Search results for ""author hans ulrich""

Anyone who has ever experienced a sporting event in a large stadium knows the energy that emanates from stands full of fans cheering on their teams. Although "the masses" have long held a thoroughly bad reputation in politics and culture, literary critic and avid sports fan Hans Ulrich Gumbrecht finds powerful, as yet unexplored reasons to sing the praises of crowds. Drawing on his experiences as a spectator in the stadiums of South America, Germany, and the US, Gumbrecht presents the stadium as "a ritual of intensity," thereby offering a different lens through which we might capture and even appreciate the dynamic of the masses. In presenting this alternate view, Gumbrecht enters into conversation with thinkers who were more critical of the potential of the masses, such as Gustave Le Bon, Friedrich Nietzsche, Sigmund Freud, José Ortega y Gasset, Elias Canetti, Siegfried Kracauer, T. W. Adorno, or Max Horkheimer. A preface explores college crowds as a uniquely specific phenomenon of American culture. Pairing philosophical rigor with the enthusiasm of a true fan, Gumbrecht writes from the inside and suggests that being part of a crowd opens us up to an experience beyond ourselves.

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The Christo Interviews brings together a series of conversations between the artist, who is best known for the large-scale, site-specific environmental installations he created in collaboration with artistic partner and wife, Jeanne-Claude, and Hans Ulrich Obrist, the pre-eminent commentator on and curator of contemporary art.Taking place between December 2012 and May 2020, the interviews provide insight into the individual minds of two of the art world's most esteemed figures, while also tracking the unfolding of their entire working relationship. Hans Ulrich describes these as werksttat interviews', meaning a workshop or laboratory of words' and taken together, they also reveal the progress of The London Mastaba, Serpentine Lake, Hyde Park (2016-18), Christo's first major public outdoor work in the UK, which coincided with an exhibition at the Serpentine Galleries outlining Christo and Jeanne Claude's 60-year history of working with oil barrels.Fully illustrated with images of finish

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This work describes an intellectual trajectory that can be traced from the interdisciplinary re-orientation of the humanities in Germany between 1975 and 1990 to similar issues being discussed in North America today. Its point of departure is the progression from the traditional positions of hermeneutics and reception aesthetics to new practices in the field of cultural history, central to which are concepts of "sense" and "reality" that motivated a fresh interest in the socio-historical contexts of literature and culture. On this basis, Hans Ulrich Gumbrecht develops a nontextual theory of narrative and advances a historical outline of canonized and non-canonized texts and cultural institutions in Europe from the Renaissance to the 20th century.

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Production of Presence is a comprehensive version of the thinking of Hans Ulrich Gumbrecht, one of the most consistently original literary scholars writing today. It offers a personalized account of some of the central theoretical movements in literary studies and in the humanities over the past thirty years, together with an equally personal view of a possible future. Based on this assessment of the past and the future of literary studies and the humanities, the book develops the provocative thesis that, through their exclusive dedication to interpretation, i.e. to the reconstruction and attribution of meaning, the humanities have become incapable of addressing a dimension in all cultural phenomena that is as important as the dimension of meaning. Interpretation alone cannot do justice to the dimension of "presence," a dimension in which cultural phenomena and cultural events become tangible and have an impact on our senses and our bodies. Production of Presence is a passionate plea for a rethinking and a reshaping of the intellectual practice within the humanities.

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Drawing on his own experiences and inspirations - from staging his first exhibition in his tiny Zurich kitchen in 1986 to encounters with artists, exhibition makers and thinkers - Hans Ulrich Obrist looks to inspire all those engaged in the creation of culture. Moving from meetings with artists to the creation of the first public museums in the 18th century, recounting the practice of inspirational figures such as Diaghilev, skipping between exhibitions, continents and centuries, Ways of Curating argues that curation is far from a static practice. Driven by curiosity, at its best it allows us to create the future.

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From the beginning many of the early Christian communities led an ascetic lifestyle, although a good number of New Testament texts do not seem suitable for justifying radical ascetic and encratite practice. The question thus arises how the different forms of asceticism could be justified on the basis of those scriptures.The articles of the volume focus on the interpretation and application of New Testament texts in various ascetic milieus and in the works of several early Christian authors and on the reception history of New Testament texts either supporting or resisting an ascetic relecture.

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Hans Ulrich Obrist, the Artistic Director of the Serpentine Galleries in London, brings his curating expertise to the Instagram feeds of more than 384,000 followers, in an endeavour to revive the art of handwriting from within an ever-advancing digital age. The result is one of the most comprehensive looks at the art world from the inside; inclusive of artists, writers, designers, musicians, actors, architects and public figures. In his open-ended Instagram project, Obrist collects an abundance of thoughts for the day, dreams, drawings, musings, jokes, quotations, questions, answers, poems, and puns from some of the world’s greatest contemporary artists, handwritten on everyday Post-it notes (and other scraps). From the reassuringly philosophical to the inspiringly straightforward, the ingeniously funny to the tenderly post-humous, Remember to Dream! (a note from American artist Carrie Mae Weems) paints a picture of the art world direct from many of the most celebrated artists of the twenty-first century. The book features an introduction by Hans Ulrich Obrist and is designed by Amsterdam-based award-winning book designer Irma Boom.

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This new title celebrates 50 years of the creative force of nature that is the artistic partnership of Gilbert & George. Published in cooperation with the LUMA Foundation in Arles, France, on the occasion of their retrospective exhibition on show from 2 July to 23 September 2018. The book will feature five interviews with Gilbert & George by Hans Ulrich Obrist and Daniel Birnbaum, one for each decade of their practice. This title will be heavily illustrated with examples of Gilbert & George's artworks from their early years to their most recent series. Designed by Gilbert & George themselves, The Great Exhibition will feature their trademark style and panache. Introduced by a text co-authored by Obrist and Birnbaum, this publication will also feature several extracts from Michael Bracewell's 2017 publication What is Gilbert & George?. All text will be presented in both French and English.

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What are the various atmospheres or moods that the reading of literary works can trigger? Hans Ulrich Gumbrecht has long argued that the function of literature is not so much to describe, or to re-present, as to make present. Here, he goes one step further, exploring the substance and reality of language as a material component of the world—impalpable hints, tones, and airs that, as much as they may be elusive, are no less matters of actual fact. Reading, we discover, is an experiencing of specific moods and atmospheres, or Stimmung. These moods are on a continuum akin to a musical scale. They present themselves as nuances that challenge our powers of discernment and description, as well as language's potential to capture them. Perhaps the best we can do is to point in their direction. Conveying personal encounters with poetry, song, painting, and the novel, this book thus gestures toward the intangible and in the process, constitutes a bold defense of the subjective experience of the arts.

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A Great Light is a striking catalogue published to accompany the exhibition of the same name, both testaments to British artist Brian Clarke’s widely regarded status as the most important artist working in stained glass today. Across his five-decades-long career, Clarke has consistently pushed the boundaries of stained glass as a medium in terms of technology and its visual potential. Focusing on large-scale works, A Great Light crystallises Clarke’s vision for stained glass as fundamentally architectural, his works the result of a dedicated respect for the buildings they inhabit and the surrounding contexts of his practice. The book offers a view of the impactful interaction between space and artwork, as over 130 beautifully reproduced images fill its pages and extend into the gatefolds. Published in association with Newport Street Gallery, A Great Light features 68 stained-glass artworks as well as installation shots of the final exhibition, prefaced by an interview between Clarke and world-renowned Swiss curator, art historian and critic Hans Ulrich Obrist, Artistic Director of Serpentine Galleries in London.

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Text in English & German. If laziness is the mother of all inventions, then the car is its masterpiece. The earliest means of locomotion was walking, followed by riding on horses or camels; finally, with the invention of the wheel, came the ability to use carriages, which not only made locomotion far more comfortable but also brought the transportation of goods to a whole new level. However, it then took millennia for carriages to go from being propelled by horses or oxen to engines, initially steam-driven, then propelled by internal combustion engines and early experiments with electric propulsion. Cars were initially the result of pure craftsmanship, and as passenger cars were based on the concept of the carriage. The assembly line had not entirely abandoned the carriage look, but already showed a typical automobile profile: equal-sized wheels, engine bonnet, passenger compartment. The predominant body colour of cars manufactured between 1910 and 1930 was black, while all makes of car had an almost uniform appearance. As manufacturers moved away from metal-panelled wooden frames to an all-steel design, they hesitantly ventured to adopt new forms. Improved undercarriages and higher engine performance were initially limited by air resistance, which above a speed of 60 kilometres per hour is the strongest of all driving resistances. This led to the development of new body shapes that offer less resistance to the airstream. Engineers still determined the form of the car, sometimes even achieving formal elegance. It was only rarely that members of other professions, such as the architects Le Corbusier or Walter Gropius, were commissioned to design a car. Between the two World Wars North America had the worlds largest fleet of cars; this also meant that their design became an increasingly important sales factor. Professsional automobile design was established. As they continued to develop technically, cars in the 1950s moved further and further away from the physically logical form of a moving body. One of the last and most outstanding examples of a form with optimum resistance to the airstream is the Citroën ID/DS of 1955. Others, indeed almost all, opted for the pure symbolism of speed and power, whose most important ingredients were tail fins and chrome. Today, with a global annual production of close to 100 million passenger cars, automotive style has come to be represented by a wide range of almost every imaginable form. Architect Hans-Ulrich von Mende has worked with partners in an independent practice since 1990. For 50 years his writings and drawings on automotive design have appeared in books, trade journals (mot, autobild) and the daily press (Frankfurter Allgemeine Zeitung, Süddeutsche Zeitung).

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In nahezu allen bekannten Liturgien der Alten Kirche ist die Taufeucharistie Ziel und Höhepunkt der Initiation. Und spätestens ab dem 2. Jahrhundert ist die Taufe die notwendige Bedingung für die Teilnahme an der Eucharistie und an den gemeindlichen Mählern. Dieser Befund setzt bestimmte Entwicklungen und Homogenisierungsprozesse in der Auffassung wie auch im rituellen Vollzug von Taufe und Herrenmahl voraus, die in den Taufgottesdiensten des 4. und 5. Jahrhunderts manifest werden. In der vorliegenden, exegetisch wie liturgiegeschichtlich angelegte Untersuchung rekonstruiert Hans-Ulrich Weidemann die Vorgeschichte dieser gegenseitigen Zuordnung von Taufe und Kultmahl auf dem Hintergrund der pluralen frühchristlichen Mahlpraxis. Im Zuge dessen werden die vorkonstantinischen Taufeucharistien, aber auch die komplexe Zuordnung von Taufe und Mahlgemeinschaft in den neutestamentlichen Texten untersucht.Zunächst wertet er die wichtigsten Quellen aus dem 2. und 3. Jh. aus: die Didache, das Zeugnis Justins, die apokryphen Petrus-, Paulus- und Thomasakten, die Pseudoclementinen, das Zeugnis Tertullians sowie die sogenannte Traditio Apostolica. Dabei wird der plurale Befund zur Taufeucharistie und zur postbaptismalen Mahlpraxis erhoben, und die Initiation mit den weiteren Angaben zur Mahl- und Eucharistiepraxis der jeweiligen Zeugnisse in Beziehung gesetzt. Im zweiten Teil analysiert er jene neutestamentlichen Textpassagen, in denen von postbaptismalen Mählern erzählt wird oder in denen Taufe und Eucharistie inhaltlich zueinander in Beziehung gesetzt werden: die Apostelgeschichte des Lukas, den ersten Korinther- und den Galaterbrief des Apostels Paulus sowie den Hebräerbrief.

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A lively examination of the life and work of one of the great Enlightenment intellectuals Philosopher, translator, novelist, art critic, and editor of the Encyclopédie, Denis Diderot was one of the liveliest figures of the Enlightenment. But how might we delineate the contours of his diverse oeuvre, which, unlike the works of his contemporaries, Voltaire, Rousseau, Schiller, Kant, or Hume, is clearly characterized by a centrifugal dynamic? Taking Hegel's fascinated irritation with Diderot's work as a starting point, Hans Ulrich Gumbrecht explores the question of this extraordinary intellectual's place in the legacy of the eighteenth century. While Diderot shared most of the concerns typically attributed to his time, the ways in which he coped with them do not fully correspond to what we consider Enlightenment thought. Conjuring scenes from Diderot's by turns turbulent and quiet life, offering close readings of several key books, and probing the motif of a tension between physical perception and conceptual experience, Gumbrecht demonstrates how Diderot belonged to a vivid intellectual periphery that included protagonists such as Lichtenberg, Goya, and Mozart. With this provocative and elegant work, he elaborates the existential preoccupations of this periphery, revealing the way they speak to us today.

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Production of Presence is a comprehensive version of the thinking of Hans Ulrich Gumbrecht, one of the most consistently original literary scholars writing today. It offers a personalized account of some of the central theoretical movements in literary studies and in the humanities over the past thirty years, together with an equally personal view of a possible future. Based on this assessment of the past and the future of literary studies and the humanities, the book develops the provocative thesis that, through their exclusive dedication to interpretation, i.e. to the reconstruction and attribution of meaning, the humanities have become incapable of addressing a dimension in all cultural phenomena that is as important as the dimension of meaning. Interpretation alone cannot do justice to the dimension of "presence," a dimension in which cultural phenomena and cultural events become tangible and have an impact on our senses and our bodies. Production of Presence is a passionate plea for a rethinking and a reshaping of the intellectual practice within the humanities.

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Considering a range of present-day phenomena, from the immediacy effects of literature to the impact of hypercommunication, globalization, and sports, Hans Ulrich Gumbrecht notes an important shift in our relationship to history and the passage of time. Although we continue to use concepts inherited from a "historicist" viewpoint, a notion of time articulated in the eighteenth and nineteenth centuries, the actual construction of time in which we live in today, which shapes our perceptions, experiences, and actions, is no longer historicist. Without fully realizing it, we now inhabit a new, unnamed space in which the "closed future" and "ever-available past" (a past we have not managed to leave behind) converge to produce an "ever-broadening present of simultaneities." This profound change to a key dimension of our existence has complex consequences for the way in which we think about ourselves and our relation to the material world. At the same time, the ubiquity of digital media has eliminated our tactile sense of physical space, altering our perception of our world. Gumbrecht draws on his mastery of the philosophy of language to enrich his everyday observations, traveling to Disneyland, a small town in Louisiana, and the center of Vienna to produce striking sketches of our broad presence in the world.

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