Edited by Wolfgang Hogrebe. Studia Philosophica et Historica. Frankfurt am Main: Peter Lang, Lachmann, Rolf. Summarizes central research from Lachmann in English. Susanne K. Munich: Fink Verlag, A monograph by German researcher with access to archive material. Lachmann extracts leading concepts from her later philosophy of mind, directing these to organicism and influences from process philosophy. Massumi, Brian. His compilation of texts from the early millennium on media theory, art, and subjectivity articulate a poststructuralist critique.
He highlights semblance as primarily bodily activity in the perception process. Van der Tuin nears both in their emphasis on how matter becomes form through situated experience. Users without a subscription are not able to see the full content on this page. Please subscribe or login. Oxford Bibliographies Online is available by subscription and perpetual access to institutions.
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Username Please enter your Username. Password Please enter your Password. Forgot password? Such exponentially concept-expanding symbolic expression, Langer argues, is what furnishes the core purpose of art:. The aim of art is insight , understanding of the essential life of feeling. But all understanding requires abstraction. The abstractions which literal discourse makes are useless for this particular subject-matter, they obscure and falsify rather than communicate our ideas of vitality and sentience.
Yet there is no understanding without symbolization, and no symbolization without abstraction. Anything about reality, that is to be expressed and conveyed, must be abstracted from reality. There is no sense in trying to convey reality pure and simple. Even experience itself cannot do that.
What we understand, we conceive, and conception always involves formulation, presentation, and therefore abstraction. Noting that abstraction has played a vital role in advancing human understanding and that the first scientific insights were conveyed via inventive figures of speech, Langer adds:.
Time, when it was first conceived as a scientific notion rather than a fateful Being, flowed in a one-dimensional stream from the throne of God. Space was chaos and abyss, abstracted from the rest of existence in mystic symbols, before this abstraction grew familiar enough to have a dead common-sense name and be defined by all the propositions of descriptive geometry.
Of course, there is always the flipside — incomplete understanding furnishes imperfect abstractions, nowhere more so than in our long history of imperfect metaphors for time. And yet the power of metaphor remains unsurpassed:.
The most powerful users of language or other symbolism … can force us to see more than the ordinary accepted meaning in familiar symbols. The arts, like language, abstract from experience certain aspects for our contemplation. But such abstractions are not concepts that have names…. Artistic expression abstracts aspects of the life of feeling which have no names, which have to be presented to sense and intuition rather than to a word-bound, note-taking consciousness. They become generalized and become things rather than individuals in a way it becomes invented speech.
He is an organism, his substance is chemical, and what he does, suffers, or knows, is just what this sort of chemical structure may do, suffer, or know. When the structure goes to pieces, it never does, suffers, or knows anything again. It is really no harder to imagine that a chemically active body knows, thinks, feels, than that an invisible, intangible something does so, "animates" the body without physical agency, and "inhibits" it without being any place.
Such truth, being bound to certain logical forms of expression, has logical peculiarities that distinguish it from prepositional truth: since presentation symbols have no negatives, there is no operation whereby their truth value is reversed, no contradiction.
Susanne K. Uhlich Knauth. Her parents had immigrated to the U. Langer herself never lost her German accent. Langer was educated at a private school.
At home she learned to play the piano and cello quite well. Later music had also a central role in her philosophical system. After receiving her B. She then returned to Radcliffe, where she earned a Ph. In she married William L. Langer, a professor of history at Harvard. They divorced in Langer studied at Radcliffe under the eminent mathematician and philosopher Alfred North Whitehead, who wrote the prefatory note to her book The Practice of Philosophy From to Langer was a tutor in Philosophy at Radcliffe.
After working as an assistant professor of philosophy at the University of Delaware, she was a lecturer at Columbia University. In she was appointed professor of philosophy at Connecticut College in New London.
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