Professor Andrew Benjamin is an internationally recognised philosopher, architectural theorist and authority on contemporary French and German critical theory. He has held the positions of Visiting Professor of Architectural Theory at Columbia University in New York since 1994, Visiting Critic at the Architectural Association in London and has given tutorials in Fine Art at Goldsmiths College and The Arts Institute in Pasadena.
19th and 20th Century European ThoughtDigital Theory
© 1989 Andrew Benjamin. This engrossing study, first published in 1989, explores the basic mutuality between philosophy and translation. By studying the conceptions of translation in Plato, Seneca, Davidson, Walter Benjamin and Freud, Andrew Benjamin reveals the interplay between the two disciplines not only in their relationship to language, but also at a deeper, cognitive level. Benjamin engages throughout with the central tenets of post-structuralism: the concept of a constant yet illusive 'true' meaning has lost authority, but remains a problem. The fact of translation seems to defy the notion that 'meaning' is reducible to its component words; yet, to say that the 'truth' is more than the sum of its parts, we are challenging the very foundations of what it is to communicate, to understand, and to know. In Translation and the Nature of Philosophy, the author sets out his own theory of language in light of these issues.
Benjamin, AE 2013, Working with Walter Benjamin: Recovering a Political Philosophy, First, Edinburgh University Press, Edinburgh.
This book provides a highly original approach to the writings of the twentieth-century German philosopher Walter Benjamin by one of his most distinguished readers. It develops the idea of 'working with' Benjamin, seeking both to read his corpus and to put it to work - to show how a reading of Benjamin can open up issues that may not themselves be immediately at stake in his texts. The defining elements in Benjamin's writings that Andrew Benjamin isolates - history, experience, translation, technical reproducibility and politics - are put to work; that is, their utility is established in engaging the works of others. The question is how utility is understood. As Andrew Benjamin argues, utility involves demonstrating the different ways in which Benjamin is a central thinker within the project of understanding the nature of modernity. This is best achieved by noting connections and points of differentiation between his work and the writings of Adorno and Heidegger. However, the more demanding project is that 'working with' Benjamin necessitates deploying the implicit assumptions within his writings as well as demanding of his formulations more than is provided by their initial presentation. What is at stake is not the application of Benjamin's thought. Rather what counts is its use.
Benjamin, AE 2012, Architectural Projections, First (pbk.), RMIT University Press, Melbourne.
Andrew Benjamin's essays in Architectural Projections have a specific remit: their concern is the history and theory of architecture. However, rather than work with the assumed distance between architecture as a design practice on the one hand and architectural history and theory on the other, they have a different orientation. The essays form part of a larger project driven by the possibility of reconfiguring history and theory such that they exist for design rather than being of design. History exists for design if the afterlife of the historical can be recovered. Within the practice of design that possibility emerges to the extent that it is made visible by technologies of contemporary design. It is this possibility that grounds the contemporaneity of Borromini, Simper, Loos and Kiesler amongst others. The afterlife of the historical and the force of theory emerge to the extent they form and inform processes of design.
Benjamin, A 2010, Of Jews and Animals, Edinburgh University Press.
In developing his own conception of the 'figure', Andrew Benjamin has written an innovative and provocative study of the complex relationship between philosophy, the history of painting and their presentation of both Jews and animals. © Andrew Benjamin, 2010.
Benjamin, AE 2010, Writing Art and Architecture, First, re.press, Melbourne.
Benjamin, AE 2006, Style and Time Essays on the Politics of Appearance, Northwestern University Press, Evanston, USA.
© 1991 Andrew Benjamin. All rights reserved. Addressed here, despite the range of topics, is a particular topos. The topos in question concerns the attempt to rework and thereby to readdress the philosophical task in terms of the centrality of ontology. It is in relation to this centrality that art, mimesis and the avant-garde come to be presented. The conception of ontology at work here starts from a rethinking of ontological difference, a constitutive component of which will be the primacy of existence. However this does not mean that what is at stake is the specific historical presentation of existence, which, as the expression of its historicity, derives its force from its opposition to essence. It is rather that existence denotes, in the first place, more than the simple attribution of the fact of existence since it brings into play the articulation of existence within modes of being. The articulation is necessary.
Benjamin, AE 2004, Disclosing Spaces on Painting, 1, Clinamen Press Ltd, Manchester, UK.
Benjamin, AE 2001, Postcolonial Cultures and Literatures: Modernity and the Commonwealth, Peter Lang Publishing, New York.
Benjamin, AE 1998, Reiser + Umamoto: Recent Projects, John Wiley & Sons, London.
Benjamin, AE 1997, Present Hope: Philosophy, Architecture, Judaism, Routledge, London.
Benjamin, AE 1997, Sculpture: Contemporary Form and Theory (Art and Design Profile), Academy Press, United States.
Benjamin, AE 1996, What is Abstraction?, Academy Editions, London.
Benjamin, AE 1994, Object Painting, John Wiley & Sons, London.
Benjamin, AE 1993, The Plural Event, Routledge, London.
Benjamin, AE 1993, Walter Benjamin's Philosophy: Destruction and Experience, Routledge, London.
Benjamin, AE 1992, Judging Lyotard, Routledge, London.
Benjamin, AE 1991, Art, Mimesis and the Avant-Garde, Routledge, London.
Benjamin, AE 1990, Abjection, Melancholia and Love: the work of Julia Kristeva, Routledge, London.
Benjamin, AE 1989, Problems of Modernity: Adorno and Benjamin, Routledge, London.
Benjamin, AE 1989, Translation and the Nature of Philosophy, Routledge, London.
Benjamin, AE 1988, Post-Structuralist Classics, Routledge, London.
Benjamin, AE & Norris, C 1988, What is Deconstruction?, St. Martins Press, New York.
Benjamin, AE 1987, The Figural and the Literal: Problems of language in the History of Science and Philosophy, 1630-1800, Manchester University Press, Manchester.
Benjamin, A 2020, 'From Object to Site: Returning Philosophy to Architecture.', NSW Architectural Bulletin, vol. Vol 76, no. No 4..
© 2019, © 2019 The British Society for Phenomenology. The aim of this paper is to contribute to the development of a political theology that take both God and law as central. Rather than operate abstractly, the paper works closely on passages from Exodus and Genesis that are themselves linked directly to what is at stake in "listening to God". The transformation of the immediacy of listening to the necessarily mediated response to the law is the move that the passages from the Torah entail. Within that setting, listening breaks the hold of immediacy and thus the possibility of any immediacy of reception. What is opened as a result, the argument continues, is an importantly different hermeneutic register and philosophical anthropology.
© 2020, Edizioni ETS. All rights reserved. This lecture outlines elements central to the project of rethinking the concerns of political theology. The lecture seeks to integrate that thinking into the development of a philosophy of life; life defined by an already given relation to the law. Maintaining the law, which is the stance against nihilism, whilst complicating the way law is understood, involves a shift in how sovereignty would itself then be conceived.
© Copyright 2019 by Koninklijke Brill NV. The project of this paper is present a specific engagement with Kant's account of genius in the Critique of the Power of Judgment. Genius is a theory of production. Moreover, once genius is linked to production (and not to a personified agent) the philosophical moves way from the centrality of both the given and the subject and thus towards the produced. Such a possibility locates Kant's engagement with genius at the threshold between aesthetics and a philosophy of art. The latter only emerges when centrality is attributed to the object: the object as the locus of presentation. This necessitates a move beyond the cognitive. Kant on genius is therefore at that threshold, on the other side of which is Hegel.
Benjamin, A 2019, 'Doubt and Indifference: Threshold Conditions within the Work of Art', Aisthesis : Pratiche, Linguaggi e Saperi dell'Estetico, vol. Vol. 12, no. No. 1, pp. 123-133.View/Download from: Publisher's site
The project of this paper is part of a larger attempt to develop a philosophy of art. Integral to that project is the distinction between aesthetics and a philosophy of art. It is always possible to consider affect as an end in itself if what is at stake involves a series of psychological claims. Equally, it is possible to engage with such claims philosophically. However, there is no clear connection between either possibility and a philosophy of art. In the latter the presentation of affect is always located within images. Images are produced by the work of materials. Images have to be understood in terms of that production. They have a material presence. If there is a failure to insist on the complex materiality of art's work as comprising a locus of philosophical inquiry, then any subsequent theory of the image is unable to contribute to the development of a genuine philosophy of art. Moreover, within the history of art images are informed form. The informing of form has two elements. Form is informed firstly by the history in which those images are located, and secondly by their capacity to be reworked. The latter can be understood as a futural coming-into-relation and thus the possibility that images and the elements from which they are comprised are able to have an afterlife. The afterlife is forms' capacity to continue to be informed. It is this latter possibility which necessitates that hermeneutic concerns supplant aesthetic ones in the creation of a philosophy of art.
© 2017. This paper pursues the way the terms exhaustion and inexhaustibility play a central role in Werner Hamacher's critical encounter with philosophy. The argument is developed via an engagement with aspects of Hamacher's interpretation of Friedrich Schlegel's Fragments. The limitations of Hamacher's own position become an opening. What is opened up is the possibility of philosophy having become exhausted as a result of its identification with calculation and instrumentality.
Benjamin, A 2017, 'Oikonomia, Incarnation and Immediacy: The Figure of the Jew in St John of Damascus', International Journal of Philosophical Studies, vol. 25, no. 3, pp. 407-422.View/Download from: Publisher's site
© 2017 Informa UK Limited, trading as Taylor & Francis Group. This paper investigates the role of oikonomia in the writings of St John of Damascus and how that role is integral to the construction of the figure of the Jew.
All for Nothing: Hamlet's Negativity hinges on tarrying. The tarrying of Bartelby becomes that reworking of tarrying as 'preferring not to.' Significant claims are made for this position. Hamlet's tarrying, Cutrofello argues, is "revolutionary in that it seeks to make possible an effective act whose object, at the present moment, is impossible"5 Equally, tarrying identifies not the immediacy of action but a struggle to act. Cutrofello locates this struggle in a number of places.
The aim of this paper is to begin to respond to the question of how to engage the presence of catastrophic climate change as a locus of philosophical thought. What has to be thought is the end of the world. Central to that project is Heidegger's "The Origin of the Work of Art," and in particular, Heidegger's thinking of the earth/world relation, both in itself and in terms of the limits it encounters. Heidegger's use of "examples" of artwork, as well as works by Nicolas Poussin and Anselm Kiefer, are deployed in order to begin to understand the role of art in thinking the end of the world.
© 2017 A. Benjamin. The paper both connects and disassociates the work of Walter Benjamin and Aby Warburg. There are two interrelated undertakings. The first involves the relationship between philosophy and art history and thus how art history figures within the philosophical. The second pertains to the status of the image. Part of the argument to be advanced is that an engagement with philosophical approach to art history yields a concern with the image in which it is the image's material presence that proves decisive. Indeed, it is by insisting on the object's materiality that it then becomes possible to locate the effective presence of the gesture as integral to the work of art. The contention is that gesture is the intersection of art's material presence and the concerns of meaning. The paper us develop via an engagement with works by Edgar Degas and Luca Signorelli.
© 2016. Philosophy Today. The aim of the paper is to examine the limits of Aristotles and Arendt's contributions to a philosophical anthropology. By focusing on the concept of 'potentiality'-And thus the 'good life' as a potentiality awaiting actualization-The limit emerges from the way Aristotle understands 'life.' His discussion of slavery is pivotal in this regard.
© 2015. The aim of this response is twofold. It is to reinforce the argument that the concept of life is central to Walter Benjamin; secondly, it is to clarify some of the elements involved in thinking philosophically about the political.
© 2014 RIBA Enterprises. Maintaining drawings' identity as a question means that drawing is more than an historical category. Drawings have force. The contention of this article is that drawing enables architecture to stage a relation to an outside. It is not that relation. Drawing is prior to the built. However, what is the status of that which is prior and how is the gap that this prior holds in place to be understood. This article is a part of an attempt to provide that account.
© koninklijke brill nv, leiden, 2014. Mauro Carbone's interpretation of Proust is grounded in his interpretation of Deleuze and Merleau-Ponty. The aim of this paper is to call this interpretation into question by arguing that neither Deleuze nor Merleau-Ponty provides the basis for an interpretation of Proust that concentrates on the role of expression understood as 'translation' within his literary project. What is precluded is the possibility of an identification of expression with the process of writing. This is, however, exactly what an interpretation of Proust demands.
Technology has a history structured by discontinuities. The first important philosophical expression of such a conception of technology was advanced by Walter Benjamin when he defined art works in relation to specific techniques of production. At the present art and architecture occur within an age defined by the move from 'technical reproducibility' to digital reproducibility. The move has an impact on how technology is understood and its relation to architecture conceived. Adapting Walter Benjamin's work in this area provides the basis for a response to Soren Riis' important treatment of the relationship between architecture and technology in his paper "Dwelling in-between walls: the architectural surround". © 2011 Springer Science+Business Media B.V.
Benjamin, A 2013, 'Democracy and university: Notes on Fichte's "Lectures on the Vocation of the Scholar"', Revue Philosophique de Louvain, vol. 111, no. 2, pp. 267-282.View/Download from: Publisher's site
Fichte's lectures on the vocation of the scholar raise the fundamental question of the non-identity of the scholar and society, which is the source of the mission of universities towards the democratic State. Thus it is on condition that a space is maintained between different forms of utility in that which defines us as life in common that we can envisage perfecting these and avoid reducing one to the other. Thus we must envisage the counter-measures that make it possible to «keep open» this space of allowing in common, thanks to which universities can reinvent themselves as a specific form of social utility. © 2013 Revue Philosophique de Louvain.
Abstract The role of actual works of art with philosophical writing is often reduced to the status of example or illustration. As such the materiality of art work is rarely discussed let alone deployed as the basis of philosophical reflection. In this paper works by Francesco Mosca, and Bernini are used to question Heidegger's writings on sculpture. What such an approach opens up is the possibility that art may set the measure for philosophy. © 2012 by Koninklijke Brill N.V., Leiden.
Benjamin, A 2012, 'Towards an affective structure of subjectivity. Notes on kant's an answer to the question: What is the enlightenment?', Parallax, vol. 18, no. 4, pp. 26-41.View/Download from: Publisher's site
Benjamin, A 2011, 'Morality, law and the place of critique: Walter Benjamin's the Meaning of Time in the Moral World', Critical Horizons, vol. 12, no. 3, pp. 281-301.View/Download from: Publisher's site
Critique as a philosophical concept needs to be recast once it is linked to the possibility of a productive opening. In such a context critique has an important affinity to destruction and forms of inauguration. Working through writings of Marx and Walter Benjamin, specifically Benjamin's "The Meaning of Time in the Moral World", destruction and inauguration are repositioned in terns of othering and the caesura of allowing. © Equinox Publishing Ltd 2012, Unit S3, Kelham House, 3 Lancaster Street, Sheffield, S3 8AF.
Painting can only be thought in relation to the image. And yet, with (and within) painting what continues to endure is the image of painting. While this is staged explicitly in, for example, paintings of St. Luke by artists of the Northern Renaissance-e.g., Rogier van der Weyden, Jan Gossaert, and Simon Marmion-the same concerns are also at work within both the practices as well as the contemporaneous writings that define central aspects of the Italian Renaissance. The aim of this paper is to begin an investigation into the process by which painting stages the activity of painting. This forms part of a project whose aim is an investigation of the way philosophy should respond to the essential historicity of art (where the latter is understood philosophically). © 2011 Koninklijke Brill NV, Leiden.
Phillips, J, Benjamin, A, Bishop, R, Shiqiao, L, Lorenz, E, Xiaodu, L & Yan, M 2011, 'The 20-Kilometer University: Knowledge as Infrastructure', Theory, Culture & Society, vol. 28, no. 8, pp. 287-320.View/Download from: Publisher's site
This piece presents the work of academics and architects in a collaborative venture. It provides an architectural design and a series of statements towards the hypothetical creation of an unconventional city centre in the Chinese city of Shenzhen. The idea is to create a linear university that would run the 20-kilometer length of the Shenzhen Strip: the 20K university. The contributors outline, in the diversity of their idioms, a complex spatial condition fundamental to life, and demonstrate new relationships between knowledge and the city. The design of the proposed 'open university space' responds to two simultaneous and interrelated challenges: that posed to architecture, and that posed to science. The university would embody the meeting of these at the intersection of the urban infrastructure and the knowledge infrastructure. The purpose is thus also to develop the notion of knowledge, embodied in institutions, as urban infrastructure. © 2011, SAGE, Los Angeles, London, New Delhi, and Singapore. All rights reserved.
Colour plays a fundamental role in the philosophical treatment of painting. Colour while it is an essential part of the work of art cannot be divorced from the account of painting within which it is articulated. This paper begins with a discussion of the role of colour in Schelling's conception of art. Nonetheless its primary concern is to develop a critical encounter with Jean-François Lyotard's analysis of the Dutch painter Karel Appel. The limits of Lyotard's writings on painting, which this paper will attribute in part to Lyotard's "empiricism", becomes most apparent in his treatment of colour. © Equinox Publishing Ltd 2011.
Renowned philosopher and critical theorist Andrew Benjamin provides a framework for thinking about trauma and the city. He returns to Sigmund Freud's definition of trauma as repressed memory and to Aeschylus' formulation of the unmasterable as portrayed in mythical Athens in the Oresteia trilogy. This view of unaccustomed or unpredictable forces, such as civic strife, as ever present and integral to democracy, enables the maintenance of the urban project avoiding repression. © 2010 John Wiley & Sons Ltd.
Benjamin, A 2007, 'Perception, judgment and individuation: Towards a metaphysics of particularity', International Journal of Philosophical Studies, vol. 15, no. 4, pp. 481-500.View/Download from: Publisher's site
The aim of this paper is to develop a new theory of particularity. In so doing it redefines the concepts 'perception' and 'judgment'. The redefinition occurs once perception is understood as recognition. The move to recognition entails the centrality of repetition. Recognition, it is argued, is a form of repetition. Allowing for repetition necessitates changing the way the relationship between universals and particulars is understood. This is developed via an engagement with Hume and Plato. The article concludes with the outline for a rethinking of the metaphysics of particularity.
The move to the age of digital reproducibility demands a reconceptualization of the way images are produced and deployed within the practice of design. This paper begins to respond to this demand. Central to that response are the concepts of ontology, materials and techniques.
Benjamin, AE 2007, 'What if the Other were an Animal? Hegel on Jews, Animals and Disease', Critical Horizons: A Journal of Philosophyand Social Theory, vol. 8, no. 1, pp. 61-77.
Th e question of the other appears to be a uniquely human concern. Engagement with the nature of alterity and the quality of the other are philosophical projects that commence with an assumed anthropocentrism. Th is anthropocentrism will be pursued by way of Hegels discussion of disease in his Philosophy of Nature. Disease is implicitly bound up with race, racial identity and animality, and provides an opening to the question: what if the other were an animal? Any answer to this question should resist a founding anthropocentrism by no longer being limited by the opposition human/non-human. Th is gives rise to the possibility of engaging philosophically with questions of race and ethnicity
The following reviews are a response from a philosopher and two designers to the design for the Penguin Great Thinkers series. The contents have not been read by the design reviewers, instead their response is to the physicality of the books, and as such should be considered more a review of the books design than their contents.
Benjamin, AE 2006, 'Fraying Lines. Richard Goodwin's City', Richard Goodwin: performance to porosity, vol. n/a.
Benjamin, AE 2006, 'Surface Effects: Broromini, Semper, Loos', The Journal of Architecture, vol. 11, no. 1, pp. 1-35.
The argument in this paper is that surface should be understood neither as a merely structural, nor as a merely decorative aspect of building. Rather, the creation of surfaces (interior walls or faccedilades and so on) organises a programme which allows for a reading of the space of architecture. The latter formulationthe space of architecturehas a double register. On the one hand, it refers to the specific architectural works, to particular buildings, and how they effect and affect the subject. On the other hand, it makes a broader, theoretical point about the way that architecture is conceived as an effect of the possibilities inherent in the materials used in the making of surfaces. The argument is advanced through an engagement with work by Borromini, Semper and Loos.
Benjamin, AE 2005, 'Porosity at the edge: Working through Walter Benjamins Naples', Architectural Theory Review, vol. 10, no. 1, pp. 33-43.
What is it that identifies a city?1 Where is the feeling or sense of that identity located? Could that sense of identity no matter how it was discovered be generalized? The encounter with a city endures within attempts to articulate that experience within writing. Equally, an encounter with a specific city once it admits the possibility of generalization may become productive within design. Walter Benjamin continued to work through the city. The modern and the urban coincide. And yet, that coincidence brings with it more than a simple equivalence. Cities have a past. The modern contains vestiges. The question of the city if only as a beginning concerns that complex presence. In a text that demands consideration not just because of its content, but equally due to its actual design Einbahnstra?e the presence of the affective city, the city as the place of experience endures.3 A brief entry under the heading Freiburg Minster opens a possible interplay between the particular and the related move to a form of generality. Or if not the movement itself, what is at work within this brief note is the provision of two of the categories within which movement within the city can be thought. (In the end, it will be movement that constitutes the urban and thus defines the city.)
Benjamin, AE 2005, 'Raving Sibyls, Signifying Gods: Noise and Sense in Heraclitus Fragments 92 and 93', Culture, Theory and Critique, vol. 46, no. 1, pp. 75-90.
Benjamin, AE 2005, 'Spacing as the Shared. Heraclitus, Pindar, Agamben', Work and Death. Essays on 'Home Sacer', vol. n/a.
Benjamin, AE 2005, 'The Art of Science Walking: Gender, Space, and the Long Fashionable Vody in the Long Eighteenth Century', Fashion Theory: The Journal of Dress, Body and Culture, vol. 9, no. 2, pp. 175-204.
Benjamin, AE 2004, 'Editorial introduction - The politics of place', Angelaki - Journal of the Theoretical Humanities, vol. 9, no. 2, pp. 1-3.
Benjamin, AE 2004, 'Placing Speaking: Notes on the first stasimon of Sophocles Antigone', Angelaki: Journal of the Theoretical Humanities, vol. 9, no. 2, pp. 55-66.View/Download from: Publisher's site
This paper connects the question of modem architecture to the general problematic of appearance. Apperance, itself, arises as a result of the debate on 'style' that marked architectural theory and practice in Germany in the first part of the nineteenth century. The problematic status of appearance should play a fundamental role in any assessment of claims about the autonomy of architecture. The project of the paper is to draw together these threads and thus delimit a specific locus of research.
Benjamin, AE 2003, 'Architecture and Culture', Architecture Australia, vol. 92, no. 3.
Benjamin, AE 2003, 'Being Roman Now: The Time of Fashion. A Commentary on Walter Benjamin's 'Theses on the Philosophy of History' XIV', Thesis XI, vol. n/a.
Benjamin, AE 2003, 'Lines and Colours - Cezanne's Abstraction and Richter's Figure', Angelaki: Journal of the Theoretical Humanities, vol. 8, no. 1.
Benjamin, AE 2003, 'Now Still Absent: Eisenman's "Memorial to the Murdered Jews of Europe"', Architectural Theory Review, vol. 8, no. 1, pp. 57-62.
Benjamin, AE 2003, 'Particular Spaces', Monument, vol. 56, no. Aug/Sep, p. 104.
Benjamin, AE 2003, 'Vandalising objects, destroying art: Notes on Terri Bird's 'Recycling Fictions of Being'', Art Monthly, vol. n/a, no. 163.
Benjamin, AE 2002, 'La Peinture Comme Object', La Part de l'Oeil: Peinture pratique théorique, vol. 17-18, pp. 37-51.
Benjamin, AE 2002, 'On the Image of Different Lines: Working Notes', Latent Utopias. Experiments within Contemporary Architecture, vol. n/a, pp. 18-23.
Benjamin, AE 2002, 'Parasitism in Architecture', Ephemeral Structures in the City of Athens, vol. n/a, pp. 55-61.
Benjamin, AE 2002, 'Planning Diagrams', II Progetto, vol. n/a, no. 11, pp. 22-25.
Benjamin, AE 2002, 'Refugees, Cosmopolitanism and the place of Citizenship', Architectural Theory Review, vol. 7, no. 2, pp. 101-116.
Benjamin, AE 2002, 'Repositioning Objects: Architectural History/Architectural Theory', Additions to Architectural History, vol. n/a.
Benjamin, AE 2002, 'The "Place" of Cosmopolitan Architecture', Architectural Theory Review, vol. 7, no. 1, pp. 26-36.
The paper takes as its point of departure the necessity to open a space between the international and the national. That space will be as much political as will be one that allows for a certain architecture. For the sake of argumentation that space has been identified as the cosmopolitan. What characterises the cosmopolitan is the possibility that it is the form of modernity once the modem has been freed from the oscillation between the national and the international. Once modernity is introduced then the question to be addressed is not what is modern architecture but what is the architecture of modernity. Part of the argument developed here is that a beginning can be made once it is understood that modernity has to eschew the symbol. And yet, the symbols that proliferate are either national or international. Consequently, this gives rise to a complex interplay between the cosmopolitan, modernity and the possibility of an architecture that is non-symbolic. The question of how to think this complex set of relations is the project undertaken by the paper.
Benjamin, AE 2002, 'The Relation of Interruption: Recent Work by Shirley Kaneda', Talking Pictures - Issues in Contemporary Abstract Painting, vol. n/a.
Benjamin, AE 2001, 'Allowing Function Complexity. Notes on Adorno's Functionalism Today', A A Files: annals of the Architectural Association School of Architecture, vol. n/a, no. 41.
Benjamin, AE 2001, 'Derrida, Architecture and Philosophy (reprinted)', Deconstruction, vol. n/a.
Benjamin, AE 2001, 'Having to Exist', Angelaki: Journal of the Theoretical Humanities, vol. 5, no. 2, pp. 51-57.
Benjamin, AE 2001, 'On Tolerance: Working through Kant', Contretemps, vol. n/a, no. 2.
Benjamin, AE 2001, 'Poetry and the Returns of Time: Goethe's "Wachstum" and "Immer and Uberall"', The Moment, vol. n/a.
Benjamin, AE 2001, 'Poetry as Translation: Geoffrey Hill's "The Triumph of Love"', Anglistica, vol. 5, no. 1-2, pp. 61-75.
Benjamin, AE 2001, 'Who Dwells? Heidegger and the Place of Mortal Subjects', Pli: The Warwick Journal of Philosophy, vol. 10.
Benjamin, AE 2000, 'Friends and Others: Notes on Lessing's Die Juden and Nathan der Weise', Social Theory after the Holocaust, vol. 10, pp. 179-197.
Benjamin, AE 1999, 'Repositioning Housed Bodies. Descartes and Domesticity', Architecture and Revolution, vol. n/a.
Benjamin, AE 1999, 'Where Philosophy Begins: The Event of Plurality', Pli: The Warwick Journal of Philosophy, vol. 8, pp. 100-119.
Benjamin, AE 1998, 'Lines of Work: Notes on Diagrams', ANY, vol. 23, pp. 36-39.
Benjamin, AE 1998, 'Modernity, National Identity, and the Diaspora', Alchemic Surrender, vol. n/a, pp. 18-22.
Benjamin, AE 1998, 'Philosophy's Other. The plural Event as "Literature"', Paragraph, vol. 20, no. 1, pp. 227-260.
Benjamin, AE 1998, 'The Doubling of Space: Notes on the Impossibility of Architectural Minimalism', Beyond the Minimal, vol. n/a, pp. 101-102.
Benjamin, AE 1997, 'Curiosity, Fascination. Time and Speed', Eight Technologies of Otherness, vol. n/a.
Benjamin, AE 1997, 'Figuring Self-Identity: Blanchot's Bataille', Other than Identity. The Subject, Politics and Aesthetics, vol. n/a, pp. 9-32.
Benjamin, AE 1997, 'L'informe qui forme: Bataille, Deleuze and Architecture', D: Columbia Documents of Architecture and Theory, vol. 6, pp. 90-100.
Benjamin, AE 1997, 'Peter Eisenman and the Housing of Tradition', Rethinking Architecture, vol. n/a, pp. 286-303.
Benjamin, AE 1997, 'Resisting Ambivalence: Form and Function in Eisenman's Architecture', Korean Journal of Architecture, vol. n/a, no. 14, pp. 10-23.
Benjamin, AE 1997, 'Sites of Tension: Serge Spitzer's Work in the Kennedyplatz, Essen', Art and Design, vol. n/a, no. 55, pp. 84-87.
Benjamin, AE 1997, 'The Activity of Space. The Sculpture of Christine Boshier', Art and Design, vol. n/a, no. 55, pp. 56-60.
Benjamin, AE 1996, 'L'architecture de l'esperance. Le muse juif de Daniel Leibskind', Reveue d'esthetique, vol. n/a, no. 29, pp. 117-131.
Benjamin, AE 1996, 'Matter's Insistence. Tony Scherman's Banquo's Funeral', Art and Design, vol. 9.
Benjamin, AE 1995, 'Cosmopolitan Citizenship', Kamena Supa, vol. 1, pp. 33-49.
Benjamin, AE 1995, 'Not to Shed Complexity: Reiser and Umemoto's Yokohama Port Terminal', Fisuras, vol. n/a, no. 3, pp. 46-57.
Benjamin, AE 1995, 'Other Abstractions. Therese Oulton's Abstract with Memories', Journal of Philosophy and the Visual Arts, vol. n/a, no. 5, pp. 52-59.
Benjamin, AE 1994, 'Event, Time, Repetition', D: Columbia Documents in Architecture and Theory, vol. 4, pp. 139-147.
Benjamin, AE 1994, 'In the Place of Danger', Dangerous Places, vol. n/a.
Benjamin, AE 1994, 'Lieu et oeuvre', Meditaions. Une recontre artistique entre la France et la Suede, vol. n/a.
Benjamin, AE 1994, 'Time, Question, Fold', AA Files, vol. n/a, no. 26, pp. 7-10.
Benjamin, AE 1994, 'Working Notes', Surfaces, vol. 3, no. 1.
Benjamin, AE 1993, 'Architecture et contrainte', Chimeres: A Journal of French and Italian Literature, vol. n/a, no. 17, pp. 139-154.
Benjamin, AE 1993, 'Bringing back the Body', Journal of Philosophy and the Visual Arts, vol. n/a, no. 4.
Benjamin, AE 1993, 'Matter and Meaning', Art and Design, vol. 6, no. 1/2.
Benjamin, AE 1993, 'On/Within. Writing in Architecture', ANY, vol. 23, no. May/June, pp. 24-25.
Benjamin, AE 1993, 'Re: Working Eisenman: Work and Name', Re: Working Eisenman, vol. n/a.
Benjamin, AE 1993, 'Shoah, Remembrance and the Abeyance of Fate: Walter Benjamin's Fate and Character', New Formations, vol. 10, no. 1, pp. 95-111.
Benjamin, AE 1993, 'Time and Task: Benjamin and Heidegger Showing the Present', Walter Benjamin's Philosophy, vol. n/a, pp. 206-250.
Benjamin, AE 1992, 'Building Experience: Philosophy/Architecture', Journal of Philosophy and the Visual Arts, vol. n/a, no. 3, pp. 15-21.
Benjamin, AE 1992, 'Jabes's Hope', Temenos: studies in comparative religion presented by scholars in Denmark, Finland, Norway and Sweden, vol. n/a, no. 13, pp. 35-39.
Benjamin, AE 1992, 'Kitaj und die Frage nach der judischem Idenitat', Babylon. Beitrage zur Judischen Gegenwart, vol. n/a, no. 10-11, pp. 59-72.
Benjamin, AE 1992, 'Painting Words', Art and Design, vol. 7, no. 3/4.
Benjamin, AE 1992, 'The Unconscious: Structuring as a Translation', Laplanche Dossier, vol. n/a, pp. 137-157.
Benjamin, AE 1992, 'Translating Origins. Psychoanalysis and Philosophy', Rethinking Translation, vol. n/a, pp. 18-41.
Benjamin, AE 1991, 'Kiefer's Approaches', Thinking Art, vol. n/a, pp. 95-109.
Benjamin, AE 1991, 'On Display', New Museology, vol. n/a.
Benjamin, AE 1991, 'Pavillion Display: The American Pavillion Venice Bienale', Newsline, vol. 4, no. 2.
Benjamin, AE 1991, 'Rehearsing the Body: Chadwick and Descartes', Doubles: Helen Chadwick, Danny Leriche, vol. n/a.
Benjamin, AE 1990, 'Awaiting', Blank Page, vol. n/a, no. 4.
Benjamin, AE 1990, 'Material Events: The Work of Langlands and Bell', Art and Design, vol. 6, no. 3/4.
Benjamin, AE 1990, 'Spacing and Distancing', Journal of Philosophy and the Visual Arts, vol. n/a, no. 2.
Benjamin, AE 1989, 'Events with Depth: Jackson Pollock's Action Paintings', Art and Design, vol. 5, no. 11/12.
Benjamin, AE 1989, 'Interpreting Reflections: Painting Mirrors', Oxford Literary Review, vol. 11, no. 1/2, pp. 37-71.
Benjamin, AE 1989, 'Malevich and the Avant-Garde', Art and Design, vol. 5, no. 5/6.
Benjamin, AE 1989, 'Peter Eisenman and the Housing of Tradition', Oxford Art Journal, vol. 12, no. 1.
Benjamin, AE 1989, 'Present Remembrance: Anselm Kiefer's Iconoclastic Controversy', Art and Design, vol. 5, no. 7/8.
Benjamin, AE 1989, 'Repeating Themes: Notes on Haacke, Kiefer, Beuys', Art and Design, vol. 5, no. 9/10.
Benjamin, AE 1989, 'The Crumbling Narrative: Time and Memory in the Eye of the Scare Crow', The Creative Imagination, vol. n/a.
Benjamin, AE 1989, 'Tradition and Experience. Walter Benjamin's on Some Motifs in Baudelaire', Problems of Modernity. Adorno and Benjamin, vol. n/a, pp. 122-140.
Benjamin, A 1988, 'Rodolphe Gasché, The Tain of the Mirror: Derrida and the Philosophy of Reflection, London: Harvard University Press, 1986, £22.25, viii × 348 pp. John Sallis, Spacings - Of Reason and Imagination: In Texts of Kant, Fichte, Hegel, London: University of Chicago Press, 1987, £19.95, paper £8.75, xvi + 177 pp', History of the Human Sciences, vol. 1, no. 2, pp. 283-287.View/Download from: Publisher's site
Benjamin, AE 1988, 'Betraying Faces. Lucien Freud's Self-Potraits', Art and Design, vol. 4, no. 7/8.
Benjamin, AE 1988, 'Derrida, Architecture and Philosophy', Architectual Design, vol. 58, no. 3/4, pp. 8-11.
Benjamin, AE 1988, 'Kitaj and the Question of Jewish Identity', Art and Design, vol. 4, no. 3/4.
Benjamin, AE 1988, 'Pluralism, the Cosmopolitan and the Avant-Garde', Art and Design, vol. 4, no. 5/6.
Benjamin, AE 1988, 'The Overflow of Words: From Breuer to Freud', New Formations, vol. 2, no. 2, pp. 120-132.
Benjamin, AE 1988, 'The Place of the Ethical', Irish Philosophical Journal, vol. n/a, no. 5, pp. 31-45.
Benjamin, AE 1988, 'Time and Interpretation in Heraclitus', Post-Structuralist Classics, vol. n/a, pp. 106-131.
Benjamin, AE 1988, 'Translation and the History of Philosophy', Textual Studies, vol. 2, no. 2, pp. 242-261.
Benjamin, AE 1987, 'A Missed Encounter: Plato's Socrates and Geach's Euthyphro', Grazer Philosophische Studien, vol. 29, pp. 145-170.
Benjamin, AE 1987, 'Descartes' Fable: Discours de la method', The Figural and the Literal, vol. n/a, pp. 10-30.
Benjamin, AE 1986, 'The Decline of Art: Benjamin's Aura', Oxford Art Journal, vol. 9, no. 2.
Benjamin, AE 1985, 'Philosophy as Poetry: The Taste of Greece', Ideas and Productions: a journal in the history of ideas, vol. n/a, no. 3, pp. 8-23.
Benjamin, AE 1984, 'The Body of Writing: Notes on the Poetry of Glenda George', Poetics Journal, vol. n/a, no. 4.
Benjamin, AE 1984, 'Wittgenstein and Critical Philosophy', Inside Out. Journal of the Leeds University Philosophical Society, vol. n/a, no. 1.
Benjamin, AE 1983, 'Wisdom and Science in Augustine and Descartes', Ideas and Productions: a journal in the history of ideas, vol. n/a, no. 2.
Instruments are fundamental to TERROIR's practice. While they have played a determining role within the development of specific projects, they have not been explored in a more extended account. The aim of this
discussion is to place the instrument within a larger discursive context. We find that instruments have an abstract dimension as they form part of the discourse of architecture.
The opening questions situate the 'instrument' in relation to other central
concepts – e.g. 'function', 'type', 'typology' – before moving through issues ranging from criticality to pedagogy. Central to the discussion is the development of concept that while always specific – insofar that for each
of the projects in the book the instrument plays a central role – the instrument cannot be restricted to the simply pragmatic. That is, the instrument has an abstract quality, which is to say it is generative and thus not merely functional. The instrument is not that which instrumentalises function.
Benjamin, A 2019, 'On Third Space' in Terror Third Spaces, Uro Publications, Melbourne.
Benjamin, A 2019, ''The Feeling of Space': Notes on Walter Benjamin and Architecture' in Terroir Third Space, Uro Publications, Melbourne, pp. 20-37.
Third Space has a history. One that can be recovered as much from the history of architecture as it can from the history of philosophy. These notes are a contribution to the writing of the history of Third Space. While the term Third Space cannot be found in the writings of Walter Benjamin, the project here is to indicate in what sense Benjamin's writings on architecture and other elements of The Arcades Project can be read as integral to the creation of that history. Walter Benjamin does not appear by chance. His writings evince a sustained engagement with architecture. The architecture in question takes on a number of different forms. He writes about the use of iron in architecture, especially in Convolute F, thus the locus of engagement in that particular context is initially with both materials and material possibility. In addition, he also offers a sustained encounter with a range of books that document current concerns within the practice and history of architecture as understood in the contemporary period; one of the most important was Emil Kaufmann's Von LeDoux bis Le Corbusier. Kaufmann's is also a text whose project is the interplay
between construction and historical time. Other texts by Benjamin take up either the language or the preoccupations of architecture. Benjamin writes about cities; Moscow, Marseilles and Naples, for example, are each attributed a specific text. (The latter written with Asja Lacis.) The urban figures as part of a more general attempt to engage with modernity. Baudelaire becomes the key figure; though equally the dandy and the
flâneur are characters in the city. They have no other place. While the urban may be contrasted with architecture, in the context of his writings both have to be thought together. Benjamin names a text, Einbahnstraße, as though the presence of an urban thoroughfare gives
Benjamin, A 2018, 'Including transformation: Notes on the art of the contemporary' in The new aestheticism, pp. 208-217.
Benjamin, AE 2017, 'Drawing Jerusalem: Notes on Hans Bol's Jerusalem, with Christ and the Good Shepherd (1575)' in Stoppani, T, Ponzo, G & Themistokleous, G (eds), This Thing Called Theory, Rutledge, London and New York, pp. 98-113.
Benjamin, A 2015, 'And color? Sallis on art's coloring' in On the True Sense of Art: A Critical Companion to the Transfigurements of John Sallis, pp. 135-156.
© Oxford University Press, 2015. While there are references within the last speech by the Chorus in Sophocles' Antigone to both the Gods and a self-referential concern with age, the speech can be read and heard as recasting a number of the play's defining elements. Perhaps the most insistent, and in this instance the most significant, occur in the speech's opening lines. Pursuing the opening provided by the speech as a whole provides the means for tracing an important link between Sophocles, Hölderlin, and Walter Benjamin in regards to a philosophical thinking of life. What is at stake here turns around a number of interrelated question. What is 'life' and thus the 'living' thought philosophically? Moreover, what would it mean to act for the sake of the living and thus in the name of life? How would such actions be understood philosophically? This chapter responds to these questions.
Benjamin, A 2012, 'On representing the shoah' in Jean-Luc Nancy and Plural Thinking: Expositions of World, Ontology, Politics, and Sense, pp. 213-226.
© Springer Science+Business Media B.V. 2012. This chapter explores Kierkegaard's conception of suffering and a Levinasian response through a reading of the latter's useless suffering. Kierkegaard identifies suffering as a temporal moment to be actively passed through on the way to eternal salvation. It is argued, therefore, that Kierkegaard determines suffering as necessarily a means to an end, operative according to a logic of utility. The subject is therefore solitary in its suffering. For Levinas, suffering is useless, rendered useful only through the maintenance of a logic of utility and therefore an autarkical subject. It is argued that Levinas transforms the locus of the ethical by re-locating suffering in an economy conditioned by the interhuman order and thus a self-other relation that undermines any logic of utility. Through suffering, the subject, the reaches the limits of its mastery, opened up to the grounding, ethical relation with the Other.
Benjamin, AE 2012, 'Nomadism and Design' in Architectural Projections, RMIT University Press, Melbourne, Australia, pp. 1-5.
© Oxford University Press 2010. All rights reserved. This chapter offers a critical engagement with Derrida's interpretation of Sophocles' Oedipus at Colonus. Derrida's work is positioned initially in relation to Heidegger. By focusing on the topics of hospitality, law, and justice the chapter argues that Derrida has misconstrued the way in which the state of being 'outside the law' or 'lawless' ('anomos') works in Sophocles' play. By extension this necessitates returning to the way in which the figure of the 'stranger' works within the play and therefore with those philosophical positions-such as Deconstruction-in which concepts such as 'alterity' are fundamental. This will allow not just for a critique of Derrida but for the subsequent development of the ways in which place and commonality figure within the play and equally within the larger philosophical project delimited by a concern with justice.
Benjamin, A 2008, 'A precursor: Limiting the future, affirming particularity' in A Time for the Humanities: Futurity and the Limits of Autonomy, pp. 29-44.
© Oxford University Press 2008. All rights reserved. This chapter investigates the way translation and commentary - recognizing immediately that there will be an inevitable confluence between them - provides an important type of access to the politics implicit in Hölderlin's translation of Pindar Fragment 169a. Rather than assume that the political concerns the relationship between law and violence, in which the former regulates and allows for the judgement of the latter, in this instance the concern of the political involves an original difference within law. As a result of taking this as a point of departure, violence will have to be explained in terms of the differences that mark the founding presence of nomos (law). The result allows for a repositioning of law as antithetical to violence.
Benjamin, AE 2006, 'Benjamin's Style: The Style That Is Not Jugendstil' in Benjamin, A (ed), Style and Time. Essays on the Politics of Appearance, Northwestern University Press, Chicago, USA, pp. 39-63.
Benjamin, AE 2006, 'Deconstruction' in Malpas, S & Wake, P (eds), The Routledge Companion to Critical Theory, Routledge, Abingdon, UK, pp. 81-91.
Benjamin, AE 2006, 'In What Style Should We Build? The Style of Cosmopolitan Architecture' in Benjamin, A (ed), Style and Time. Essays on the Politics of Appearance, Northwestern University Press, Chicago, USA, pp. 80-107.
Benjamin, AE 2006, 'Literary Potential: The Release of Criticism' in David Rudrum (ed), Literature and Philosophy: A Guide to contemporary debates, Palgrave Macmillan, Basingstoke, UK, pp. 170-179.
Benjamin, AE 2006, 'Placing Philosophy: Heidegger's Hut' in Adam Sharr (ed), Heideggers Hut Heideggers Hut, MIT Press, Cambridge, USA, pp. 15-21.
Benjamin, AE 2006, 'Plans to Matter: Towards a history of Material Possibility' in Thomas, KL (ed), Material Matters: Architecture and Material Practice, Routledge, UK, pp. 13-28.
One of the first attempt to develop a meterialist historiography 0 history as the history of material possibilities - central to the writing of architectural history
Benjamin, AE 2006, 'The illusion of the future: Notes on Benjamin & Freud' in Milner, A, Ryan, M & Savage, R (eds), Imagining the future: Utopia and Dystopia, Arena Publications Association, Melbourne, Australia, pp. 193-205.
Benjamin, AE 2005, 'From Technology to Techniques' in Paradimitriou, S (ed), Digital Topo Graphics, Futura, Athens, Greece, pp. 13-14.
Benjamin, AE 2005, 'Literary Potential: The Release of Criticism' in Kim, S & Patton, P (eds), Politics of Inbetween Space, PNU Press, Korea, pp. 349-361.
Benjamin, AE 2005, 'Plurality of Actions: Notes on Ontology of Techniques' in Research and Development in Art, NAI Publishers Rotterdam, Amsterdam, pp. 150-166.
Benjamin, AE 2005, 'Spacing as the Shared: Heraclitus, Pindar, Agemben' in Norris, A (ed), Politics, Metaphysics, and Death. Essays on Giorgio Agamben's Homo Sacer, Duke University Press, Durham & London, UK, pp. 145-172.
Benjamin, AE 2005, 'The Matter of a Materialistic Philosophy of Art: Bataille's Manet' in Collier, P (ed), European Connections, Peter Lang, Bern, Switzerland, pp. 193-214.
Benjamin, AE 2004, 'Benjamins Modernity' in Ferris, D (ed), The Cambridge Companion to Walter Benjamin, Cambridge University Press, Cambridge, UK, pp. 97-114.
Benjamin, AE 2004, 'Passing Through Deconstruction: Architecture and the project of Autonomy' in Celant, G (ed), Architecture & Arts 1900/2004. A century of Creative Projects in Building, Design, Cinema, Painting and Sculpture, Skira Editore S.p.A., Milan, Italy, pp. 433-437.
Benjamin, AE 2004, 'The Surfacing of Walls' in Spuybroek, L (ed), Nox, Thames and Hudson, London, UK, pp. 342-351.
Benjamin, AE 2003, 'Opening the Interstital: Eisenman's Space of Difference' in Peter Eisenman (ed), Blurred Zones: Investigations of the Interstitial: Eisenman Architects 1988-1998, Monacelli Press, New York, USA, pp. 306-312.
Benjamin, AE 1976, 'A Theory of Reading with Respect to Freud and Lacan', Working Papers.