John Sallis

When Swiss artist Paul Klee died in 1940, he left behind not only paintings that are a testament to his prodigious skill and vision but also a trove of writings and lectures that highlight his impressive intellectual prowess. _Paul Klee: Philosophical Vision: From Nature to Art_ is the fully illustrated catalog accompanying an eponymous exhibition opening in 2012 at the McMullen Museum of Art that focuses on the philosophical depth of Klee’s art. Demonstrating how ideas developed in Klee’s written work are realized in his paintings, Paul Kleeputs a keen emphasis on the artist as philosopher, both in his theoretical writings and in his artistic works. Klee’s philosophy of nature and of the genesis of natural things is explored, as are the ways in which Klee translated these ideas into form, line, and color. His paintings are also decoded to reveal Klee as an astute critic of modern society, taking up topics as various as the impact of technology on art and the political failures of Germany that led to the rise of Hitler and Nazism. The exhibition and catalog will also look at twentieth- and twenty-first-century philosophers who have discussed Klee’s work, including Benjamin, Heidegger, Foucault, and Merleau-Ponty, and will articulate the broad impact that Klee’s art has had on recent philosophical thought. This book brings together contributions by an international group of scholars and also includes a new translation of Klee's "On Modern Art." A beautiful and rigorous treatment of one of the twentiethcentury’s most famous painters, _Paul Klee _not only reveals the man himself as a thinker and artist, but also creates a larger paradigm for how philosophical ideas shape art, and vice versa.

"Everyone complains about what is lost in translations. This is the first account I have seen of the potentially positive impact of translation, that it represents... a genuinely new contribution." —Drew A. Hyland In his original philosophical exploration of translation, John Sallis shows that translating is much more than a matter of transposing one language into another. At the very heart of language, translation is operative throughout human thought and experience. Sallis approaches translation from four directions: from the dream of nontranslation, or universal translatability; through a scene of translation staged by Shakespeare, in which the entire range of senses of translation is played out; through the question of the force of words; and from the representation of untranslatability in painting and music. Drawing on Jakobson, Gadamer, Benjamin, and Derrida, Sallis shows how the classical concept of translation has undergone mutation and deconstruction

What is the effect of light as it measures the seasons? How does light leave different traces on the terrain—on a Pacific Island, in the Aegean Sea, high in the Alps, or in the forest? John Sallis considers the expansiveness of nature and the range of human vision in essays about the effect of light and luminosity on place. Sallis writes movingly of nature and the elements, employing an enormous range of philosophical, geographical, and historical knowledge. Paintings and drawings by Alejandro A. Vallega illuminate the text, accentuating the interaction between light and environment

The Shakespearean image of a tempest and its aftermath forms the beginning as well as a major guiding thread of Logic of Imagination. Moving beyond the horizons of his earlier work, Force of Imagination, John Sallis sets out to unsettle the traditional conception of logic, to mark its limits, and, beyond these limits, to launch another, exorbitant logic—a logic of imagination. Drawing on a vast range of sources, including Plato, Aristotle, Kant, Hegel, Nietzsche, and Freud, as well as developments in modern logic and modern mathematics, Sallis shows how a logic of imagination can disclose the most elemental dimensions of nature and of human existence and how, through dialogue with contemporary astrophysics, it can reopen the project of a philosophical cosmology