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Research Interests: Humanities and Art
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Seitdem die modernen Gesellschaften im Zuge der Aufklarung ihre wissenschaftliche Selbstbeobachtung »erfunden« hatten, wurde die Reflexion uber Voraussetzungen, Formen, Wirkungen und Folgen menschlichen Handelns vertieft. Menschen lernten... more
Seitdem die modernen Gesellschaften im Zuge der Aufklarung ihre wissenschaftliche Selbstbeobachtung »erfunden« hatten, wurde die Reflexion uber Voraussetzungen, Formen, Wirkungen und Folgen menschlichen Handelns vertieft. Menschen lernten sich in ihrer Doppelperspektive als Subjekte und Objekte der Erkenntnis neu zu begreifen und auf dieser Grundlage wurden Einsichten uber die Gesellschaft gewonnen und anthropologische Forschungsbereiche erschlossen.1 Das wissenschaftliche Nachdenken uber Natur- und Gesellschaftsphanomene gestaltete sich spezialisierter, segmentierter, fragmentierter und — im Endeffekt — disziplinierter. Es entstanden neue Denkstile, die durch fachwissenschaftliche Denkkollektive stabilisiert wurden. In diesen Disziplinen setzten sich spezifische Denkzwange und Geltungskriterien fur wissenschaftliche Aussagen durch.2 So bildete sich die disziplinare Matrix der Universitat des 19. und 20. Jahrhunderts und die Kluft zwischen den »zwei Kulturen«, zwischen den sciences und den humanities heraus.
Research Interests: Philosophy and Humanities
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Research Interests: Philosophy and Illusion
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... Gertrud Koch. About the Author The works of Siegfried Kracauer (18891966) translated into English include Theory of Film; The Salaried Masses; The Mass Ornament; History; and From Caligari to Hitler. See Other Titles In: ...
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Gertrud Koch, Alexander García Düttmann — A canon is a reed stalk that serves as a measuring rod, a yardstick that one applies, or a rule that is prescribed. It is a weapon of culture. If one follows the canon, one cannot go astray and... more
Gertrud Koch, Alexander García Düttmann — A canon is a reed stalk that serves as a measuring rod, a yardstick that one applies, or a rule that is prescribed. It is a weapon of culture. If one follows the canon, one cannot go astray and nothing is lost. A canon creates a community of emulating artists who communicate by way of deviations and perhaps also by virtue of selfreflexive extensions. In their communication, these artists may try to reach an understanding as to why a deviation, or a self-reflexive extension, may be relevant or not. But the community created by a canon is larger. It does not only include emulating artists. It includes beholders of art, too. Beholders of art expect something from artists because they can more or less anticipate what it is that may count as an artwork in the near future and what it is that will achieve renown. Yet whenever one recognises a canon, its measure enters into a relation with an excess, an outside. This outside is populated by artists ...
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Research Interests: Art and The Holocaust
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Im Zentrum steht der Begriff des Experiments, der mit Kants Begriff der Lebendigkeit als zentralem Topos der ästhetischen Erfahrung auf die 〉Animation〈 im Film bezogen wird, insoweit beide einen lebenswissenschaftlichen Kern haben.... more
Im Zentrum steht der Begriff des Experiments, der mit Kants Begriff der Lebendigkeit als zentralem Topos der ästhetischen Erfahrung auf die 〉Animation〈 im Film bezogen wird, insoweit beide einen lebenswissenschaftlichen Kern haben. Insbesondere in einer Auseinandersetzung mit Eisensteins Poetik des 〉Plasmatischen〈 wird die experimentelle Übertragung einer lebenswissenschaftlichen Metapher in eine Ästhetik des Films diskutiert, die von der Animation ausgeht. </br></br>The paper discusses the notion of »experiment« and relates it – via Kant's concept of liveliness, which is a central topos of aesthetic experience – to »animation« in film, insofar as both essentially refer to »life sciences.« Drawing upon the example of Eisenstein's poetics of the »plasmic,« the paper discusses the transferal of a metaphor from life sciences to an aesthetics of cinema based on animation.
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Research Interests: Sociology, Cultural Studies, Psychology, Art, Visual Arts, and 4 moreBeauty, Singing, Armour, and Differences
Abstract This essay focuses on the ongoing references made to the ban on graven images for the foundation of political aesthetics. In this tradition the image itself plays a significant role in the creation of a dichotomy in which the... more
Abstract This essay focuses on the ongoing references made to the ban on graven images for the foundation of political aesthetics. In this tradition the image itself plays a significant role in the creation of a dichotomy in which the image becomes either “icon” or false appearance. The image in this tradition is a powerful agent and gains as such performative power. From the Bible to Kant and German idealism to Adorno and Deleuze, the prohibition of the image signals its power and turns it into a strong magnet in political aesthetics, may it be affirmative or negative.
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... by Walter Benjamin (who could lay most claim to have created a critical film theory), but also as an attempt to mediate between extremes: for a theory of images, and thus of film, these extremes would be the twin poles of mimesis and... more
... by Walter Benjamin (who could lay most claim to have created a critical film theory), but also as an attempt to mediate between extremes: for a theory of images, and thus of film, these extremes would be the twin poles of mimesis and Bilderverbot (the ban on graven images). ...
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With Liberators Take Liberties: War, Rapes, Children, Helke Sander has, to put it politely, divided opinion. Some believe she is involved in feminist historical revisionism; others have praised her as a cathartic breaker of taboos.... more
With Liberators Take Liberties: War, Rapes, Children, Helke Sander has, to put it politely, divided opinion. Some believe she is involved in feminist historical revisionism; others have praised her as a cathartic breaker of taboos. Moreover, this long documentary film has occasioned a public debate between Sander and myself in the Frankfurter Rundschau of November 1992,1 and in the United States the film has also received mixed reviews-sympathetic endorsements as well as powerful rejections. In the following continuation of my critique I shall further develop some arguments concerning the relations between feminism and history that appear to me to be more important than ever.