Graham Harman Volgorde van de boeken

The book explores the philosophical divide between 'waves,' which perceive gradual progress, and 'stones,' which focus on abrupt changes. Graham Harman identifies this dualism as a fundamental paradox in human thought, present across various disciplines such as mathematics and politics. By tracing its historical roots from Aristotle to Bergson, he offers a unified theory that reshapes our understanding of continuity and discontinuity, revealing its impact on our lives and perspectives.

"Objects Untimely" by Graham Harman and Christopher Witmore challenges the notion that time shapes objects, arguing instead that objects are the foundation of reality from which time arises. The authors explore various concepts of time through historical and archaeological lenses, urging a reevaluation of how we perceive objects beyond mere inert matter.

Objects generate time; time does not generate or change objects. That is the central thesis of this book by the philosopher Graham Harman and the archaeologist Christopher Witmore, who defend radical positions in their respective fields. Against a current and pervasive conviction that reality consists of an unceasing flux – a view associated in philosophy with New Materialism – object-oriented ontology asserts that objects of all varieties are the bedrock of reality from which time emerges. And against the narrative convictions of time as the course of historical events, the objects and encounters associated with archaeology push back against the very temporal delimitations which defined the field and its objects ever since its professionalization in the nineteenth century. In a study ranging from the ruins of ancient Corinth, Mycenae, and Troy to debates over time from Aristotle and al-Ash‘ari through Henri Bergson and Alfred North Whitehead, the authors draw on alternative conceptions of time as retroactive, percolating, topological, cyclical, and generational, as consisting of countercurrents or of a surface tension between objects and their own qualities.  Objects Untimely  invites us to reconsider the modern notion of objects as inert matter serving as a receptacle for human categories.

The essential compendium of shorter works by one of the most influential philosophers of the twenty-first century. Written in Harman's typical clear and witty style, the Reader is an essential resource for veteran readers of Harman and newcomers alike.

Thinking through object-oriented ontology and the work of architects like Rem Koolhaas and Zaha Hadid, this book explores new concepts in the relationship between form and function. Object-oriented ontology has gained traction among architectural theorists and practitioners, and this text marks the first exploration of architecture by its founder, Graham Harman. He deepens the dialogue between architecture and philosophy, offering insights into OOO’s impact on contemporary architectural language and practice. Harman begins by critiquing the influential ideas of Heidegger, Derrida, and Deleuze, highlighting their limitations for architecture. He argues that architecture can leverage OOO to rethink traditional views of form and function, which often emphasize their relational aspects—visual style and stated purpose—thus constraining architectural possibilities. By proposing de-relationalized concepts of zero-form and zero-function, Harman challenges Immanuel Kant’s dismissal of architecture as “impure.” Through critical engagement with Peter Eisenman’s writings and fresh assessments of works by Koolhaas, Frank Gehry, and Zaha Hadid, the book presents a bold vision for architecture. Harman posits that overcoming the challenge of “zeroing” function could position architecture at the forefront of revitalizing exhausted aesthetic paradigms.

What is reality, really? Are humans more special or important than the non-human objects we perceive? How does this change the way we understand the world? We humans tend to believe that things are only real in as much as we perceive them, an idea reinforced by modern philosophy, which privileges us as special, radically different in kind from all other objects. But as Graham Harman, one of the theory's leading exponents, shows, Object-Oriented Ontology rejects the idea of human specialness: the world, he states, is clearly not the world as manifest to humans. At the heart of this philosophy is the idea that objects - whether real, fictional, natural, artificial, human or non-human - are mutually autonomous. In this brilliant new introduction, Graham Harman lays out the history, ideas and impact of Object-Oriented Ontology, taking in everything from art and literature, politics and natural science along the way. Graham Harman is Distinguished Professor of Philosophy at SCI-Arc, Los Angeles. A key figure in the contemporary speculative realism movement in philosophy and for his development of the field of object-oriented ontology, he was named by Art Review magazine as one of the 100 most influential figures in international art.

In this book the founder of object-oriented philosophy develops his approach in order to shed light on the nature and status of objects in social life. While it is often assumed that an interest in objects amounts to a form of materialism, Harman rejects this view and develops instead an immaterialist method. By examining the work of leading contemporary thinkers such as Bruno Latour and Levi Bryant, he develops a forceful critique of actor-network theory

Offers a comprehensive study of the emerging French philosopher Quentin Meillassoux. This volume covers materials that have not been published at the time of the first edition. It also features several fresh articles by Meillassoux.

Persönlich haben sich Martin Heidegger und Marshall McLuhan nie getroffen, hätten aber einiges miteinander zu diskutieren gehabt. Denn sowohl Heidegger als auch McLuhan waren Theoretiker einer Tiefe, eines verborgenen Mediums des Hintergrunds, das unter den oberflächlichen Erscheinungen liegt. Die imaginäre Begegnung wird noch interessanter, wenn sich Clement Greenberg in das Gespräch einschaltet und für die Leinwand als ein Geschöpf des Hintergrunds plädiert. Mit dem Essay „Rückschlag der Werkzeuge auf das Bewusstsein“ von Vilém Flusser