Rudolf Steiner

Ist Santiago Calatrava ein organischer Architekt?

by Caro Bultman

Introduction: Exploring the Legacies of Theosophy

by Zoe Alderton

with Johanna Petsche

Publications by Anna P. Sokolina

by Anna Sokolina

A Modern Audience for the Ancient Mysteries of the Occult: The Evolution of Rudolf Steiner's Esoteric Architecture

by Fiona Gray

In today’s secular society, occult conceptions of architecture may seem somewhat anachronistic, but at the turn of the... more In today’s secular society, occult conceptions of architecture may seem somewhat anachronistic, but at the turn of the twentieth century the bourgeoisie, alongside society’s artistic and intellectual elite, were enthusiastically embracing a myriad of esoteric doctrines and mystical impulses. One of the most prominent and enduring examples of this cultural phenomenon is to be found in Rudolf Steiner’s quasi-philosophical system of Anthroposophy. As a path of spiritual development based on ancient mysteries of the occult, Anthroposophy offered people the belief that there existed a way out of the chaos and meaninglessness of modern industrialised society. Steiner used the medium of architecture as a way of repackaging the occult’s venerable secrets into a tangible, material form that made their hidden message more readily accessible to his contemporary audience. While he was striving towards creating a totally new architectural language appropriate to the modern age, he perceived architectural style as an evolutionary process that revealed its spiritual content in a particular way in every epoch. As such, Steiner made free use of historical and mythological precedents as archetypal references in his work, thus giving his architecture a genealogy that has, until now, remained largely undefined. By investigating Steiner’s indebtedness to ancient temples and the architecture of the baroque, a greater understanding of his architectural heritage is made possible, which not only helps to locate him within the cultural milieu of his day, but also within the broader context of architectural history. A spiritual thread runs through this history that demonstrates that Steiner’s architecture is not as idiosyncratic as it may initially seem, though whether his work represents an original step forward in the development of modern architecture, or is merely a hangover of nineteenth century eclecticism, must also be considered in order to determine the architectural value of Steiner’s esoteric ideas.

The synthesis of Empathy, Abstraction and Nature in the Work of Kandinsky, Steiner and Mendeloshn

by Fiona Gray

Empathy and abstraction were dominant themes in nineteenth century German aesthetics that played a major role in... more Empathy and abstraction were dominant themes in nineteenth century German aesthetics that played a major role in shaping the theoretical objectives of artists and architects at the turn of the twentieth century.  These concepts represented a significant shift from the classical idea of imitating nature and began to offer a new way of understanding the relationship between nature, art and architecture.  Since 1907, when Wilhelm Worringer published his highly influential doctoral dissertation Abstraction and Empathy, there has been a general tendency to explicate these two concepts as strictly antithetical. The theory of empathy has espoused the oneness of nature, while abstraction has been seen as a withdrawal from nature.  This perception that empathy and abstraction respond to opposing relationships between human beings and the external world has often led to interpretations of art and architecture that emphasise the role of one or the other, failing to recognise that each contains an intimation of the other. An alternative perspective to this seemingly antithetical outlook can be revealed however in the work of Austrian philosopher, Rudolf Steiner (1861-1925).  Steiner broke down the polarity between empathy and abstraction, to reveal a complimentary relationship that looked to nature as its mentor.  Steiner’s concept of nature was defined in anthroposophical terms that rejected the conventional materialistic understanding of nature and instead acknowledged the reality of a spiritual dimension.  This notion captured the imagination of avant-garde artists and architects such as Wassily Kandinsky and Erich Mendelsohn, hence making Steiner a significant figure in the growth and dispersal of Expressionist ideals.

Between Theory and Practice: Rudolf Steiner as Philosopher and Architect

by Fiona Gray

The philosophy and architecture of Rudolf Steiner both aim to give formal expression to his esoteric worldview,... more The philosophy and architecture of Rudolf Steiner both aim to give formal expression to his esoteric worldview, however, the means of articulating this worldview fundamentally differ within each discipline. Philosophy and architecture are separated by both process and product, and while an interdisciplinary reading of Steiner’s work does make certain connections between them evident, the incorporeal nature of thinking and the physical reality of building inevitably require different skills of their author, as well as different standards by which to assess them. Although he had no formal training as an architect, Steiner believed that his system of Anthroposophy provided a conceptual framework that would inspire a new style of modern architecture imbued with a spiritual dimension. As such, architecture provided Steiner with a means of visually expressing what words could not, and was therefore a necessary and important part of his philosophical pursuit.  This paper explores the tension that exists between Steiner’s philosophy and architecture in its translation from theoretical ideas into built form.  Steiner’s approach to architectural design was less concerned with the methods and techniques of the craft than with achieving what he saw as architecture’s true purpose - namely to give voice to the inner spiritual content of the work.  However, in order to achieve this ultimate goal, a certain level of architectural competence is required. Therefore, Steiner’s ability as an architect to articulate such lofty ideals will also be assessed.  Conceived on the edge of theory and practice, Steiner’s work serves to demonstrate the richness and depth that such an approach has to offer the field of architecture.

The synthesis of Empathy, Abstraction and Nature in the Work of Kandinsky, Steiner and Mendeloshn

by Fiona Gray

Empathy and abstraction were dominant themes in nineteenth century German aesthetics that played a major role in... more Empathy and abstraction were dominant themes in nineteenth century German aesthetics that played a major role in shaping the theoretical objectives of artists and architects at the turn of the twentieth century.  These concepts represented a significant shift from the classical idea of imitating nature and began to offer a new way of understanding the relationship between nature, art and architecture.  Since 1907, when Wilhelm Worringer published his highly influential doctoral dissertation Abstraction and Empathy, there has been a general tendency to explicate these two concepts as strictly antithetical. The theory of empathy has espoused the oneness of nature, while abstraction has been seen as a withdrawal from nature.  This perception that empathy and abstraction respond to opposing relationships between human beings and the external world has often led to interpretations of art and architecture that emphasise the role of one or the other, failing to recognise that each contains an intimation of the other. An alternative perspective to this seemingly antithetical outlook can be revealed however in the work of Austrian philosopher, Rudolf Steiner (1861-1925).  Steiner broke down the polarity between empathy and abstraction, to reveal a complimentary relationship that looked to nature as its mentor.  Steiner’s concept of nature was defined in anthroposophical terms that rejected the conventional materialistic understanding of nature and instead acknowledged the reality of a spiritual dimension.  This notion captured the imagination of avant-garde artists and architects such as Wassily Kandinsky and Erich Mendelsohn, hence making Steiner a significant figure in the growth and dispersal of Expressionist ideals.

Rudolf Steiner: occult crank or architectural mastermind?

by Fiona Gray

Rudolf Steiner (1861-1925) saw architectural creation as a means of apprehending our place in the cosmos and his... more Rudolf Steiner (1861-1925) saw architectural creation as a means of apprehending our place in the cosmos and his esoteric system of Anthroposophy aimed to demonstrate the correspondence between the spiritual and material worlds. Much of the literature available on Steiner tends to polarize him as either a creative genius or eccentric oddity, with architectural historians generally tending to adopt the latter view. Despite the fact that Steiner’s architectural conceptions have remained marginal, the highly acclaimed works of many Anthroposophically inspired architects suggest that his gnostic perceptions may have something worthwhile to offer contemporary architecture.

Bottomless Surfaces: Saul Bellow's "Refreshed Phrenology"

by James Clements

Journal of Modern Literature - Volume 33, Number 1, Fall 2009, pp. 75-91

In Saul Bellow's 1970 novel Mr. Sammler's Planet, the eponymous narrator states that society should resist its... more In Saul Bellow's 1970 novel Mr. Sammler's Planet, the eponymous narrator states that society should resist its temptation to "explain," and should instead concentrate on "distinguishing"; the goal, he suggests, is to attain a level of perception in which meaning is found within the world, rather than imposed upon it. This idea runs to the core of Bellow's work, which often suggests that there are some intangible truths — morality, for instance — that are not merely human constructions, but have an objective ontological presence. These truths, Bellow's work playfully suggests, can be discovered if one attempts to collapse the false divide between subject and object. Once one accepts the troublesome idea of "truth in subjectivity," one can begin to "distinguish" between self-imposed concepts and "natural knowledge." This article traces this concept in Bellow's mid-period work in relation to his ethical theory, and argues that it has its roots in the writing of two key influences, Johann Wolfgang von Goethe and his follower Rudolf Steiner.

Cosmic Flavour, Spiritual Nutrition?: The Biodynamic Agricultural Method and the Legacy of Rudolf Steiner’s Anthroposophy in Viticulture

by Alex Norman

In Carole M. Cusack and Alex Norman (eds). Handbook of New Religions and Cultural Production (Leiden: Brill, 2012 forthcoming)

Uncovering the Unconscious: Towards an Integral Psychology

by Matthew David Segall

unpublished.

Carl Jung, Jean Gebser, and Rudolf Steiner offer hints about an integral psychology. Carl Jung, Jean Gebser, and Rudolf Steiner offer hints about an integral psychology.

Abstract Art as "By-Product of Astral Manifestation": The Influence of Theosophy upon Modern Art in Europe

by Tessel Bauduin

Forthcoming! Bauduin, T.M. ‘Abstract Art as “By-Product of Astral Manifestation”: The Influence of Theosophy upon Modern Art in Europe’. Hammer, O. and Rothstein, M. (eds.). Handbook of the Theosophical Current. Leiden [etc.]: Brill, 2012.

‘And the Building Becomes Man’: Meaning and Aesthetics in Rudolf Steiner’s Goetheanum

by Carole Cusack

in Carole M. Cusack and Alex Norman (eds), Handbook of New Religions and Cultural Production, Leiden, Brill, 2012, pp. 173-191.

Rudolf Steiner, founder of the Anthroposophical Society, is renowned for his work in widely varied fields. However,... more Rudolf Steiner, founder of the Anthroposophical Society, is renowned for his work in widely varied fields. However, his accomplishments as an architect are less well understood. His two greatest achievements in this field – two buildings known as ‘Geotheanum I’ and ‘Goetheanum II’ (built after the destruction of the 1st) – have been described as ‘sculptural architecture’, of a kind similar Expressionist form to Gaudi, Obrist, and Finsterlin. The focus of this chapter, Goetheanum II, is a giant sculptured form, four stories high, with sweeping lines that give the effect of a giant monolithic mass. It is home to the Anthroposophical movement, and holds a 1,000 seat performance hall in which spiritual performances take place. Contributors to an issue of the Swiss architectural magazine Werk, in 1960, on the building, agreed that the building’s design must have required “a uniform worldview and lifestyle.” Indeed, to understand the Goetheanum requires an understanding of Anthroposophy and of Steiner himself.

This chapter looks at the meaning in the aesthetic choices of Steiner in the design and construction of the Goetheanum II. Steiner’s belief that the people of Western Europe needed to re-orientate their weltanschauung is understood as a spiritual need. Interestingly, it was a view shared by many Expressionist artists. Steiner could not have been unaware of a number of significant Expressionistic philosophies and forms present in Europe during his formative period. As a lecturer he travelled extensively, and came into contact with many artists and writers who shared similar ideas. His vision for the Goetheanum was grandiose, like those of many other Expressionists, though unlike many others he had the opportunity to build his vision himself. The Goetheanum has also been referred to as a gesamtkunstwerk, also a theme common in the German art scene at the time. Yet Steiner wanted something ‘new’ for his nascent spiritual group; “Not to build in a style born out of our spiritual world view, would mean to deny Anthroposphy in her own house.” As a result the Geotheanum expresses Anthroposophical ideals, a movement which itself professed to inhabit the entire cultural life of its adherents. For Steiner this was came in the form of spiritual realisation, which could best be achieved in the sculptural shapes and organic forms of the Goetheanum

How Esoteric is Rudolf Steiner's Concept of Freedom? With Special Reference to his Philosophy of Freedom

by Chris Fort

This was my final dissertation for the Western Esotericism post-graduate degree at the University of Exeter in 2010. While it is perhaps not the most exemplary piece of scholarship, I believe there are some interesting conclusions drawn and key aspects of Steiner's fascinating Philosophy of Freedom covered. I hope to re-address it and fine tune it at some point in the near future, and will certainly share the results on here.

Since its beginning in 1913, the Anthroposophical Society has concerned itself with research and investigation into... more Since its beginning in 1913, the Anthroposophical Society has concerned itself with research and investigation into esoteric matters. As a ‘Spiritual Science’, it delves into the spiritual aspects of man and his relation to the world. Its founding father, Rudolf Steiner, instigated the movement on the back of the principles he presented in the publication of his major treatise The Philosophy of Freedom in 1894. As the title suggests, it is a book centred on philosophical themes such as man’s freedom and covers related concepts such as epistemology and morality rather than specific esoteric matters; but its legacy as a fundamental document in the history of western esotericism has long been noted. The purpose of this paper is to look into the esoteric content of this book in order to find its appeal to the esoteric community ever since its publication. Drawing on Steiner’s early philosophical influences and thoughts, it will analyse how they were developed to compliment his inclinations and insights into spiritual realities. It will also show how Steiner’s concept of freedom relates to existing esoteric philosophies and the extent to which they may have also added to the development of his ideas.

Contemporary Life and the Esoteric Path of Anthroposophy

by Seth Miller

An brief treatment of how the path of self-development offered by anthroposophy fits into contemporary Western... more An brief treatment of how the path of self-development offered by anthroposophy fits into contemporary Western life.  I offer a brief contextual introduction, look into gurus and teachers, and explore anthroposophy in regards to its alternate name, spiritual science.

Sleep and Dreams in Anthroposophy

by Seth Miller

An exploration of the stages of sleep, and the difference between waking and dreaming.  The essay relates modern... more An exploration of the stages of sleep, and the difference between waking and dreaming.  The essay relates modern brain studies to anthroposophical insights to provide a unique perspective on sleeping and dreaming.

The Spiritual Matrix – An Anthroposophical Reading, Or: This Essay Is The Red Pill

by Seth Miller

Part 1, Part 2 yet to be written

This essay explores the Matrix trilogy of movies from the perspective of spiritual science.  Close attention is... more This essay explores the Matrix trilogy of movies from the perspective of spiritual science.  Close attention is paid to the actual events in the "text" of the movies, with an eye towards illuminating features concerning the major characters and plot elements in a coherent, symbolic, and mythological perspective.  In particular the movies are shown to be uniquely understandable from the perspective of Steiner's anthroposophical insights concerning human evolution.

The Elements as an Archetype of Transformation: An Exploration of Earth, Water, Air, and Fire

by Seth Miller

Master's Thesis, Consciousness Studies, JFK University, 2008

I propose that the alchemical cycle of the four elements Earth, Water, Air and Fire provides a useful and exact... more I propose that the alchemical cycle of the four elements Earth, Water, Air and Fire provides a useful and exact analogue for the processes of transformation of a wide variety of types, and as such can be considered an archetype.  The elemental cycle is a potent symbol for a transformative, qualitative language (logos) which has the potential to guide human consciousness towards lawful, holistic engagement with essentially any phenomenon.  When worked consistently, the elemental cycle leads us beyond ‘everyday’ modes of cognition to what could be called Imaginative, Inspirative, and Intuitive modes cognition.  In these modes, thinking no longer takes place ‘about’ a phenomenon, but ‘with’, ‘through’, and ‘within’ phenomena.  The elemental cycle provides a content, a method, and self-regulating feedback mechanisms for working with transformation, and can help engender a consciousness that can fruitfully dialogue with the interiority of the world by making it explicit.  Its power lies in its ability to act as a template and guide for the structuring of human consciousness; it is a tool which makes available a coherent, archetypal patterning which can help guide and transform a human consciousness in healthy and practical ways.  By making available new modes of consciousness, it helps us learn to see ourselves and the world in ways that allow for greater creativity and flexibility when faced with difficult or problematic situations. At the same time it illuminates and connects us with phenomena – both outer and inner – that might otherwise pass our notice.

This essay comprises a detailed study of the nature of the elements and the elemental cycle, through which it is hoped the reader may gain a solid enough foundation to work experimentally with the elemental cycle independently if desired.  Therefore, the cycle is introduced via a brief phenomenology of the individual elements, which are then connected, compared, and brought together to form a complete picture of the cycle.  The breadth of applicability of the cycle is then explored through a series of specific instances that also serve to illuminate the qualities of the cycle itself.  A report on third-party work with the elemental cycle provides complementary and contrasting experiences, while an in-depth review and application of the cycle to the nature of images opens up the complexities and demonstrates the recursive, self-generating quality of the cycle.  Lastly, an introductory series of practical steps and specific exercises, advice, and questions for each elemental stage is provided to help the reader use the cycle independently.

Rudolf Steiner and Sri Aurobindo: An Introductory Comparison

by Seth Miller

This essay explores similarities and differences between the profound contributions of two of the modern world’s most... more This essay explores similarities and differences between the profound contributions of two of the modern world’s most important spiritual figures: Rudolf Steiner and Sri Aurobindo Ghose. As an introductory work, I offer summary comparisons of their philosophical, cosmological, and spiritual worldviews, attitudes towards human development and stages of growth, personal biographies, and their lasting contributions to the world. Although I am more familiar with Steiner’s work, these two towering figures stand in remarkable general agreement with respect to their core values and pictures of human and cosmic development.  Both offer a spiritually-based view of an evolving cosmos within which the continuously developing human being has a profound and important place, a multi-leveled and complex picture of cosmic involution/evolution that is compatible with a modern scientific understanding of evolution, an integrated view of the different aspects that make up a human being, and practical insights concerning how humans can take up their own self-transformation for the benefit of all.  Despite a number of less consequential differences, when taken together Steiner and Aurobindo offer a uniquely thorough and practical integral view of the cosmos and the human beings’ place within it that weaves together the most profound wisdoms from both the East and the West.