Graham Harman Bücher

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

'Die Geschichte der Philosophie hat bereits zahlreiche Theorien über individuelle Objekte hervorgebracht. Angefangen mit der ersten Substanz des Aristoteles, liefern uns diese Theorien Leibnizianische Monaden, die Ansichten Husserls und seiner Rivalen und Heideggers vierfaches ›Ding‹. Trotz meiner Bewunderung für diese ehrwürdigen Vorfahren zielt dieses Buch nicht auf eine Synthese ab, sondern auf eine neue Metaphysik, die über alle Objekte Aussagen zu treffen vermag, sowie über die wahrnehmbaren und kausalen Relationen, in die sie verstrickt werden. Während ich die nachkantische Besessenheit mit einer einzigen relationalen Kluft zwischen Menschen und Objekten ablehne, behaupte ich, dass die Interaktion zwischen Baumwolle und Feuer auf derselben Grundlage beruht wie menschliche Interaktionen sowohl mit Baumwolle wie mit Feuer.'

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 such as Rem Koolhaas and Zaha Hadid—to explore new concepts of the relationship between form and function Object-oriented ontology has become increasingly popular among architectural theorists and practitioners in recent years. Architecture and Objects, the first book on architecture by the founder of object-oriented ontology (OOO), deepens the exchange between architecture and philosophy, providing a new roadmap to OOO’s influence on the language and practice of contemporary architecture and offering new conceptions of the relationship between form and function. Graham Harman opens with a critique of Heidegger, Derrida, and Deleuze, the three philosophers whose ideas have left the deepest imprint on the field, highlighting the limits of their thinking for architecture. Instead, Harman contends, architecture can employ OOO to reconsider traditional notions of form and function that emphasize their relational characteristics—form with a building’s visual style, function with its stated purpose—and constrain architecture’s possibilities through literalism. Harman challenges these understandings by proposing de-relationalized versions of both (zero-form and zero-function) that together provide a convincing rejoinder to Immanuel Kant’s dismissal of architecture as “impure.”Through critical engagement with the writings of Peter Eisenman and fresh assessments of buildings by Rem Koolhaas, Frank Gehry, and Zaha Hadid, Architecture and Objects forwards a bold vision of architecture. Overcoming the difficult task of “zeroing” function, Harman concludes, would place architecture at the forefront of a necessary revitalization of exhausted aesthetic paradigms.

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.

Focusing on Bruno Latour's philosophical contributions, this book presents an in-depth analysis of four key works that reveal his unique metaphysical ideas. Graham Harman positions Latour as a pivotal figure in contemporary philosophy, emphasizing concepts like actants and translation. The text critiques the relational emphasis in Latour's Actor-Network Theory while exploring its intersections with Harman's object-oriented philosophy. This engaging dialogue promises to influence modern philosophical discourse, offering fresh perspectives beyond traditional frameworks.

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

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.

Martin Heidegger (1889–1976) influenced the work of such diverse thinkers as Sartre and Derrida. In Tool-Being, Graham Harman departs from the prevailing linguistic approach to analytic and continental philosophy in favor of Heideggerian object-oriented research into the secret contours of objects. Written in a colorful style, it will be of interest to anyone open to new trends in present-day philosophy.