Alois Riegl

Max Dessoir’in biyoloji alanında optik ve akustik terimlerine atıfta bulunarak “insan dokunuşunun bilimi” olarak tanımladığı haptik kavramının çerçevesi 20. yüzyılda farklı tanımlamalar ve kriterler ile değiştirilerek sanat tarihi, sanat eleştirisi ve felsefe alanlarında kullanılmaya başlanmıştır. Alois Riegl’in gölge-kontur ilişkisi, figür-zemin ilişkisi kriterleri ile tanımladığı haptik görsellik yaklaşımı ile haptik kavramı izleyicinin görüş mesafesi ile ilişkilenmektedir. Böylelikle haptik fiziksel temastan bağımsızlaşmıştır. Merleau-Ponty’nin ölümünden sonra Riegl’in haptik kavramı yaygınlaşmış, Deleuze ve Guattari’nin yeniden tanımladığı haptik felsefe alanında da kullanılmaya başlanmıştır. Böylelikle çerçevesi ve koşulları değiştirilebilir bir yapıya sahip olan haptik kavramı, göz-merkezci yaklaşımların bakıştan kopardığı çoklu duyusallığı bakışa geri vermiş ve görsel unsurlar dışındaki duyusal unsurların da bakıştaki varlığının ele alınmasına imkân sağlamaktadır. Bu nedenle haptik kavramı, duyular arasındaki “eş iş-başındalık”a ve “Ten”in, duyusal çoğunluğun (multi-modal duyuların) “zemin”i olduğuna değinilen Merleau-Ponty felsefesi için oldukça kıymetlidir. Haptik kavramını Merleau-Ponty felsefesi ile yeniden tanımlayarak, fiziksel temas ve bedensel hareketten bağımsız bir haptik tanımı geliştirmek çalışmanın temelini oluşturmaktadır. Bu araştırma ile fiziksel temasın şart koşulmadığı, duyular arası hiyerarşi kurmayan bir görme biçimi/bakış türü olarak tanımlanan haptik kavramının Merleau-Ponty metinlerinden alıntılarla sağlaması yapılarak, net bir çerçevede sunulması amaçlanmıştır. ////// The framework of the haptic concept, which Max Dessoir describes as “the science of the human touch” in reference to the terms optics and acoustics in the field of biology, was changed with different definitions and criteria in the twentieth century and began to be used in the fields of art history, art criticism and philosophy. Alois Riegl's haptic vision, defined by the criteria of shadow-contour, figure-ground relationship and relates the haptic concept to the viewer's distance of view. Hereby, haptic became independent of physical contact. After the death of Merleau-Ponty, Riegl's haptic concept became widespread, and the haptic, which Deleuze and Guattari redefined, also began to be used in the field of philosophy. Thus haptic, whose frame and conditions have a changeable structure, has given the sensuality back to the vision, and allows to address the multisensory elements other than visual elements in the vision. Therefore, haptic is very valuable for the Merleau-Ponty philosophy, which states that the “co-collaboration” between the senses and the “Chair” which is the “ground”of the sensory majority (multi- modal senses). Redefining the haptic with the Merleau-Ponty’s philosophy to developing a new definition of haptics which independent of physical contact and bodily movement is the purpose of this paper. With this research, the haptic concept, which is defined as a form of vision/way of seeing that does not establish a hierarchy between the senses, is intended to be presented in a clear framework with citations from the Merleau-Ponty texts.

Para aprofundar as interpretações sobre o valor de antiguidade definido por Alois Riegl (1858-1905), fazendo frente à complexidade do conceito, este trabalho investiga as formas como o conceito se apresenta em O Culto Moderno dos Monumentos, de 1903, e em outros cinco textos do autor, escritos entre 1899 e 1905. A abordagem compreende ainda o mapeamento das convergências e divergências entre as concepções sobre o tema nas obras de Riegl, Georg Dehio (1850-1932) e Max Dvorak (1874-1921), seus contemporâneos, com quem ele estabeleceu vívido diálogo intelectual. Num primeiro nível de leitura, identificamos e exploramos as transformações do conceito de valor de antiguidade ao longo dos textos de Riegl, desde sua formulação preliminar em 1902, passando pela definição mais difundida de 1903, até a relevante revisão de 1905. Naquele ano, ele diminuiu a ênfase dada às marcas do tempo como atributos do valor de antiguidade e passou a buscar seu sentido principal na continuidade concreta entre gerações humanas – e não mais na relação do sujeito com um tempo abstrato, universal. Propôs também, enfaticamente, o caráter universal da preservação. Essa revisão se insere no debate público sobre preservação de monumentos travado entre o autor e Georg Dehio, em que este último propôs o nacionalismo como razão da preservação e o primeiro lhe contestou, por meio da universalidade do valor de antiguidade. Esse debate é, portanto, central para a apreensão do pensamento preservacionista de Riegl. Num segundo nível de leitura, correlacionamos o conceito e seus elementos ao conhecimento disciplinar então disponível e ao contexto político do Império Austro-Húngaro. Assim, identificamos como sua obra primeiro se distancia e depois se reaproxima do pensamento de John Ruskin (1819-1900). Concluímos, ainda, que, apesar do alinhamento de Riegl ao contexto político de então, sua teoria deita raízes em sua própria reflexão histórico-artística, descartando uma interpretação de mera conformidade. As conclusões permitem avançar diante das interpretações disponíveis do conceito de valor de antiguidade, no que tange à sua transformação ao longo da obra de Riegl, às suas relações com o pensamento de Ruskin e à sua inserção no contexto austríaco de então.

By the mid-1960s the notion of medium specificity had come to define that which was most insular and protectionist about painting, with the idea of medium specificity entirely synonymous with the formalist criticism of Clement Greenberg. As such, the richness of the term, and its historical situatedness, was lost behind a particular defence of the virtues of modernist painting. This article attempts to draw out the history and nuances of medium specificity: to trace its development within an extended body of speculation-commonly termed formalist-in order to reopen a discussion, too often sidestepped within contemporary discourse, as to the relationship that exists between the work of art and that which the work of art can claim to bear witness to.

This paper aims to analyse how COVID-19 pandemic is changing our perception of reality. It starts looking at our situation from the point of view of Riegl's distinction between optical and tactile, and then it compares the nature of the relationship between these two approaches to Lévi-Strauss's description of bricolage. Our current world-view turns out to be not only an optic one, because the optical approach is just the means by which we can articulate a private and social life messed up by Coronavirus. Thereby, optical takes care of tactile without replacing it, and this article draws parallels between this aspect and language as described by Heidegger. Finally, after having argued the presence of an aura in this "optical house of tactile" in both Walter Benjamin's and Hito Steyerl's forms, this article tries to figure out how this perspective could last beyond the end of this emergency.

El primer capítulo de nuestro ensayo académico estará consagrado a los constructos conceptuales y teóricos a los que Wind apela en su articulo “Zur Systematik der künstlerischen Probleme”. En ese sentido, se estudiará el concepto “Kunstwollen” de Aloïs Riegl y las parejas háptico-óptico, objetivo-subjetivo, solamente
en la medida en que incidieron en la propuesta teorica de Wind y, por tanto, no serán analizadas exahustivamente. Lo mismo podemos decir respecto de los ensayos de Erwin Panofsky de los que nos ocuparemos. En nuestro análisis de ellos, nos limitaremos a resaltar aquellos elementos que tiene un papel destacado en el programa de investigación de los problemas artísticos de Edgar Wind.
A una exposición y análisis detallado de los componentes de la sistemática de los problemas artísticos y de los argumentos de Wind en su favor se dedica el segundo capítulo, así como a una reconstrucción racional de su proyecto mediante la propuesta de Lakatos respecto de la estructura de los programas de investigación.
El tercer y último capítulo, finalmente, explorará los elementos concretos de la filosofía kantiana del conocimiento, expuesta en la Crítica de la razón pura, que informaron de forma central el programa de investigación de la sistemática de los problemas artísticos de Egar Wind.

O texto revisita o valor de antiguidade, conceito proposto por Alois Riegl em O culto moderno dos monumentos (1903). Para compreender as variações do conceito, ao longo da obra do autor, e em que atributos dos monumentos ele se manifesta, analisamos dez textos de 1899 a 1905, vinculados à sua produção teórica e à sua atuação prática. Identificamos dois novos atributos do valor de antiguidade, além da superfície envelhecida (único atributo referido pela bibliografia corrente): a forma antiquada da obra e as alterações deliberadas por ela sofridas. Adicionalmente, identificamos os desenvolvimentos do conceito de valor de antiguidade na obra de Riegl, desde as percepções iniciais (1899), passando pelo valor de atmosfera (1902) até a formulação madura (1903) e os ajustes posteriores, formulados em sucessivos textos, até seu falecimento (1905). Isto amplia o conhecimento disponível sobre o autor e atualiza as ferramentas disponíveis para processos técnicos de valoração do patrimônio cultural. Palavras-chave: Alois Riegl; Valores patrimoniais; Valor de antiguidade; Pitoresco; Teoria da conservação.

Transformations and extensions of age value in Riegl's work: weathered, old-fashioned and altered monuments.

Abstract. This text revisits age value, a concept proposed by Alois Riegl in The Modern Cult of Monuments (1903). In order to understand the variations in this concept throughout the author's work, and in which attributes of the monuments it manifests itself, we analyzed ten texts from 1899 to 1905, related to his theoretical production and his practical activities. We have identified two new atributes of age value, in addition to the weathered surface (the only attribute of age value referred to in the bibliography): the old-fashioned appearance of the artworks and the deliberate changes they underwent. Besides that, we have identified the development of the concept of age value in Riegl's work, from its first impressions (1899), through atmosphere value (1902) to its mature formulation (1903) and its subsequent adjustments, formulated in successive texts, until his death (1905). That widens the knowledge about the author and updates available tools for technical processes of heritage values assessment. Keywords: Alois Riegl; Heritage values; Age value; Picturesque; Conservation theory.

The Portrait of Lambert Lombard of circa 1560 is unique among early modern likenesses in its intimate portrayal of an artist as friend. This essay moves beyond the questions of attribution that have hitherto dominated discussions of the painting and focuses instead on the dialogic encounter the image establishes between sitter and beholder. That encounter, I contend, reflects a novel period concept of friendship as a social ideal and as a model for artistic practice. Working within humanist frameworks, Lombard’s pupils actively constructed an image of their teacher as scholar and affectionate pedagogue. While other images of Lombard emphasized the artist’s erudition at the expense of his personal warmth, this disarmingly nonchalant portrait negotiates a balance between the aloof scholar and engaged friend. Like Dominicus Lampsonius’s biography of the artist, published in 1565, the Portrait of Lambert Lombard envisions the artist as a friend who is both erudite and loving.

The last few years have seen increasing research interest in moods and atmospheres. While this trend has been accompanied by growing interest in the history of the word Stimmung in other disciplines, this has not yet been the case within philosophy. Against this background, this paper offers a conceptual history of the word Stimmung, focusing on the period from Kant to Heidegger, as this period is, presumably, less known to researchers working with notions like mood, attunement or atmosphere today. Thus, considering this period might provide conceptual resources not yet considered in current debate. Stimmung has the remarkable feature of encompassing the entire semantic field of mood and atmosphere, insofar as both subjects and objects can literally be in Stimmung. Stimmung might refer to the state or condition of being attuned, which is understood as a dispositional state, as well as the process or act of attuning, which includes self-activating and foreign-determined forms of attuning. The word was first used for the tuning of musical instruments, but was quickly transferred to the fields of aesthetics, psychology, and physiology. This paper will focus on the contrast between the psychological canonization of Stimmung as a type of mental state, and the use of Stimmung as an untranslatable, irreducible metaphor with unique semantic force allowing for original theorizing.

У статті в аспекті історії понять розглянуто специфічний концепт Вальтера Беньяміна-«аура». Після викладу поглядів сучасних дослідників, які так чи інакше звертаються до цього поняття, поставлено питання про суперечливість концепту аури. Задля з'ясування цієї незлаго-дженості думок досліджено лінгвістичні та концептуальні джерела походження цього поняття. Висловлено гіпотезу, що просторово-часова метафорика, пов'язана з ним, походить із теорій сприйняття ХІХ ст., зокрема теорії сприйняття Алоїза Ріґля. Ключові слова: В. Беньямін, аура, історія ідей, історія мистецтва, містицизм, теорія візуального сприйняття

Nikolaus Pevsner's Pioneers of Modern Movement is considered the foundational text of two new historical fields, the history of modern architecture and the history of design. This contribution, nevertheless, discusses this text in the context of art-historical discipline. Pevsner himself namely understood his work as a complement to Kunstgeschichte: by defining the 'Modern Movement' in established art-historical terms and also by discussing not only architecture but attempting to define the style and the worldview expressed in it for the whole period and all of visual arts. Specifically, this contribution is interested in the place that Pevsner allocated to the design within his art-historical edifice, since inclusion of objects of everyday use within an art-historical study was not (and still is not) usual. For Pevsner, on the contrary, design (linked to architecture) turns out to be a key component of his narrative, even if not for aesthetic but rather for moral or social reasons.
Keywords: Nikolaus Pevsner, history of design, history of modern architecture, the Modern Movement, Herbert Read, Alois Riegl.

“Expressionism” was not invented as a term denoting a particular style, or formal language, within a plurality of styles, comparable to terms such as neo-impressionism, fauvism or cubism, all of which entered critical usage a few years before it. Nor was expressionism intended to be merely the designation for a stylistically diverse movement within German-speaking Europe, as it is most frequently used today. As originally employed by most critics, the word did not signify a merely German phenomenon, but a pan-European one, and this remained so throughout the period of the theory's ascendancy (a fact that has often been overlooked in the literature on the concept). The catholicity of the term's application was central to its ideological meaning. As used by critics between roughly 1911 and 1920, it manifested a faith in an intelligible teleological coherence within history, and of a longing for the restoration of a unified, integrated culture. This essay examines Wilhelm Hausenstein’s contribution to the theory and his ultimate abandonment of it after the war and his subsequent descent into the darkest cultural pessimism.

This presentation relates ideas in contemporary political economy (real subsumption) and ideas in the philosophy of biology (generative entrenchment) to the crisis in value of the contemporary visual arts. It attempts to provide a partial, speculative solution to the crisis by investigating what genuine aesthetic criteria might look like today, ones which don't fall back on the monetary value of an artwork in determining its ultimate historical worthiness or institutional legitimacy. In so doing, the relationship between modes of perception and the structural parameters of institutions becomes a focal point when looking past the present coordinates of contemporary art production, aesthetics and criticism.

Thanks to Michael Gubser, Vladimir Marchenkov, and Radcliffe G. Edmonds, III.

All mistakes are mine alone.

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