Much postmodern rhetoric, suggests Karsten Harries, can be understood as a symptom of our civilization's discontent, born of regret that we are no longer able to experience our world as a cosmos that assigns us our place. But dissatisfaction with the modern world may also spring from a conviction that modernism has failed to confront the challenge of an inevitably open future. ...
Much postmodern rhetoric, suggests Karsten Harries, can be understood as a symptom of our civilization's discontent, born of regret that we are no longer able to experience our world as a cosmos that assigns us our place. But dissatisfaction with the modern world may also spring from a conviction that modernism has failed to confront the challenge of an inevitably open future. Such conviction has frequently led to a critique of modernity's founding heroes. Challenging that critique, Harries insists that modernity is supported by nothing other than human freedom.
But more important to Harries is to show how modernist self-assertion is shadowed by nihilism and what it might mean to step out of that shadow. Looking at a small number of medieval and Renaissance texts, as well as some paintings, he uncovers the threshold that separates the modern from the premodern world. At the same time, he illuminates that other, more questionable threshold, between the modern and the postmodern.
Two spirits preside over the book: Alberti, the Renaissance author on art and architecture, whose passionate interest in perspective and point of view offers a key to modernity; and Nicolaus Cusanus, the fifteenth-century cardinal, whose work shows that such interest cannot be divorced from speculations on the infinity of God. The title Infinity and Perspective connects the two to each other and to the shape of modernity.
Harries argues that the overthrow of the limited and hierarchical medieval cosmos has its origin not in the new science of Copernicus, Kepler, and Galileo, but in rather simple speculations on the nat...Harries argues that the overthrow of the limited and hierarchical medieval cosmos has its origin not in the new science of Copernicus, Kepler, and Galileo, but in rather simple speculations on the nature of perspective.(展开)
Karsten Harries以视角原理（principle of perspective）为主线，把世界看成一座剧场：你买了哪个位置的票，你就受这个位置所提供的视角的束缚。不过，事情也绝非仅此而已。一方面，Harries认为，要破除绝对的逻各斯中心主义所带来的价值、意义无涉，这容易遁入相对主义或虚无...
(展开)
卡斯滕·哈里斯 作者
Lowlibrarian
湖南科学技术出版社2014版
einsteinliu
湖南科学技术出版社2014版
Bolin
湖南科学技术出版社2014版
程智
商务印书馆2020版
凛冬韧脊
湖南科学技术出版社2014版
朗明明
商务印书馆2020版
མིག་དམར་དོན་གྲུ
商务印书馆2020版
灵犀1017
湖南科学技术出版社2014版
0 有用 城市笔记人 2010-01-31 16:28:18
哲学家Harries写过《建筑的伦理功能》，此书是从Cusanus那令今人震惊的世界观、上帝观、多中心论讲起，从of learned ignorance讲到当时天主教教会的改革，然后进入到亚里士多德的宇宙论，从而看到为何Cusanus描述的世界视角，既具有连续性，又具有革命性。。。。然后，才是阿尔伯蒂、Ficino\哥白尼。。。。。。不是建筑史，也不是简单的透视史，而是从透视开始的神学哲学史。
0 有用 SHAW的黏土磚 2011-09-09 00:15:35
难。。。
0 有用 foot 2018-04-17 09:54:12
Harries argues that the overthrow of the limited and hierarchical medieval cosmos has its origin not in the new science of Copernicus, Kepler, and Galileo, but in rather simple speculations on the nat... Harries argues that the overthrow of the limited and hierarchical medieval cosmos has its origin not in the new science of Copernicus, Kepler, and Galileo, but in rather simple speculations on the nature of perspective. (展开)
0 有用 已注销 2016-11-26 14:15:45
究竟是不是希腊的科学
0 有用 ophoebus 2017-07-13 01:39:31
可能是因为这仅仅是我第二次接触科学史的主题，震动还挺大的。condemnation 1277 那段讨论有些醍醐灌顶的感觉。最后尾声那里写得真动人呀。