer and John Dewey. This paper argues that Ernst Cassirer and John Dewey – despite their seemingly opposing views on ‚idealism‘ and ‚naturalism‘ – pursue a common project. We want to elucidate this project along the lines of a philosophy of culture that is characterized by the leading idea of a reconstructive synthesis. The consequent result of this common project consists in the program for a logic of cultural inquiry. In order to establish the decisive link between Cassirer and Dewey we will first have a look at historical interrelations highlighting a shared conception of philosophy. We will, then, elaborate on the method of reconstruction as well as the transformative aspect of the logic of inquiry in Cassirer and Dewey. Finally, we will give a program- matic sketch of the logic of cultural inquiry resulting from our synthesis of the two theories.
In this paper, I suggest conceiving the 'Age of Aesthetics' and its theo-retic attempts form Baum... more In this paper, I suggest conceiving the 'Age of Aesthetics' and its theo-retic attempts form Baumgarten to Hegel and from Lessing to Schiller as a quest for certainty within the utterly uncertain field of the sensuous. Though this quest may not be an exclusive trait of that age, I claim it is essential for understanding the driving forces of classical aesthetics. Drawing largely from Ernst Cassirer's reconstructions , I also try to link my conception of the Age of Aesthetics to the recently discussed problem of intuitive understanding as articulated by Eckart Förster. Finally , I am giving a speculative outlook on the notion of 'aesthetic certainty'.
In this paper I argue that, from a pragmatist point of view, to know the past means to anticipate... more In this paper I argue that, from a pragmatist point of view, to know the past means to anticipate it. Accordingly, historical inquiry is directed towards the future, namely the future of the past as known. I develop this argument in three steps: (I.) Starting with A. O. Lovejoy's criticism of Dewey's anticipatory theory of knowledge I defend the basic claim that all knowledge, including knowledge of the past, is anticipatory (i.e. directed at future consequences). Lovejoy's criticism shows that Dewey's statements invite misunderstandings, which have to be removed. (II.) I then turn to C. I. Lewis' enhanced outline of a pragmatist theory of knowledge. Lewis provides epistemological arguments regarding the structural features of knowledge of the past and argues knowledge that is gained by the past's present effects. (III.) Finally, I turn to a notable essay by E. Wind in which he stresses the intrusive and future-oriented character of historical inquiry: Documents are used as instruments for intruding into the past, asking how the past will be understood in the light of new or reconsidered evidence. This process involves anticipating the effects that a different past will have on those affected by the history in question.
Fremdwerden: Zum Nachleben der kulturellen Formen im Zustand der Fremdheit I. Dass uns manche Din... more Fremdwerden: Zum Nachleben der kulturellen Formen im Zustand der Fremdheit I. Dass uns manche Dinge nicht einfach fremd sind, sondern dass diese Dinge und besonders die eigenen Vorlieben für dieselben uns auch fremd werden können – diese Erfahrung ist vermutlich jedem aus der eigenen Biografie vertraut. Sie lässt sich gut nachvollziehen, wenn man an die Musik denkt, die man zu Schulzeiten gehört hat oder auch an die modischen Präferenzen, denen man gefolgt ist und die im eigenen Freundeskreis verbreitet waren. Wenn man nun zurückblickt, kann einem beispielsweise die szenekulturell bedeutsame Konstellation von Baggy Pants, Schiebermützen und " Cross Over " Musik zwischen Rap, Rock, Jazz und Funk durchaus befremdlich vorkommen, mit anderen Worten ist diese ehemals vertraute Konstellation eigener habitueller Geschmacksurteile nicht nur fragwürdig, sondern überhaupt fremd geworden. Doch worin genau besteht der Unterschied zwischen Fremd-sein und Fremd-werden? Genauer gefragt: Wie unterscheiden sich diese beiden Modi der Beziehung zu bestimmten Gegenständen und Kontexten, die allgemein durch das Gefühl der Fremdheit charakterisiert sind? Zunächst einmal ist ‚Fremdheit' begrifflich auf ‚Vertrautheit' als ihr definitorisch wirksames Gegenteil bezogen. In diesem Sinn ist uns etwas dann fremd, wenn es uns eben nicht vertraut ist. Derart abstrakt ausgedrückt scheint es sich dabei um eine bloße Tautologie zu handeln (zumindest wenn ‚fremd' und ‚nicht-vertraut' als identische Begriffe gelten). Da es hier jedoch darum geht, in welcher Weise etwas fremd ist, lässt sich vorläufig die Unterscheidung in Abhängigkeit davon treffen, ob etwas prinzipiell (kategorial) unvertraut oder aber aktuell (temporal, situativ) nicht vertraut ist. Diese Modi
Deutsche Zeitschrift für Philosophie, Sonderband 40, 2019
Abstract: Reconstructive Synthesis. On the Method of the Philosophy of Culture in Ernst Cassirer ... more Abstract: Reconstructive Synthesis. On the Method of the Philosophy of Culture in Ernst Cassirer and John Dewey. This paper argues that Ernst Cassirer and John Dewey – despite their seemingly opposing views on ‚idealism‘ and ‚naturalism‘ – pursue a common project. We want to elucidate this project along the lines of a philosophy of culture that is characterized by the leading idea of a reconstructive synthesis. The consequent result of this common project consists in the program for a logic of cultural inquiry. In order to establish the decisive link between Cassirer and Dewey we will first have a look at historical interrelations highlighting a shared conception of philosophy. We will, then, elaborate on the method of reconstruction as well as the transformative aspect of the logic of inquiry in Cassirer and Dewey. Finally, we will give a program- matic sketch of the logic of cultural inquiry resulting from our synthesis of the two theories.
In this paper, I suggest conceiving the 'Age of Aesthetics' and its theo-retic attempts form Baum... more In this paper, I suggest conceiving the 'Age of Aesthetics' and its theo-retic attempts form Baumgarten to Hegel and from Lessing to Schiller as a quest for certainty within the utterly uncertain field of the sensuous. Though this quest may not be an exclusive trait of that age, I claim it is essential for understanding the driving forces of classical aesthetics. Drawing largely from Ernst Cassirer's reconstructions , I also try to link my conception of the Age of Aesthetics to the recently discussed problem of intuitive understanding as articulated by Eckart Förster. Finally , I am giving a speculative outlook on the notion of 'aesthetic certainty'.
In this paper I argue that, from a pragmatist point of view, to know the past means to anticipate... more In this paper I argue that, from a pragmatist point of view, to know the past means to anticipate it. Accordingly, historical inquiry is directed towards the future, namely the future of the past as known. I develop this argument in three steps: (I.) Starting with A. O. Lovejoy's criticism of Dewey's anticipatory theory of knowledge I defend the basic claim that all knowledge, including knowledge of the past, is anticipatory (i.e. directed at future consequences). Lovejoy's criticism shows that Dewey's statements invite misunderstandings, which have to be removed. (II.) I then turn to C. I. Lewis' enhanced outline of a pragmatist theory of knowledge. Lewis provides epistemological arguments regarding the structural features of knowledge of the past and argues knowledge that is gained by the past's present effects. (III.) Finally, I turn to a notable essay by E. Wind in which he stresses the intrusive and future-oriented character of historical inquiry: Documents are used as instruments for intruding into the past, asking how the past will be understood in the light of new or reconsidered evidence. This process involves anticipating the effects that a different past will have on those affected by the history in question.
Fremdwerden: Zum Nachleben der kulturellen Formen im Zustand der Fremdheit I. Dass uns manche Din... more Fremdwerden: Zum Nachleben der kulturellen Formen im Zustand der Fremdheit I. Dass uns manche Dinge nicht einfach fremd sind, sondern dass diese Dinge und besonders die eigenen Vorlieben für dieselben uns auch fremd werden können – diese Erfahrung ist vermutlich jedem aus der eigenen Biografie vertraut. Sie lässt sich gut nachvollziehen, wenn man an die Musik denkt, die man zu Schulzeiten gehört hat oder auch an die modischen Präferenzen, denen man gefolgt ist und die im eigenen Freundeskreis verbreitet waren. Wenn man nun zurückblickt, kann einem beispielsweise die szenekulturell bedeutsame Konstellation von Baggy Pants, Schiebermützen und " Cross Over " Musik zwischen Rap, Rock, Jazz und Funk durchaus befremdlich vorkommen, mit anderen Worten ist diese ehemals vertraute Konstellation eigener habitueller Geschmacksurteile nicht nur fragwürdig, sondern überhaupt fremd geworden. Doch worin genau besteht der Unterschied zwischen Fremd-sein und Fremd-werden? Genauer gefragt: Wie unterscheiden sich diese beiden Modi der Beziehung zu bestimmten Gegenständen und Kontexten, die allgemein durch das Gefühl der Fremdheit charakterisiert sind? Zunächst einmal ist ‚Fremdheit' begrifflich auf ‚Vertrautheit' als ihr definitorisch wirksames Gegenteil bezogen. In diesem Sinn ist uns etwas dann fremd, wenn es uns eben nicht vertraut ist. Derart abstrakt ausgedrückt scheint es sich dabei um eine bloße Tautologie zu handeln (zumindest wenn ‚fremd' und ‚nicht-vertraut' als identische Begriffe gelten). Da es hier jedoch darum geht, in welcher Weise etwas fremd ist, lässt sich vorläufig die Unterscheidung in Abhängigkeit davon treffen, ob etwas prinzipiell (kategorial) unvertraut oder aber aktuell (temporal, situativ) nicht vertraut ist. Diese Modi
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This paper argues that Ernst Cassirer and John Dewey – despite their seemingly opposing views on ‚idealism‘ and ‚naturalism‘ – pursue a common project. We want to elucidate this project along the lines of a philosophy of culture that is characterized by the leading idea of a reconstructive synthesis. The consequent result of this common project consists in the program for a logic of cultural inquiry. In order to establish the decisive link between Cassirer and Dewey we will first have a look at historical interrelations highlighting a shared conception of philosophy. We will, then, elaborate on the method of reconstruction as well as the transformative aspect of the logic of inquiry in Cassirer and Dewey. Finally, we will give a program- matic sketch of the logic of cultural inquiry resulting from our synthesis of the two theories.
This paper argues that Ernst Cassirer and John Dewey – despite their seemingly opposing views on ‚idealism‘ and ‚naturalism‘ – pursue a common project. We want to elucidate this project along the lines of a philosophy of culture that is characterized by the leading idea of a reconstructive synthesis. The consequent result of this common project consists in the program for a logic of cultural inquiry. In order to establish the decisive link between Cassirer and Dewey we will first have a look at historical interrelations highlighting a shared conception of philosophy. We will, then, elaborate on the method of reconstruction as well as the transformative aspect of the logic of inquiry in Cassirer and Dewey. Finally, we will give a program- matic sketch of the logic of cultural inquiry resulting from our synthesis of the two theories.