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Kantian Aesthetics in a Time of Dark Ecology Ter Verkrijging Van De Graad Van Doctor Aan De Technische Universiteit Delft, Op Gezag Van De Rector Magnificus Prof

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Kantian Aesthetics in a Time of Dark Ecology Ter Verkrijging Van De Graad Van Doctor Aan De Technische Universiteit Delft, Op Gezag Van De Rector Magnificus Prof Building Beauty: Kantian aesthetics in a time of dark ecology ter verkrijging van de graad van doctor aan de Technische Universiteit Delft, op gezag van de Rector Magnificus Prof. ir. K.C.A.M Luyben, voorzitter van het College voor Promoties, in het openbaar te verdedigen op maandag 2 december 2013 om 12.30 uur Karan AUGUST Master of Architecture with Honors, University of Victoria, Wellington Bachelor of Arts in Philosophy, University of California, Berkeley Dit proefschrift is goedgekeurd door de promotor: Prof. em. dr. Graafland Copromotor: dr. ir. Schrijver Samenstelling promotiecommissie: Rector Magnificus, voorzitter Prof. em. dr. Graafland, Technische Universiteit Delft, promotor Assoc. Prof. dr. ir. Schrijver, Technische Universiteit Delft, copromotor Prof. dr. M. Jarzombek, MIT, USA Prof. dr. P. Rawes, The Bartlett, U. College of London Prof. dr. R. Braidotti, U. Utrecht Prof. dr. J. Hale, U. Nottingham Prof. ir. M. Riedijk, Technische Universiteit Delft Prof. ir. H.C. Bekkering Technische Universiteit Delft reservelid Patrick Healy has provided substantial guidance and support in the preparation of this thesis. Patrick Healy heeft als begeleider in belangrijke mate aan de totstandkoming van het proefschrift bijgedragen. i Propositions 1. Cultivating nimbleness is to willfully gather together one’s self in the wake of a formative force far richer than the derivative web of living power relationships of human embeddness within a horizon of social, economical, political and historical subjectivating power relations. 2. For an ethical society it is necessary to provide elective spaces. The term, elective space, conveys the type of area, space, structure, building, or venue, that an individual has no requirement to consume, conduct labor within or reside, i.e., it is not a place where one must go, it is a non-market-led place one may choose to go. 3. Kant seeks a means by which he could personally contribute to the progress of humankind via the Critiques, which together strategically compose a di- dactical theory for the cultivation of the self. 4. The materiality of the building needs to be considered as its dynamic system of material parts. Steel, brick, concrete, people, insects, plant life, bacteria are all part of it. The attempted sterilization of the non-human life forms is highly dysfunctional. Architects need to study biology as they are composers of living systems. 5. Bad architecture manifests uni-directional (descending) systems of vibrant matter, condemning them to false hierarchies which exhaust gracelessly. De- voured parts expire, others that once intertwined with them are left without reference or bridge and languish in a confused manner. Stockpiled parts corrode without movement. Such structures afford very thin and limited en- gagement; they are spaces that present an immediate and unalterable hier- archy of perception and that can be labeled, identified and classified without playful compositions. 6. Human beings are parts of nature and when a human being is able to act in both the relation to their free intentionality and the larger context of nature, then Kantian art is created. 7. The habits of cultivating aesthetic judgment distill as: (a) a willingness to postpone an immediate identification of the object by the understanding, (b) a habit of identifying false complexities which trick the imagination into unbalanced or uni-directional causalities, (c) a familiarity with the feeling of pleasure arising from an event of Beauty which encourages one’s recognition of and appetite for it. 8. The closest we can come to lifting the veil of Iris is in the event of Beauty, which is the experience of mirroring the hermeneutical loops of teleology whereby means ends via reflecting upon aesthetic objects and horizons. ii 9. The re-prioritizing of the material presence is a means of resistance to cur- rent normalizing practices particularly manifest in the standardizing effects of bad architecture. The dominant problem with the current form of nor- malizing practices is that it de-values material presence, while it prioritizes categorization and an abstract and determinate world. 10. The clearest quality assessment of pure beauty that may be teased out of Kant’s critical period is that of the causal nexus. The object, if it is to be judged beautiful, cannot be merely the inert, silent matter of artifacts. The quality of the object therefore is assessed on the manner of its matter. iii Stellingen 1. Het cultiveren van lichtvoetige sensibiliteit betekent het intentioneel samen- brengen van het zelf in de nasleep van een kracht die veel rijker is dan het afgeleide web van dagelijkse machtsverhoudingen in ons menselijk bestaan; een bestaan dat verbonden is met een horizon van sociale, economische, poli- tieke en historische machtsrelaties die ons tot subject maken. 2. Voor een ethische maatschappij is het van het grootste belang om te voorzien in electieve ruimtes. De term electieve ruimte betekent het soort gebied, de soort ruimte, structuur, het gebouw of de voorziening die niet in bezit genomen kan worden door een individu, er kan geen arbeid in verricht worden en je kunt er niet wonen; het is ook geen plaats waar men per se heen moet, het is geen plek voor de markt economie. 3. Kant zoekt een middel waarbij hij persoonlijk kan bijdragen aan de vooruitgang van de mensheid via zijn drie Kritieken, tezamen vormen ze op strategische wijze een didactische theorie voor het cultiveren van het zelf. 4. De materialiteit van een gebouw moet gezien worden als een dynamisch systeem van materile delen. Staal, stenen, beton, mensen, insecten, flora, bacterin zijn er allemaal een onderdeel van. De sterilisatie van niet-menselijk leven is uiterst disfunctioneel. Architecten zouden de biologie moeten bestud- eren omdat zij ook samenstellers van levende systemen zijn. 5. Mislukte architectuur manifesteert zich in systemen van dynamische ma- terialiteit die maar op een manier functioneren, en ze op die manier uitleveren aan valse hirarchien die de lichtvoetigheid als het ware uitputten. Losger- aakte delen hebben geen betekenis meer, andere delen die er mee verbon- den waren blijven zonder referentie of verbinding op een verwarrende manier achter. Opgeslagen delen roesten weg. Dergelijke structuren leveren een erg beperkte mogelijkheid tot interactie; het zijn ruimtes die een onbemiddelde en onveranderlijke hirarchie in onze perceptie achterlaten. Je kunt ze identi- ficeren en classificeren zonder het lichtvoetige spel van de compositie. 6. De menselijke soort is deel van de natuur en wanneer een mens in staat is te handelen in relatie tot vrije intentionaliteit en de relatie tot de wijdere context van de natuur, dan wordt op dat moment een ethische kunstvorm geschapen. 7. De cultivering van een ethisch oordeel betekent het volgende: (a) een bereidheid om een directe identificatie van het object door middel van be- grip uit te stellen, (b) het vermogen om valse complexiteit te zien die de iv verbeelding misleidt tot ongebalanceerde en eenzijdige causaliteiten, (c) een bekendheid met het gevoel van plezier dat voortkomt uit de ervaring van schoonheid en die aanzet tot verdere exploratie. 8. In de ervaring van schoonheid ligt het optillen van de sluier van Iris besloten, het is de ervaring van het weerspiegelen van de hermeneutische cirkel waarbij middel en doel weerkaatst worden op het esthetisch object en zijn horizon. 9. Het opnieuw prioriteren van de materile werkelijkheid is een mogelijkheid om weerstand te bieden aan de normaliserende praktijken die in het bijzonder aanwezig zijn in de gestandaardiseerde effecten in mislukte architectuur. 10. De duidelijkste kwalitatieve beoordeling van pure schoonheid die we kunnen ontlenen aan Kants werk is die van de causale nexus. Het object is geen inerte stilgelegde materie van artefacten, als we het tenminste als mooi willen beoordelen. De kwaliteit van het object wordt daarom beoordeeld volgens haar materialiteit. Abstract In the aftermath of a normalized Foucaultian world with an all encom- passing web of biopower, one remaining hope is to cultivate nimbleness. Nimbleness is an embodied aesthetic sensitivity to the material presence. Cultivating nimbleness is a particular style of cultivation; it is to willfully gather together one’s self in the wake of a formative force far richer than the derivative web of living power relationships of human embeddness within a horizon of social, economical, political and historical subjectivating power relations; which are chronicled and labeled by Michel Foucault as the nor- malizing practices of biopower. In other words to have freedom, one must start by rejecting the categories and labels normally internalized in order to relearn to learn from the material presence. Such a style of cultivation is a means of resisting normalizing power relations which co-opt cultivating practices to engross their own dominance which has had the by-product of an impotence to negate the gross material injustices present. This normaliz- ing style of cultivation is a prevalent, corrupted, semblance which denies the importance of beauty for that of efficiency, rejects non-human purposiveness, and limits its measure of ethics to short term economical pragmatism. The thesis acknowledges that something is awry with the world and that giving care to beauty might help. The aim is to examine the event of Beauty as depicted by the philosopher Immanuel Kant and to apply this characteri- zation to elective architectural spaces such that it may motivate individuals to cultivate their own nimbleness in relation to a formative force of nature. However given the revealed need for sensitivity to the particular material presence, the thesis can not be a rule book or catalog for beautiful design. Rather it is a rehabilitation for architects who are already heterospatially curious, with the desired outcome of architects cultivating their own nimble- ness to reflectively judge as a ground up, multi-node, rhizomatic means of resistance to normalizing power practices as manifest in bad architecture. v vi Abstract In de nasleep van een genormaliseerde Foucauldiaanse wereld, met een allesomvattend netwerk van bio-macht, bestaat er een overgebleven hoop om lichtvoetigheid te cultiveren.
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