Hans U. Gumbrecht

Para tratarmos da pensarmos sobre a nossa historicidade atual com base na  “experiencia do tempo”, pretendemos refletir neste artigo refletimos sobre uma das principais hipoteses relacionadas  sobre as atuais formas atuais de temporalizacao: o presentismo de Francois Hartog. Essa sintomatologia do contemporâneo implica a ponta para uma ruptura substantiva entre o momento historicista-moderno, geralmente situado no seculo XIX, e um "regime de historicidade" emergente que seria substancialmente distinto. Apresentaremos  algumas objecoes a essa descricao e, considerando  e a partir da leitura do capitulo "Temporalidade e cotidianidade" da obra e Ser e Tempo, argumentaremos que certos aspectos do tempo presente considerados apontados como sintomas de uma mutacao historica da experiencia podem ser derivados das descricoes de Heidegger da temporalidade da “abertura” (Erschlossenheit), em particular da dimensao “inautentica” ou “impropria”. Por fim, apresentaremos uma l...

The book is based on a two-day-workshop, organized by Philip Ursprung and Mechtild Widrich that was centered around the topic of "presence" and took place at Cabaret Voltaire in February 2013. Besides the editors, scientists and practitioners from different disciplines such as Hans Ulrich Gumbrecht, Mark Jarzombek, Amelia Jones, Rebecca Schneider, Thomas Levin, Nina Zschocke, Dieter Mersch and Peter Zumthor were among the participants.

The conversations were subsequently transcribed based on the form of a theatrical polylogue. Comments by Michael Hampe as a "voice from offstage" as well as short essays were added later on, so that the conversation is happening on several temporal layers simultaneously.

I am putting up the first pages and my essay, which the designers put sideways to indicate a different time level as well as the biographies.

Concept and Design
Elektrosmog, Zurich
Marina Brugger
Adeline Mollard
Marco Walser


With
Jürg Berthold
Elisabeth Bronfen
Hans Ulrich Gumbrecht
Mark Jarzombek
Amelia Jones
Pál Kelemen
Elke Krasny
Thomas Y. Levin
Dieter Mersch
Rebecca Schneider
Philip Ursprung
Mechtild Widrich
Nina Zschocke
Peter Zumthor

Die Stoßrichtung von Gadamers Antwort auf den Historismus bleibt in der Forschung ein umstrittenes Thema: Während seine philosophische Hermeneutik einerseits beschuldigt wird, lediglich die Aporien des Historismus zu radikalisieren, sehen andere in ihr die endgültige Überwindung der Problematik. Dieses Essay zeichnet die Linien von Gadamers Kritik anhand einer konkreten, aber heute weitgehend vergessenen Auseinandersetzung mit einer zeitgenössischen Gestalt des Historismus nach. Die sogenannte Problemgeschichte des Neukantianismus diente Gadamer nämlich schon in den 1920er Jahren, aber auch in Wahrheit und Methode (1960) als Folie, um sein Verhältnis zum Historismus zu klären. In einem ersten Schritt wird mit Nicolai Hartmann der meist ungenannte Gegner Gadamers identifiziert. In einem zweiten Schritt wird Gadamers Kritik an Hartmann rekonstruiert, die seine Position als einen Historismus zweiten Grades verständlich macht.

The nature of Gadamer’s response to the challenge of historicism remains a controversial issue. While some scholars claim that his critique only leads deeper into the aporia of historicism, others credit him with overcoming the problem. This essay will elucidate Gadamer’s response to historicism by examining his nearly forgotten critique of a contemporary version of historicism, namely, neo-Kantian Problemgeschichte. As early as the 1920s and again in Truth and Method (1960), Problemgeschichte served as Gadamer’s counterexample by which his own response to historicism was discussed. First, this essay will identify the mostly anonymous addressee of Gadamer’s critique as Nicolai Hartmann. And second, it will give an account of Gadamer’s critique of Hartmann in order to reveal Gadamer’s position as a kind of second-degree historicism.

This study investigates viewing experiences that came with the introduction of cinema. Merging (film) history with aesthetic theory, this dissertation entails historically informed theoretical reconstructions of viewing experiences between 1896 and 1898. During this novelty period, projected moving pictures evoked a wide array of reactions: on the one hand, early cinema was an extraordinary and astonishing attraction while, on the other hand, it was deeply rooted in daily life and everyday perception. To contemporary audiences, early moving pictures presented an unevenness hovering between amazement and contemplation. This study argues that the cinematograph, the vitascope, and other animated-picture attractions were popular at this early stage because they immediately appealed to the senses. These sensations are subsequently discussed as effects of presence. Early moving-picture exhibitions, moreover, can be seen as performances involving spectators in a play with presence vis-à-vis absence. While moving-picture attractions had an immediate impact on the viewer's body as situated in the "here and now" of the auditorium, the pictures presented places and objects that were irrevocably inaccessible and absent. Exploring different viewing situations in two different contexts, the current study therefore proposes the aesthetic experience of presence as a framework to understand these various late 19th-century viewing experiences. The three chapters of this dissertation are organized separately around the concepts of intermediality, movement, and space. Chapter 1 proposes that, in the context of fairgrounds in the Netherlands, early cinema's "intermedial enmeshing" is a probable cause for the aesthetic experience of presence. This chapter employs the concept of intermediality to outline how the kinematograph attraction caused both a semantically rich as well as a sensuously multivalent experience. It then presents a detailed study of the activities and attractions of the showman Henri Grünkorn before he exhibited "Electric Cinematograph." Chapter 1 also investigates the various layers of discourse involved in Aladin ou la lampe merveilleuse (1897), a series of scenes exhibited by Grünkorn that was popular with local audiences at the time. Chapter 2 focuses on the experience of movement. Through a close study of the introduction of moving images in the context of Chicago in 1896 and 1897, it proposes that moving pictures presented a radically familiar form of motion. It was familiar in the sense that it brought together a number of constellations of motion and energy fundamental to modernity. Situating moving images in the rhythms of the city allows us to conceptualize the spectator as physically engaged with the motion of the kinematograph. Chapter 3 studies the paradox of proximity and distance and discusses moving-picture attractions as they were introduced in vaudeville and popular theater in Chicago. It describes the different constellations between screen and live performance from a spatial perspective while focusing on the representation of bodies. In many ways, the paradox of nearness and distance allowed for a spatially oriented play with presences. The study concludes with a discussion on the potential and challenges of including presence effects in film-historical research on viewing experiences in early cinema and beyond.

ARAUJO, V. L.. A aula como desafio à experiência da história. In: Marcia de Almeida Gonçalvez; Ana Maria Monteiro; Luís Reznik; Helenice Rocha GONÇALVES, Marcia de Almeida; MONTEIRO, Ana Maria; REZNIK, Luís; > ROCHA, Helenice. (Org.). Qual o valor da história hoje?. 1ed.Rio de Janeiro: FGV, 2012, v. 1, p. 66-77.

Hans Ulrich Gumbrecht legt in diesem Herbst 2020 nicht nur eine Monogra-phie zu dem französischen Aufklärer Denis Diderot vor, 1 sondern auch eine neue Übersetzung eines Klassikers der spanischen Literatur, der im deut-schen Sprachraum vor allem durch Arthur Schopenhauer berühmt und po-pulär wurde. 2 Schopenhauer hatte sich an die Übersetzung des Handorakel und Kunst der Weltklugheit betitelten Buches gemacht, zu seinen Lebzei-ten aber erfolglos versucht, einen Verlag dafür zu finden. Schopenhauer hat Graciáns Lebenslehre z. B. in seinen Aphorismen zur Lebensweisheit aufgegriffen und dem Denken des Spaniers aus dem Barock-dessen ge-waltigen Roman El Criticón Schopenhauer gleichfalls schätzte-sehr viele Leser zugeführt. 3 Schopenhauers Übersetzung wird auch von Gumbrecht gebührend gewürdigt, aber er muß als Romanist doch konstatieren, daß jener in seiner Übersetzung manchmal eher paraphrasierend vorgegangen ist. Insgesamt kommt er hinsichtlich Schopenhauers zu einer positiveren Einschätzung als Sebastian Neumeister, der von dessen "Irrtümern, Miss-1 "Prosa der Welt" : Denis Diderot und die Peripherie der Aufklärung / Hans Ul-rich Gumbrecht. Aus dem Englischen von Michael Bischoff.-1. Aufl.-Berlin : Suhrkamp, 2020.-387, [16] S. : Ill. ; 21 cm.-Einheitssacht.: "Prose of the world".-ISBN 978-3-518-58757-3 : EUR 36.00 [#7116].-Eine Rezension in IFB ist vor-gesehen.

This text on the keyword “mood” offers an attempt to de- fine that category in the context of poetics. Though the term itself frequently appeared in discussions of literature in the eras of Romanticism and Symbolism, its meaning was then understood more intuitively and arbitrarily and it constituted rather a means of aesthetic evaluation of lit- erary works than a strictly defined concept in the field of literary studies. A new approach to the idea of mood pro- posed by Hans Ulrich Gumbrecht and his simultaneous exhortation to examine it within the categories of literary and cultural theory and poetics demands a clear defini- tion of its position among poetics concepts and an effort to define the function in scholarly discourse that could be performed by this category—a traditional one, but read by Gumbrecht in a completely new fashion.

Resumen El ensayo analiza la relación de Koselleck con las categorías sociopolíticas ligadas a la nueva tempo-ralidad de los últimos decenios, particularmente la memoria negativa. Koselleck fue un teórico reco-nocido de la modernidad y es una referencia para muchos intérpretes y críticos de nuevo cronotopo que sigue a la crisis de la modernidad. Sin embargo , él mismo se encuentra incómodo en el nuevo cronotopo. Confrontando a Koselleck con algu-nos de esos intérpretes-el presentismo de Hartog, la teoría de la compensación, el lento presente de Gumbrecht y política de la memoria de Assmann-, el ensayo repasa sus trabajos finales sobre la me-moria y se pone de manifiesto cómo la oposición que mantuvo entre memoria e historia le colocaba en una actitud crítica respecto al presente. Irónica-mente, su valentía al enfrentarse al pasado alemán Abstract This article analyses Koselleck's relation to the socio-political categories emerging with the new temporality in the last decades-particularly the notion of negative memory. Although Koselleck was recognized as a theorist of Modernity and is a reference thinker for many critics and interpreters of this new chronotope following the crisis of modernity, he does not fit into the new chronotope. After reviewing some interpretations of the present time, such as Hartog's pre-sentism, German compensation theory, Gum-brecht's extended present and Assmann's politics of memory, Koselleck's late texts on negative memory are analysed. As he insisted on opposing memory to history, he had a critical stance to the present. Ironically, his courage in confronting recent German history brings him away from Revista de historiografía 34, 2020, pp.

In the following paper, which had its origin in a seminar delivered in 2019 by prof. Hans Ulrich Gumbrecht, I will argue how the topos of bragging in Occitan gab songs is closer to the aforementioned professor's notion of a presence culture, for such theory seem to be more adequate for critical inquiry of the songs' semantic structures than traditional theories of meaning. Peire Vidal's strong bragging voice will be used as the most hands-on example, while other troubadours will also be briefly mentioned. As suggested in the seminar, the concept of historical imagination will be used with some liberty; I have also referred to speech-act theory and conclude by proposing to talk about presence cultures using terminology from meaning-oriented theories. My main references were Elizabeth Fraser's critical edition of Vidal's songs, John L. Grigsby's book on medieval boasting, Goldin's compilation of troubadour songs, Akehurst and Davis' excellent Handbook of the Troubadours, and, of course, my own historical imagination.

Der Bereich, in dem das Problem von Authentizität und Wiederholung seit Jahrhunderten diskutiert wird – engagiert, aggressiv, bis hin zur kriegerischen Auseinandersetzung – ist der Streit um das Abendmahl. Die Frage, wie die Einmaligkeit der letzten Mahlzeit Jesu von Nazareth erinnert und repräsentiert wird, wie also ein singuläres Ereignis authentisch wiederholt werden kann, trennt das protestantische und das katholische Christentum. Und selbst innerprotestantisch stritten sich bis vor wenigen Jahrzehnten Reformierte und Lutheraner über die Frage, wie das, was im Abendmahl erinnert wird, dort performativ vergegenwärtigt wird.
Der Streit zwischen den unterschiedlichen Positionen – die katholische Transsubstantiationslehre, die lutherischer Idee der Realpräsenz und die reformierte Auffassung von der zeichenhaften Erinnerungsfeier – ist in hohem Maße relevant für die Diskussion um den Nexus von Authentizität und Wiederholung. Denn seit der Reformation fließen Argumente und Axiome, die in der theologischen Debatte um das Abendmahl entwickelt wurden, hinein in die philosophische Auseinandersetzung über das Problem der Vergegenwärtigung, der Performanz erinnernden Handelns und der Verbindung zwischen singulärem Ereignis und seiner Iteration. Im gegenwärtigen ereignis- und sprachphilosophischen Diskurs sind die Resonanzen auf den Abendmahlsstreit daher mehr als versteckte oder skurrile Theologoumena, sondern relevante und konsequenzenreiche Argumentationsstrukturen.
Neben einer Auffächerung der verschiedenen Abendmahlsmodelle in ihrer systematisch‐theologischen und kirchenhistorischen Dimension wird das Abendmahl aus der Sicht der Theater-­‐ und Tanzwissenschaft betrachtet. Ziel dieser Untersuchung ist die Lektüre des Abendmahls als Reenactment und die Konzentration auf die entscheidende Geste des Brotbrechens. Welche Denkmodelle stellen gesture-­Forschung und Bewegungswissenschaft bereit, um diese Handlung zu lesen? Was geht vor, wenn einer das Brot „nimmt, bricht und gibt“, wie es in den Einsetzungsworten des Abendmahls heißt? Und: wie authentisch ist diese Wiederholung?

Anacronismo, memoria y latencia, que en el pasado fueron expulsados hasta los márgenes del discurso historiográfico, pueden ser de gran utilidad para comprender la historia que se abre tras la crisis de la modernidad. La obra de Koselleck no solo proporciona las principales claves para elaborar el «régimen de historicidad» moderno, sino también ayuda a comprender estos tres conceptos «marginales». Como historiador de la «contemporaneidad de lo no contemporáneo» nos lleva a pensar en hechos y conceptos adelantados y atrasados en relación con la época en que aparecen. En sus estudios sobre los monumentos a los caídos ha des-cubierto nuevas manifestaciones históricas en las que el sentido del pasado ya no depende del futuro. Y, en polémica con Gadamer, ha abierto la posibilidad de explicar la historia con categorías que no pasan por la hermenéutica. A este tipo pertenece la Stimmung de latencia, con la que Gumbrecht piensa el final del cronotopo moderno.
Abstract: The concepts anachronism, memory and latency, which in the past were pushed to the margins of historiographical discourse, can be extremely useful in understanding the history that unfolds after the crisis of modernity. Koselleck's work not only provides the main keys to develop the modern "re-gime of historicity", but also helps to understand these three "marginal" concepts. As a historian devoted to the "contemporaneity of the non-con-temporary", he suggests facts and concepts that are both ahead of and behind the time in which they appeared. In his studies about war memorials he has found new historical expressions in which the meaning of the past no longer depends on the future. Furthermore, in disagreement with Gadamer, he has raised the possibility to explain history through categories that are not subject to hermeneutics. The Stimmung of latency Gumbrecht uses to reflect on the end of the modern chronotope belongs to this type of categories.
Revista de historiografía 34, 2020, pp. 183-208

A partir da obra de Gumbrecht, mas não somente dela, pretendemos sinalizar as aproximações passíveis de serem feitas entre a teoria das materialidades e os estudos sobre o esporte. Em outras palavras, como investigar o esporte adotando como repertório teórico as possibilidades levantadas pela materialidade da comunicação. Nesse sentido, revisamos brevemente a mudança de paradigma teórico em curso no campo das Ciências Sociais, bem como apontamos, na conclusão, caminhos de pesquisa a partir das ideias debatidas ao longo deste trabalho.

Interfacing Harold Bloom's 'The Western Canon' as a point of departure, elaboration and criticism, with the ideas put forward by Nietzsche and the Czech novelist Milan Kundera, I here attempted to steer the question of canonicity away from the academy and towards the motions of the creative process itself. At its most basic level, this paper inquires as to whether the Canon (if, indeed it should remain in its current form) manages to empower and embolden new writers, or whether it is an institution of exclusivity from such pursuits.

Este artigo é dedicado à análise da paisagem sonora das canções da cantora canadense
Grimes, que utiliza predominantemente aparelhos eletrónicos e digitais. Estes
equipamentos possibilitam que, nos seus shows, a paisagem sonora seja toda composta a
partir de amostras de som previamente armazenadas em samplers. Ao modificar a
maneira de produzir música, Grimes também modifica a maneira como a música nos toca.
Por isso, como base teórica, este artigo apresenta a teoria dos autores Hans Gumbrecht
(para estudarmos a música como produtora de presença); Vilém Flusser (para
observarmos como Grimes interage com os aparelhos); e R. Murray Schafer (para a
descrição dos elementos que compõem a paisagem sonora musical).

Despite the spatial limitations of their narratives (especially in Joyce’s case), both of these authors framed their characters with a distinct, and sometimes complicated, view of the world beyond the borders of their immediate ontological reality. When asked of his origin, both Joyce himself and Stephen Daedalus answered that they belonged to no particular state; while Cornelius ends his most moving speech with the declaration above. With this as our point of departure, I intend to investigate to what extent we can understand how either writer viewed the world around them: was their global viewpoint the reaction of their own lives, or of a more distanced theory of human interactions? 

How can literature truly represent the world itself? I will be briefly introducing and utilising Hans Gumbrecht’s view of literature as a medium to create stimmung (or presence) of ulterior realities and emotional states, to anchor my claims here. He claims that this ambiguous presence in literature can ‘catalyse inner feelings without matters of representation necessarily being involved.’  How can we relate this to either writers, and to what extent can a global presence, or a form of cosmopolitan consciousness, be traced in their works? 

Is the fictional world of Joyce and Shakespeare merely the site of interior emotions, prejudices and trauma, or is their enduring influence on their field not due to the fact that their works represent a substantial departure from such forms of writing? Is it indeed a ‘world without end’ or, as Stephen Daedalus worries,

‘was it that, being as weak of sight as he was shy of mind, he drew less pleasure from the reflection of the glowing sensible world through the prism of a language manycoloured and richly storied than from the contemplation of an inner world individual emotions’?'

Is their writing a turning from the world, as Coriolanus implies, or is something more ambivalent? Until a writer has seen the world themselves, can it ever, in their writing, be any more than a novel idea?

It seems perhaps paradoxical to read – and even more so to write – on a topic Experiencing the Everyday. Aren't experience and rational contemplation located at the opposite ends on the spectrum of modes of behavior? We can experience the everyday or we can write it – but once we start writing it, the experience is diverted from its original temporal flow and is recast as an object of contemplation. A similar paradox is embedded in aesthetic representations of everyday life – the artistic gaze easily renders the most banal and quotidian material into an aesthetically pleasing object of enjoyment, something very different from the neutral and unnoticeable flow of everyday life. In writing about the artistic representation of the everyday, then, the initial experience of the everyday is doubly removed. At the same time, however, writing and thinking about everyday experience, as well as painting, photographing or filming it, may very well be the most quotidian activity for scholars, novelists, painters and filmmakers.

Este trabalho contrapõe o conceito de jogo a certa vertente da arte contemporânea, discutindo dois tipos distintos de experiências estéticas, tendo como metáfora de análise uma propaganda da Nike divulgada por ocasião da abertura da Copa do Mundo de Futebol da Fifa, no Brasil, em 2014. Esta contraposição propõe pensar em que medida existe espaço, no pensamento estético e na produção contemporânea, para o contingente e o prazer, e em que medida o artifício de argumentos e ex-planações teóricas serve para tornar a arte um jogo demasiadamente sério. O presente artigo tam-bém se pergunta se o jogo seria um modo possível de pensar a ausência de artifício na arte de hoje. PALAVRAS-CHAVE: Jogo; arte contemporânea; experiência estética; Gumbrecht; Zumthor.

Having as analysis metaphor a Nike's advertisement, launched during the opening of 2014 Brazilian World Coup, this paper opposes the concept of play to a certain aspect of contemporary art, discussing two types of aesthetic experience. This contraposition of terms intends to shed light on the possibilities of making space for pleasure and contingency in contemporary production and theory of art, as much as putting the question whether the artifice of theoretical arguments could turn art into an excessively serious play. The present paper puts as an open question if play could be a way of thinking a lack of artifice in the production and reception of art nowadays. ABSTRACT ARRISQUE TUDO OU NADA-MARIANA LAGE MIRANDA | www.pos.eco.ufrj.br

Pensar uma erótica da arte literária, o apelo ao corpo no texto, o signo tensor versus o signo semiótico, o desnudamento do literário no corpo exposto de Diadorim-Deodorina, o sexo da tartaruga no poema de D.H.Lawrence, a relação da poesia com os espasmos musculares, o gozo pela literatura, a paixão pelos poemas, e o desejo de passar para o lado de lá da ficção.

In this paper, the so-called Crisis of Representation is discussed as a hallmark of Western Theatre and Modernity. The key hypothesis of overcoming such a crisis is investigated through the emergence of a performative turn, in which performance is understood in a broader sense derived from Performance Studies. To address this, the paper builds on authors such as Artaud, Derrida, Heidegger, Gumbrecht and Féral for a general theoretical background, and on the work of authors such as Cull, Street and others for a more specific approach concerning the field of Performance Philosophy. This paper argues that a philosophical turn in Performance Studies has happened through a radicalization of ‘Presence’.

Este ensayo analiza el origen y la fundamentación del concepto de latencia en relación con los trabajos de Husserl acerca de la constitución originaria de la temporalidad. Intenta mostrar que el concepto de latencia, lejos de ser un concepto de la ontología, es ante todo un concepto de los sistemas temporales inteligentes. Como tal, despliega el ámbito de lo trascendental y prepara una comprensión más profunda de la noción de vida como uno de esos sistemas temporales. Así, la latencia es la manera en que la vida organiza su temporalidad, pues lo determinante de ella es la forma en que el pasado se activa ante la finitud de un presente dotado de sentido. La latencia es una condición trascendental de sentido. La consecuencia de esto es la imposibilidad de una comprensión de la vida completamente actualista, tal y como la entiende la ontología de Deleuze

Presented for Prof. Hans Ulrich Gumbrecht seminar on Troubadour Poetry, this reading of Peires Vidal "Ajostar e lassar" raises five points: the absence of irony and other tropes in medieval literature, the religious dimension of the attraction to the lady and the exile, the tremendous power of the female figure, equated to the divine, the cumulative imagery, and the micro-politics presented in the text.

With reference to the increasing self-reflection of the way we read now, this paper opts for three different—yet associated—modes of a textual reading from whose point of view philological questions could be posed: interpretation, experience, and knowledge. Modeled as the geometric figure of a triangle, the phenomenon of literature may be seen to consist of three angles that constitute its concrete design: the textual composition of a fixed matrix of words, a performative adjustment to the recipient, and the constitution of historical contexts. From such a phenomenological perspective, the difference between depth and surface of a literary work of art seems to be in fact a superficial one because any textual significance is only manifest through its appearance. Depth, which is what remains unseen at a first glance, is explored by looking at the object more closely. It could also be described as yet another part of the same object’s surface. Beyond that, any philological reading is guided by scientific discourses. It may be defined, therefore, as a reproduction that opens the fundamental aspects of literature in various ways by investigating its basic and complex structure. The following paper will focus on three recent approaches to philology: the hermeneutic theory of Günther Figal in his book "Gegenständlichkeit," Hans Ulrich Gumbrecht’s exploration of the "Powers of Philology," and the lecture about the "Promises of Philology" held by Peter-André Alt. The practices of philology may be critically examined through such a description of philological interpretation, experience, and knowledge.

A pretensão maior da obra de Hans Gumbrecht é virar a substancialidade do Ser contra a tese da universalidade da interpretação. O autor parte de uma crítica ao paradigma sujeito/objeto e concentra seus estudos no que ele nomeia de campo não hermenêutico, buscando pensar e alcançar a relação do homem com o mundo e com os outros homens, em uma dimensão que, não, exclusivamente, a do sentido.

Wo liegen die Gemeinsamkeiten zwischen dem lutherischen Gedanken der Realpräsenz und aktuellen tanzwissenschaftlichen Positionen? Was verbindet das Extra-Calvinisticum der reformierten Theologie mit dem zeitgenössischen Tanz? – Der Tanzwissenschaftler und evangelische Theologe Alexander
Schwan fragt nach den Verbindungen zwischen Abendmahl und Tanz. Ausgangspunkt ist die Flüchtigkeit tänzerischer Bewegung, die in der Tanzwissenschaft einen wichtigen Stellenwert einnimmt.

Presence and philosophical aesthetics in
Pascal Mercier’s novel Perlmanns Schweigen

The Swiss author Pascal Mercier, which is the pen name of the philosopher Peter Bieri, made his debut as a novelist with the ‘thriller of consciousness’ Perlmanns Schweigen (Perlmann’s Silence) in 1995. Already in the first sentence, the reader is confronted with the main character’s failing ability to experience presence, and the oscillation between presence and lack of presence is one of the novel’s main themes. Although being an analytical philosopher himself, philosophical aesthetics seems more relevant than analytical philosophy
to the novel’s use of the category of ‘presence’. Therefore, this paper presents a short account of the tradition of philosophical aesthetics from Baumgarten to Gumbrecht and Dorthe Jørgensen. This tradition is the common thread in the presentation of the following themes: “The Psychology of Presence”, “The Stereotypical versus the Presence-enhancing Use of Language”, and “Presence in the Light of the Beauty of Nature and the Beauty of Art”.

O artigo investiga como as palavras mídia e história são empregadas dentro dos textos teóricos da Teoria Alemã das Mídias. Afirma-se que problemas, soluções, metodologias e pressupostos teóricos encontrados dispersos em vários autores identificados com a TAM não são fortuitos, mas expressões produtivas do agenciamento constituído ao redor dessas palavras, que funcionariam como atratores teóricos dentro de uma rede discursiva. Estuda-se como mídia é usada (mas não conceituada), em Kittler, e em como “pós-história”, constituída na negação de história, substancia a Arqueologia das Mídias

Before shooting his only movie Limite (1931), Mário  Peixto  went  to  England  (1926-1927),  where  he wrote a journal until today not released as a book. I intend to present this little known material together with photos from  his  trip.  The  journal  shows  a  young  man  far  from his family writing in a foreign language – English – with a sensibility defined by a permanent staging of himself, by an existential melancholy and by a sensation of not belonging. One noticeable aspect of the text is how this journal can be  reinterpreted  as  a  queer  experience  still  silenced  by discussions about Brazilian Modernism.
The journal was written in English when Mario Peixoto was learning it. No change from the title to the quotations was done.
http://www.revistas.usp.br/significacao/article/view/152046/154290

Se trata de desplegar, a partir del concepto de materialismo en Marx y su recepción en la historia reciente de cierta tradición académica occidental, los conceptos de Tecnopolítica y Tecnopoética.
* * *
The text intends to unfold, from the Marxian concept of materialism and its reception in the recent history of a certain Western academic tradition, the concepts of Technopolitics and Technopoetics.

http://www.cefc.org.ar/revista/index.php/history-2/

This is an attempt at recovering Marx’s subterranean influence in the theoretical developments of the “Materialities of Communication” colloquium. It is argued that the colloquium “Materialities of Communication”, in revisiting the Marxian concept of materialism, produced a “de-marxialized” version of materiality as an alternative (and
reaction) to the excesses of the postmodern culture of interpretation. However, the demarxialization of the concept ultimately meant depriving it of its political critique, making of it a politically innocuous tool. Lastly, it is suggested that rewiring the concept of materiality with its critical origin opens up a whole range of possible investigations.
Keywords: Materiality; Marx; Gumbrecht; Kittler; Technopolitics.
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Trata-se de recuperar a subterrânea influência de Marx na produção teórica que se movimenta a partir do colóquio “Materialidades da comunicação”. Argumenta-se que o colóquio “Materialidades da comunicação”, na tentativa de revisitar o conceito marxiano de materialismo, produziu uma versão “de-marxializada” da materialidade como alternativa (e reação) aos excessos de uma cultura pós-moderna da interpretação. No entanto, a demarxialização do conceito significou, em última instância, esvaziá-lo de sua crítica política, fazendo dele uma ferramenta politicamente inócua. Sugere-se, por fim, que reconectar o conceito de materialidade à sua origem crítica abre toda uma gama de possíveis investigações.
Palavras-chave: Materialidade; Marx; Gumbrecht; Kittler; Tecnopolítica.