Goethe and Phenomenology

In this article, I argue that Goethe’s way of science, understood as a phenomenology of nature, might be one valuable means for fostering a deeper sense of responsibility and care for the natural world. By providing a conceptual and lived means to allow the natural world to present itself in a way by which it might speak if it were able, Goethe’s method offers one conceptual and applied means to bypass the reductive accounts of nature typically produced by standard scientific and humanist perspectives. I illustrate this possibility largely through examples from Goethe’s Theory of Color (1810).

This paper will demonstrate the method of Goethean observation as a means of surveying and appraising landscape which allows a role for a schooled subjectivity.  Similarities between this method and phenomenological studies will be made.  To explore what Goethe’s scientific method is, the first section of this paper discusses the Goethean method as taught by the School of Life Science.  I then move on to the situation of attempting to apply the method as a means to understand the Genius Loci of a specific place.  The final section records what happens when the same place is then revisited.  The method, as negotiated by the group applying it, is examined by describing the experience and examining the intersubjective consistencies and discrepancies that arose within the group.  In conclusion I suggest the way in which this method could be used to approach landscape in an informed way that is also sensitive to the phenomenon of the place itself.

Design’s attempts to address social, ethical and environmental concerns of our time have often been marred by theory generated by well-meaning scholars who have imposed hard-line definitions and models of what it means to be an ‘ethical designer’. These arguments abstract values and impose ideological and political positions that designers can find difficult to apply in their daily practices. It is not as simple as prescribing the ‘right’ or ‘wrong’ values for designers to have and translate them through design. Whatever values there are, those values need to matter to people who care about them enough to translate them into action . Values are not impersonal. They cannot be detached and be subsumed under a more universal value or comparable importance. The paper opens with a critique of this prescriptive approach to highlight the reasons for why ethical design remains stuck in a rut. I then move to discuss more deeply, the close relationship between being ethical and being a human-centred practitioner in design. In doing so, I critique common notions of human-centred design that gives it an ergonomic, human-factors emphasis, or its ‘do-gooder’ side that is associated with humanitarian design. Instead, I offer an alternative framework for human-centred design based on the Japanese ethical concept woven into what it means to be human.

The Japanese term for ‘human being’ is ningen (人間), composed of two characters for ‘person’ (人), and ‘between’ (間). The Japanese understanding of human as in-betweenness, etymologised by ‘between person’, situates it as a relational being. This is the central framework for my notions of ‘self’ and being ‘human’ . This concept of human is strikingly different from major Western philosophies that emphasises ‘anthropos’ or ‘homo’, denoting the individual. Being human-centred is criticised for perpetuating an anthropocentric position , further contributing to humanity’s self-centredness and environmentally destructive behaviour. The profound ethical difference of conceiving humans as detached and in isolation, compared to the Japanese concept of human as relational in-betweennes, is argued by one of the most significant Japanese philosophers of the twentieth century, Tetsuro Watsuji . He was influenced by hermeneutics, phenomenology, Zen Buddhism and the Japanese indigenous spirituality of Shinto. In his book Rinrigaku, ethics in Japan, Watsuji is critical of Western philosophy (Heidegger and many others ) that emphasises the individual concept of self and the locus of the ethical problem pertaining to the consciousness of the individual. The paper dives deeply into Watsuji’s ethical framework in explaining the ningen ‘between person’ that is significant to my definition of being human-centred. I attempt to combine the Eastern philosophy with the West by bringing in a selection of other philosophers such as Goethe, Bortoft and Merleau-Ponty that have resonance with the argument constructed. There is nothing to be gained from East-West dualism or exoticism, as it locks down discourse. Although these Eastern and Western philosophies that I draw upon have not, until now, directly engaged with each other in the discourse of design , they have many valuable overlaps that I would like to share in this paper.

The relational association located in the betweenness, Watsuji argues, to be human is to shift and change continually – it is undergoing a process of constant transformation. The transformation of a designer to being a human-centred practitioner is achieved in relation to others. This connection between self and others (including people, animals, objects and environment) is essential in positioning and embedding oneself in the world. The transformative process is more than cognitive learning or professional development – it is in fact a process of self-awareness that comes from continually reflecting on our activity, our behaviour and how we are with others. This is reflective practice. Though in contrast to reflection and reflective practice that is grounded in critical theory , I explore this by incorporating aspects of wholeness from Goethe’s phenomenology and embodied perception by Merleau-Ponty . I argue the importance of being a reflective practitioner as the first step in being able to fully understand ourselves, our relationship and our connection to others. This pursuit of self-awareness, through reflective practice, is the central argument of this paper of being a human-centred practitioner. Through weaving together these various frameworks, I discuss the cyclical journey of transformation of the self where reflection is experienced in an immersive, affective, embodied way.

True, long-term sustainable change towards building and creating an ethical practice cannot come from being told what to design or choosing the ‘right’ values to adopt. Neither does it come from simply undertaking community-based projects, taking up a social cause or deploying participatory methods. To manifest and practise human-centredness is not a switch one can flick ‘on’ when you are in the design studio at 9am and ‘off’ when you’re leaving work. Instead, I stress the importance of human-centredness manifesting through all facets of our lives that involves engaging in the in-betweenness with others. It requires active creation and the practising of practice that is truly human-centred and aware – aware of oneself, of others and the world we live in. It is a day-to-day application and manifestation, but it is not merely a mechanical repetition. The significance of this being a practice is that it is a transformation and evolution of ourselves in bringing an awareness and embedded-ness to what we do everyday. It is a path (Tao) we each carve our ‘way of being’ in the world.

This article investigates the intellectual history of the argument for the antiquity of Ex 34,11–26. In the contemporary debate about pentateuchal theory, a question that remains insufficiently addressed is how and why the idea originally developed that the unit represents an ancient, independent, pre-Deuteronomic legal source. Wellhausen credited the idea to Johann Wolfgang von Goethe’s »Zwo bisher unerörterte biblische Fragen …« (1773). Like Goethe, Wellhausen regarded the unit as a »ritual Decalogue,« in contrast to the »ethical Decalogue« of Exodus 20. The distinction helped Wellhausen consolidate the classical model of the documentary hypothesis: he attributed the cultic Decalogue to the Yahwist and the ethical one to the Elohist. Despite the importance of Goethe’s essay to the history of pentateuchal criticism, it is not clear that its arguments have previously been investigated. The article addresses equally Goethe's construction of the Jew as "other" and as particularistic, in contrast to the German Protestant as "self" and universal. The article demonstrates that Goethe could not have read read Spinoza's Tractatus, despite the common belief otherwise.

Keywords:
Julius Wellhausen, Johann Wolfgang von Goethe, Baruch Spinoza, Zwo bisher unerörterte biblische Fragen, Dekalog, Decalolgue, cultic Decalog, ethical Decalog, German Jewish history, Christian Jewish relations, Ten Commandments, history of biblical scholarship, Exod 34:11-26; German Romanticism

This paper argues that Cassirer's thinking about the relationship between the different symbolic forms is best elucidated via the paradigm of "organic harmony." Although Cassirer did not use the term himself, the harmonious cooperation between the parts found in the organic world provided him with a welcome alternative to traditional accounts of order (i.e. identity or hierarchy). This paper will give three examples of "organic harmony": Goethe and his idealistic morphology, Wilhelm von Humboldt's account of language, Herder's account of history. The thought of all three example key characteristics of "organic harmony": holism, particularism/perspectivism, and subjective judgment. This paper will show that Cassirer's own "organic harmony" is indebted to these thinkers. From the perspective of "organic harmony" we can make better sense of the pluralistic spirit of Cassirer's PSF as well as providing it with greater theoretical articulation. This paper also shows how the motif of organic harmony is the normative moment in his own challenge to 20 th c. fascism. Finally, this paper argues that the Cassirerian emphasis on finding a coherence which does justice to the uniqueness of particulars-i.e. harmony-is an ethical injunction relevant for our times.

Empirical science is not a mere collection of facts. It builds theories and frames hypotheses within those theories. Empirical theories are stated as plausible answers to questions we pose to nature. According to the Galilean-Baconian tradition within science, these questions should basically explore the causes of observed phenomena, and further be restricted to the measurable and quantitative realm. Thus, the answers are generally expected to explain the effective causes behind the actual phenomena. By framing falsifiable hypotheses, the theories are tested against the empirical foundation on which they rest. In this way we try to relieve science from false theories. Thus, we have two epistemological levels: First, the theoretical level; the scientific theory explaining the phenomena, and second, the empirical level; the phenomena or facts verifying or falsifying those theories. According to the poet and multi-scientist Johann Wolfgang von Goethe (1749-1832), there is however another way of science, namely an approach where these two levels fuse and become one. Goethe intended this approach to be a complementation of the Galilean-Baconian method, more than an alternative. He considered his "hypothesis-free method" to be a more comprehensive and secure way to understand nature. Whereas the Galilean-Baconian method aimed at explaining the effective causes of natural phenomena, in order to control and exploit nature for technical and industrial purposes, Goethe aimed at an exposition of the inherent meaning of the phenomena.We will explore, exemplify and discuss this approach with reference to the inherently Goethean phenomenology of evolution credited to the Dutch anatomist Louis Bolk (1866-1930), later commented and complemented by Stephen Jay Gould (1941-2002) and Jos Verhulst (1949 ). In the course of this presentation we will outline the Goethean approach as a method representing a juvenilization or in Bolk's terms, a fetalization of science.

In Saul Bellow's 1970 novel Mr. Sammler's Planet, the eponymous narrator states that society should resist its temptation to "explain," and should instead concentrate on "distinguishing"; the goal, he suggests, is to attain a level of perception in which meaning is found within the world, rather than imposed upon it. This idea runs to the core of Bellow's work, which often suggests that there are some intangible truths — morality, for instance — that are not merely human constructions, but have an objective ontological presence. These truths, Bellow's work playfully suggests, can be discovered if one attempts to collapse the false divide between subject and object. Once one accepts the troublesome idea of "truth in subjectivity," one can begin to "distinguish" between self-imposed concepts and "natural knowledge." This article traces this concept in Bellow's mid-period work in relation to his ethical theory, and argues that it has its roots in the writing of two key influences, Johann Wolfgang von Goethe and his follower Rudolf Steiner.

"My thesis explicates and defends what I term an implicit Goetheanism present in the philosophy of Walter Benjamin.

It begins by examining Benjamin’s early critique of the Kantian and neo-Kantian concept of experience and argues that a Goethean theory of the primal phenomenon provides the phenomenological model for Benjamin’s radical transformation of the neo-Kantian Idea. I analyse the importance of Goethe’s aesthetics of science for Benjamin’s critical development of Early German Romanticism and suggest that Goethe’s tender empiricism provides the intellectual backdrop to Benjamin’s later materialism. The chromatic-linguistic model of experience which informs Benjamin’s earliest writings is shown to develop into a dialectics of refractive expression, one that has important consequences for his concept of history and his unorthodox version of cultural materialism.

My final chapter examines the influence of Goethe upon what it argues is Benjamin’s quasi-Jungian criticism of Marxism, defending the importance of Jung’s semiotic critique of Freud’s theory of dream symbolism and its relevance for a materialist interpretation of ideology. The relationship between the Goethean and Jungian concepts of synthesis explains Benjamin’s proximity to a Jungian concept of the unconscious, it is argued, which is justified on the condition that a critique of Jung distinguishes the archaic image from Benjamin’s dialectical image. This is performed in the final chapter through a consideration of the allegorical and the technological in Jung and Benjamin’s differing receptions of Goethe’s Faust. The existential component of Goethe’s speculative concept of experience provides Benjamin with the resources for thinking of a dialectic of historical completion and incompletion, it is concluded, which is necessary for a philosophical informed cultural materialism."

Poet and playwright Johann Wolfgang von Goethe’s scientific studies grew out of a disenchantment with the reductionist science of his time. He believed a more accurate description of nature was possible. Goethe’s scientific method paralleled the methodology of art current in his era, and very likely arose, at least in part, from pre-existing traditions of knowledge in the visual arts. The study of similarities between Goethe’s scientific method and the methodology of art could provide insights into both disciplines, and insights into the intentions that drove Goethe’s scientific studies.

Este artículo busca proporcionar nuevas perspectivas para una lectura reflexiva de la Teoría de los colores de Goethe, que permitan su puesta en valor más allá de la reconocida polémica con las ideas científicas de Newton, a partir del reconocimiento de la actitud proto-fenomenológica del poeta alemán y su interés en la experiencia directa y subjetiva del fenómeno cromático. Además se abordan otros aportes de la Teoría, fundamentales para comprender la importante influencia de Goethe en la configuración del conocimiento contemporáneo sobre color.

s famous phrase, landscape is a 'way of seeing'. 2 One can consider 'seeing' here from various angles and at various levels of abstraction; seeing might sometimes be a form of touch, for example. But always, as a way of seeing, landscape is some configuration of nature and culture, object and subject. In debate at the theoretical level, however, about the form of this configuration, there is a tendency for different points of view to hold themselves outside the nature-culture relation that they set out to envision. While this withdrawal is perhaps the prerogative of theory, it is also important to analyse how even apparently abstract and theoretical formulations of just what seeing means are themselves embedded in landscape. In this essay I consider in particular the polemics issued by and addressed to the theorists gathered under the banner of 'phenomenology', a way of seeing landscape that originates in the eighteenth century. If we trace the controversy over phenomenology to its origins, we find that the theoretical concerns that propel the controversy are entangled in the particular landscape of Greece. I argue, specifically, that the conflict between landscape's theoretical forms is inscribed in this landscape by the singular quality of its natural light. In the case of Greece, landscape is not only a particular way of seeing: it is a way of seeing vision itself.

Physicist, philosopher, and science educator Henri Bortoft died on December 29, 2012, at his home in England. He was 74 years old. Bortoft’s work has an important conceptual and applied connection to this special issue of Phenomenology + Practice because it speaks to a particular mode of environmental encounter that might be called a “phenomenology of the natural world.” His work is central to “environmental practice” because he presents an empathetic way of engaging the phenomena of nature whereby they “reveal” themselves in an accurate and comprehensive way. Here, I offer my recollections of the man and his work. My aim is to describe some first-hand encounters with Bortoft and to suggest some of the ways that his work offers fruitful possibilities for “environmental phenomenology and environmental practice.”

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In this article will be recognized the main contributions of Goethe in relation to a symbolic consideration of color for its use in the pictorial practice, from the connection of the chromatic polarities theory proposed by Goethe in the Farbenlehre with its section on the ‘Effect of Color with Reference to Moral Associations’. A review of Goethe’s Color Circle as the visual manifesto of his work and also to his previous Rose of Temperaments will be useful to understand how the German poet was visually thinking in giving a guide for the pictorial color application to the receptors of his Theory of Colors. Finally, the reception of this symbolical section of the Theory in the contemporary painters Philipp Otto Runge and J. M. William Turner will also be reviewed, and how each painter enriched the chromatic symbology proposed by Goethe from his own interest in religious and / or allegorical themes.

Als ein "Gegengewicht im Zeitgeist" bezeichnete der junge Arthur Schopenhauer Goethes Rolle in einem Zeitalter, das auf der anderen Seite maßgeblich durch die Philosophie Immanuel Kants geprägt war. Goethe gehörte auch zu den wenigen Gesprächspartnern Schopenhauers, der sich lebenslang "schrecklich einsam gefühlt" 1 habe. Zwischen November 1813 und Mai 1814 kam es zu persönlichen Begegnungen, wohl auch gemeinsamen Farbexperimenten, zwischen dem um 39 Jahre älteren Goethe und dem 25-jährigen Philosophen, der kurz zuvor in Jena mit einer Arbeit Ueber die vierfache Wurzel des Satzes vom zureichenden Grunde (1813) zum Doktor der Philosophie avanciert war. Goethe erhoffte sich, seinen Gesprächspartner für seine Theorie der Farben (1810) zu gewinnen und die Zustimmung zu erhalten, welche sein Zeitalter ihm bisher versagt hatte. Schopenhauer hingegen wollte keineswegs die Adeptenrolle übernehmen, sondern trug seine differierenden Ansichten Goethe gegenüber selbstbewusst vor. Resultat dieser Unterhaltungen bildete Schopenhauers Schrift Über das Sehn und die Farben (1816), in der er seine eigene Theorie der Farben präsentierte, die in wesentlichen Punkten -wie der Herstellung des Weißen und der Entstehung des Violetten -von Goethes Farbenlehre abwich.

The main aspect of our imaginary is the variety and the quantity of phenomenon that characterizes our everyday life. This fragmentary scenario makes it tough to consider every element as a part of a unique imaginary. However, we can take into account some classic works in order to consider different phenomenon manifestations of a unique generative principle. The aim of this paper is to examine the works of Goethe, Simmel, and Benjamin, considering that they have in common the capacity to assemble multitude in a single image of thought. In fact, although they start from different field of research, they examine the empirical world as an expression of a unique generative principle. Therefore, for Goethe leaf is the “original form” of the botanical world. While, in Simmel’s work life is the “central idea” of the modern daily life. Finally, Parisian Arcades are for Benjamin the origin of the modern capitalism. Thus, the leaf, the life, and the Arcades, are meaningful examples to focus our attention on the opportunity to discover a synthetic image of our imaginary.

This article investigates the intellectual history of the argument for the antiquity of Exodus 34,11–26. In the contemporary debate about pentateuchal theory, a question that remains insufficiently addressed is how and why the idea originally developed that the unit represents an ancient, independent, pre-Deuteronomic legal source. Wellhausen credited the idea to Johann Wolfgang von Goethe’s “Zwo bisher unerörterte biblische Fragen . . .” (1773). Like Goethe, Wellhausen regarded the unit as a “ritual Decalogue,” in contrast to the “ethical Decalogue” of Exodus 20. The distinction helped Wellhausen consolidate the classical model of the documentary hypothesis: he attributed the cultic Decalogue to the Yahwist and the ethical to the Elohist. Despite the importance of Goethe’s essay to the history of pentateuchal criticism, it is not clear that its arguments have previously been investigated.

Keywords: Julius Wellhausen, Johann Wolfgang von Goethe, Baruch Spinoza, Zwo bisher unerörterte biblische Fragen, Dekalog, Decalogue, Pentateuch, Exodus, German Jewish history, Christian Jewish relations, Ten Commandments, history of biblical scholarship, German Romanticism, Pentateuchal theory, documentary hypothesis, German intellectual history, Old Testament, cultic Decalogue, ethical Decalogue, ritual Decalogue, Covenant Code, Elohistic source, Yahwistic source, Exod. 34:11-26, Romans 11

The experience of awareness is embodied. This unfolding of the awareness field is an embodied unfoldment. This lived experience of awareness is centered in our body that opens immediately out into the world. Perception and the perceived are given immediately to us in natural oneness. There is within knowingness itself the natural non-duality of indivisibility of the knower and the known within the context of duality of appearance.