Aron Vinegar, Professor
Department of Philosophy, Classics, History of Art and Ideas
University of Oslo, Norway
Georg Morgenstiernes Hus, Rm. 502
Phone: 228 57178
E-mail : firstname.lastname@example.org
My main areas of interest and publications include: the history and theory of modern architecture, design, and the built environment from the 19th century to the present; art history, visual culture, theory, and aesthetics; philosophical approaches to art and the built environment; history and theory of photography. These interests are driven by three intersecting constellations of concern.
Firstly, an abiding engagement with the “unthought,” automaticity and the fundamental connection between habit and architecture. Issues of automaticity and habit also explain some of the reasons for my long-standing interest in photography. This strand of my work has resulted in the following publications: “Chatography” an essay that explores the relationship between habit, aesthetics, architecture, and ethology; an entry on “Habit” in the new edition of the Encyclope- dia of Aesthetics published by Oxford University Press (2014); an essay “Art History and Visual Culture Without World,” in a special co-edited issue of Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft (2015); a forthcoming essay, “Late Barthes: On Indifference, Habit, and the Aesthetics of Sociality,” Theory, Culture & Society (forthcoming 2015), and a book in progress entitled Habitations: On Bodily Habit, Design and Architecture.
Secondly, a concern with issues of suspended judgment and ontological indifference. This project is the result of a sustained engagement with, and inverted reading of, Martin Heidegger’s emphasis on ontological difference, as well as a range of other modern and contemporary theorists and movements that are involved in a speculative rethinking of metaphysics, ontology, habit, and aesthetics. These interests are most fully explored in the following publications: I AM A MONUMENT (Introduction to I AM A MONUMENT; I AM A MONUMENT at MIT Press; Reviews of I AM A MONUMENT); a recently published essay “Art History and Visual Culture without World,” and a book that I have just completed, tentatively entitled Ontological Indifference and Contemporary Photography. For two published essay on the relationship between ontological indifference and photography see “Ed Ruscha, Heidegger and Deadpan Photography”, and “Reluzenz: On Richard Estes” in my co-edited book with Amanda Boetzkes, Heidegger and the Work of Art History. Heidegger and the Work of Art History explores the future possibilities of Heidegger’s thinking for the fields of art history, visual culture, design, and the built environment, and it includes a lengthy introduction. I was also the convener for a panel on the “fact” family of terms at the 2014 Association of Art Historians Annual Conference at the Royal College of Art, which draws on some recent critiques of the phenomenological dimensions of this term. A special co-edited issue of Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft (2015) is devoted to this topic, and my essay “Art History and Visual Culture without World,” addresses issues of ontological indifference and habit.
Thirdly, is a critique of traditional notions of “self-preservation” and sovereignty that gather and limit the prodigality, heterogeneity, and singularity of any radically democratic understanding of community, the built environment, design, monuments, and the everyday. This work has resulted in two guest-edited special issues of the journal Future Anterior, on “Rethinking the Monument, and my entry “Architecture and Collectivity” in the new six-volume edition of the Encyclopedia of Aesthetics.