Architecture, Philosophy, and the Pedagogy of Cinema : From Benjamin to Badiou

Philosophers on the art of cinema mainly remain silent about architecture. Discussing cinema as ‘mass art’, they tend to forget that architecture, before cinema, was the only existing ‘mass art’. In this work author Nadir Lahiji proposes that the philosophical understanding of the collective human sensorium in the apparatus of perception must once again find its true training ground in architecture. Building art puts the collective mass in the position of an ‘expert critic’ who identifies themselves with the technical apparatus of architecture. Only then can architecture regain its status as ‘mass art’ and, as the book contends, only then can it resume its function as the only ‘artform’ that is designed for the political pedagogy of masses, which originally belonged to it in the period of modernity before the invention of cinema. Philosophers on the art of cinema mainly remain silent about architecture. Discussing cinema as â••mass artâ••, they tend to forget that architecture, before cinema, was the only existing â••mass artâ••. In this work author Nadir Lahiji proposes that the philosophical understanding of the collective human sensorium in the apparatus of perception must once again find its true training ground in architecture.Building art puts the collective mass in the position of an â••expert criticâ•• who identifies themselves with the technical apparatus of architecture. Only then can architecture regain its status as â••mass artâ•• and, as the book contends, only then can it resume its function as the only â••artformâ•• that is designed for the political pedagogy of masses, which originally belonged to it in the period of modernity before the invention of cinema. Cover 1 Half Title 2 Endorsement 3 Title Page 4 Copyright Page 5 Dedication 6 Table of Contents 8 Foreword 10 Preface 14 Acknowledgments 23 Introduction: Architecture at the ‘end’ of Cinema 24 Notes 30 Chapter 1 Returning to the Philosophy of Masses: Benjamin and Badiou 33 Notes 45 Chapter 2 From the Photographic Moment of Critical Philosophy to the Optical Unconscious 48 Notes 58 Chapter 3 Mass Art and Impurity: Reading Benjamin With Badiou 62 Impure Art 66 Notes 73 Chapter 4 In and Out of Plato’s Cave 78 Notes 90 Chapter 5 Theory of Distraction: Tactile and Optical 94 Notes 104 Chapter 6 Poverty of Experience 108 Notes 114 Chapter 7 Dialectics and Mass Art 117 Dialectics 122 Badiou and Dialectics 128 Notes 135 Chapter 8 The Proletarian Mise-en-scène 143 Notes 158 Epilogue: The Art of the Masses in the Age of Pornography 164 Notes 175 References 180 Index 188 Cette édition numérique a été réalisée à partir d'un support physique, parfois ancien, conservé au sein du dépôt légal de la Bibliothèque nationale de France, conformément à la loi n° 2012-287 du 1er mars 2012 relative à l'exploitation des Livres indisponibles du XXe siècle. Pages de début Introduction 1 - Des analyses pour l'action (1922-1945) 1 - Le nazisme négateur de l'histoire 2 - « Une rude humanité », ou les perplexités des conservateurs 3 - « L'opium des foules », ou les humanistes contre le nihilisme 4 - La dénonciation du grand capital 5 - Les classes moyennes, remords de la gauche 6 - Les sciences humaines mobilisées contre la mythologie (1939-1945) 2 - Un passé à liquider (1945-1975) 1 - « Comment cela a-t-il pu arriver ? » (1945-1949) 2 - Les armes de la guerre froide (1949-1960) 3 - Marx et l'ordinateur. Progrès récents et limites de l'histoire des classes sociales 4 - L'ordinateur et Freud : progrès récents et limites de l'histoire psychologique 5 - Systèmes, structures et stratégies Conclusion provisoire : Jalons vers une histoire quantitative Bibliographie ChronologiePages de fin "Philosophers on the art of cinema mainly remain silent about architecture. Discussing cinema as 'mass art', they tend to forget that architecture, before cinema, was the only existing 'mass art'. In this work author Nadir Lahiji proposes that the philosophical understanding of the collective human sensorium in the apparatus of perception must once again find its true training ground in architecture. Building art puts the collective mass in a position of 'expert critic', who identifies themselves with the technical apparatus. Only then can architecture regain its status as 'mass art' and, as the book contends, only then can it resume its function as the only 'artform' that is designed for the political pedagogy of masses, which originally belonged to it in modernity before the invention of cinema"-- Provided by publisher