Josef Früchtl

Following Hegel's remark that art is a “thousand-eyed Argos,” one can formulate the assumption that under contemporary conditions art and surveillance state do not necessarily exclude, but reflect each other. The film minority report as popular art offers a visual self-reflection on this proposition. The central question is whether and to what extend this film performs a legitimization or delegitimization of the normative order.

Mit Beiträgen von: Gerd Blum, Klaus Sachs-Hombach, Jörg R.J. Schirra, Joachim Fischer, Ursula Franke, Josef Früchtl, Bernhard Greiner, Werner Jung, Karlheinz Lüdeking, Laurenz Lütteken, Maria Moog-Grünewald, Verena Olejniczak Lobsien, Bir [...]

Vor dem Hintergrund einer zunehmend von politischen Emotionen geprägten gesellschaftlichen Lage stellt das neue Buch von Josef Früchtl die grundsätzliche Frage nach dem Zusammenhang von Gefühlen und Politik und verbindet sie mit einer ästh [...]

At first trust plays a fundamental role within the social sphere. Accordingly, trust serves as philosophical term above all in Political, Social, and Moral Philosophy. But it is also central in recent Sociology and Psychology. Referring to these disciplines, the relationship of trust be- tween viewer and hero on the screen can be called ›parasocial‹, as-if-interaction. In contrast, ontological trust is of particular interest for recent philosophy of film. Instead of explaining it, following Deleuze, in terms of a metaphysics of cinema it seems to be more adequate to com- bine the different subject-specific answers in Kant’s concept of play. Aesthetic experiences then are encouraging us in the attitude to act as if there could be trust in the world.