Research Interests:
There is a special kind of humor in David Lynch's later filmwork, particularly in his L.A. trilogy ("Lost Highway", "Mulholland Dr.", "INLAND EMPIRE) but also in seasons one and two of "Twin Peaks". With Hegel this humor - which in... more
There is a special kind of humor in David Lynch's later filmwork, particularly in his L.A. trilogy ("Lost Highway", "Mulholland Dr.", "INLAND EMPIRE) but also in seasons one and two of "Twin Peaks". With Hegel this humor - which in Lynch's films is the linchpin of modern subjectivity - can be called 'objective' or rather, with Kristeva, 'abjective', that is 'erratic'.
Research Interests:
In his critical and his later work, Kant recommends apathy to the moral agent faced with pathological phenomena. Notoriously, Kant even rejects compassion (Mitleiden) as pathological. A deconstruction of Kant's 'apathology', i.e. of his... more
In his critical and his later work, Kant recommends apathy to the moral agent faced with pathological phenomena. Notoriously, Kant even rejects compassion (Mitleiden) as pathological. A deconstruction of Kant's 'apathology', i.e. of his systematic treatment of compassion, reveals disgust as quasi-transcendental affect at the roots of the moral agent's apathy.
Research Interests: Aesthetics, Deconstruction, Stoicism, Kant-studies, Kant's Practical Philosophy, and 14 moreJacques Lacan, Sigmund Freud, Lacanian theory, Compassion, Aesthetics and Ethics, Freud and Lacan, Immanuel Kant, Moral Philosophy, Kantian Moral Theory, Kantian ethics, Post-Kantian Philosophy, Disgust, Apathy, and Continental Philosophy and Aesthetics
This paper shows how the concept of the 'Gesamtkunstwerk' (total or universal work of art), which originated as 'Artwork of the Future' in Richard Wagner's 'Zurich Writings', is rooted in Wagner's reading of Hegel's 'Phenomenology of... more
This paper shows how the concept of the 'Gesamtkunstwerk' (total or universal work of art), which originated as 'Artwork of the Future' in Richard Wagner's 'Zurich Writings', is rooted in Wagner's reading of Hegel's 'Phenomenology of Spirit', particularly of the section on 'Das geistige Kunstwerk' (The Spiritual Work of Art). Wagner's conceptions of a 'Kunstwerk der Zukunft' and a universal 'Kunstgenossenschaft' must be interpreted as a failed attempt to provide a solution for the negative deadlock of modernity and thus an alternative to today's total work of art: capitalism.
Research Interests: Hegel, Wagner Studies, Phenomenology of Spirit, Richard Wagner, Max Weber, and 10 moreWagner and Philosophy, Creative Destruction, Art and Religion, Gesamtkunstwerk, Total Work of Art, Modern Gesamtkunstwerk, Synthesis of the Arts, Richard Wagner and Friedrich Nietzsche, Henry van de Velde, and The Protestant Ethic and the Spirit of Capitalism
In this paper, the concept of liquidation (Verfluessigung) from the chapter on Self-consciousness in Hegel’s Phenomenology of Spirit is reconstructed and then used to deconstruct the systematic transition from sculpture to painting in the... more
In this paper, the concept of liquidation (Verfluessigung) from the chapter on Self-consciousness in Hegel’s Phenomenology of Spirit is reconstructed and then used to deconstruct the systematic transition from sculpture to painting in the passage on the “System of the individual arts” in G.W.F. Hegel’s 'Aesthetics: Lectures on Fine Art'. The aim is to show that such a deconstructed version of Hegel’s art philosophy provides a valid conceptual framework for the analysis of modern, particularly postmodern and contemporary art, which results as liquid or liquidated art. Damien Hirst’s For the Love of God is discussed as major evidence for the concomitant neo-Hegelian claim that modern art has discursive reflection as its necessary supplement.
keywords Liquidation, deconstruction, subjectivity, G.W.F. Hegel, Gerhard Richter, Schädel [Skull] (1983), Damien Hirst, For the Love of God (2007).
keywords Liquidation, deconstruction, subjectivity, G.W.F. Hegel, Gerhard Richter, Schädel [Skull] (1983), Damien Hirst, For the Love of God (2007).
Research Interests:
Research Interests:
Based on a hitherto marginalized source, this paper criticizes and deconstructs Pierre Legendre's account of the case of the Canadian caporal Denis Lortie, who in May 1984 attacked the National Assembly in the city of Quebec, killing... more
Based on a hitherto marginalized source, this paper criticizes and deconstructs Pierre Legendre's account of the case of the Canadian caporal Denis Lortie, who in May 1984 attacked the National Assembly in the city of Quebec, killing three people. In opposition to Legendre's view, Denis Lortie's violent act must be seen as a genuinely political reaction against a society perverted by political theology.
Research Interests: Criminal Law, Comparative Law, Political Philosophy, Philosophy of Psychoanalysis, Québec History, and 14 moreLaw and Religion, Deconstruction, Philosophy Of Law, Political Assassinations, Psychoanalysis and religion, Deconstruction and Religion, Schizoanalysis, Québec Studies, Psychoanalysis and Politics, Lacanian psychoanalysis, Paranoia, Canadian and Quebec Politics, Pierre Legendre, and Denis Lortie
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests: Aesthetics and Plato
Research Interests:
Research Interests:
Bildlichkeit und Subjektivität nach Hegel und Lacan am Beispiel von Diego de Velázquez' Las meninas
Research Interests:
Research Interests:
Eine dekonstruktive Lektüre von Sigmund Freuds "Eine Teufelsneurose im 17. Jahrhundert" entdeckt einen vielleicht symptomatischen Schreibfehler in Freuds Text von 1928.
Research Interests:
Mit dem Anbruch der Moderne wächst in Europa das Bewusstsein dafür, dass Zerstörung nicht einfach die notwendige Kehrseite von Neuschöpfung ist. Literaten und Philosophen genauso wie Bildende Künstler, Architekten, Designer und Musiker... more
Mit dem Anbruch der Moderne wächst in Europa das Bewusstsein dafür, dass Zerstörung nicht einfach die notwendige Kehrseite von Neuschöpfung ist. Literaten und Philosophen genauso wie Bildende Künstler, Architekten, Designer und Musiker sind seit dem 19. Jahrhundert überschießenden Formen von Destruktivität auf der Spur, die sich modernistischen Deutungsmustern widersetzen und in den Katastrophen des 20. Jahrhunderts überdeutlich zu Tage treten.
An die Stelle der avantgardistischen Idee einer legitimen schöpferisch-zerstörerischen Transformation der Welt treten so Zerstörung und Selbstzerstörung als reflektierte künstlerische Strategien. Das Destruktive erscheint nun zunehmend als ein Grenzwert, als etwas nicht Auflösbares. Die Beiträge zu diesem Sammelband zeichnen diesen Prozess in Stichproben aus den Bereichen der Bildenden Künste, der Literatur, der Kulturphilosophie, der Musik, des Designs und der Architektur der Moderne und der Gegenwart nach.
Mit Beiträgen von Andrew Ballantyne, Thomas Becker, Hartmut Böhme, Knut Ebeling, Annette Geiger, Nadine Hartmann, Barbara Kuon, Jacob Lund, Arito Rüdiger Sakai, Jana Schuster, Timo Storck und Alexandra von Stosch.
Erscheinungstermin: April 2017.
An die Stelle der avantgardistischen Idee einer legitimen schöpferisch-zerstörerischen Transformation der Welt treten so Zerstörung und Selbstzerstörung als reflektierte künstlerische Strategien. Das Destruktive erscheint nun zunehmend als ein Grenzwert, als etwas nicht Auflösbares. Die Beiträge zu diesem Sammelband zeichnen diesen Prozess in Stichproben aus den Bereichen der Bildenden Künste, der Literatur, der Kulturphilosophie, der Musik, des Designs und der Architektur der Moderne und der Gegenwart nach.
Mit Beiträgen von Andrew Ballantyne, Thomas Becker, Hartmut Böhme, Knut Ebeling, Annette Geiger, Nadine Hartmann, Barbara Kuon, Jacob Lund, Arito Rüdiger Sakai, Jana Schuster, Timo Storck und Alexandra von Stosch.
Erscheinungstermin: April 2017.
Research Interests:
Website of Lynchconference, the 2012 Berlin conference on the artistic work of David Lynch. Conference contributions by Thomas Elsaesser, Michel Chion, Samuel Weber and others: http://lynchconference.org Lynchconference was organized by... more
Website of Lynchconference, the 2012 Berlin conference on the artistic work of David Lynch. Conference contributions by Thomas Elsaesser, Michel Chion, Samuel Weber and others: http://lynchconference.org
Lynchconference was organized by Bauhaus-Universität Weimar, University of Arts Braunschweig, University of the Arts Berlin and Humboldt-University Berlin. The organizers wish to acknowledge the generous support of Fritz Thyssen Stiftung für Wissenschaftsförderung for the holding of the conference and the preparation of this online publication.
Lynchconference was organized by Bauhaus-Universität Weimar, University of Arts Braunschweig, University of the Arts Berlin and Humboldt-University Berlin. The organizers wish to acknowledge the generous support of Fritz Thyssen Stiftung für Wissenschaftsförderung for the holding of the conference and the preparation of this online publication.
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Sammelrezension von "Erfindung der Hysterie", "Vor einem Bild" und "Was wir sehen blickt uns an" von Georges Didi-Huberman.
Research Interests:
Research Interests:
Research Interests:
Lecture at the Akademie für politische Bildung Tutzing, Germany
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Presentation (together with Nik Haffner) of 'Roundtable 3'
of the international symposium: artistic needs and institutional desires.
Roundtables on artistic third-cycle programmes
of the international symposium: artistic needs and institutional desires.
Roundtables on artistic third-cycle programmes
Research Interests:
For about a century, the oratory (Andachtsraum) under the rooftop of the former Weimar youth detention center has been the last resort for producing ultimate convictions, convictions in the sense of both verdicts and weltanschauungen.... more
For about a century, the oratory (Andachtsraum) under the rooftop of the former Weimar youth detention center has been the last resort for producing ultimate convictions, convictions in the sense of both verdicts and weltanschauungen. Beneath the oratory’s ceiling, quotations from the Old and New Testament create a paradoxical image-space. They refer the convicts to the paradoxical commands of the Jewish-Christian God(s): Fear the wrath of God! Yet rely on his grace! – Inhibit idolatry! Yet produce a pure self-image by confessing, manifesting, showing yourself!
What can artistic site specificity possibly mean if the site is such a paradoxical image-space? And what if the artist’s very own space of imagination originates in precisely these paradoxes?
What can artistic site specificity possibly mean if the site is such a paradoxical image-space? And what if the artist’s very own space of imagination originates in precisely these paradoxes?
