Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft, Band 54. Heft 1

It is widely acknowledged that surrealism has had a profound impact on postmodern philosophy. The skepticism that surrealism brought to bear on rationality and its revisionist influence on theories of the subject have been received in philosophical literature through writings such as those of Bataille or Artaud. However, current discourse has largely failed to recognize the wider influence surrealism has exerted on the theoretical study of the image. This essay aims to show the relevance of a surrealistic understanding of the image for contemporary French philosophy, and to argue that it is most of all the substantial contribution surrealist painting has made in pointing up the obsessive character of the image that is in fact a major influence on the debate concerning the crisis of and in pictorial representation.

This article points out the significance of the materiality of written language for the understanding of literature and aspects of poiesis. For this purpose it is necessary to consider the interaction of materiality and mediality from a general point of view. Reading E.T.A. Hoffmann’s novel »Lebens-Ansichten des Katers Murr« (The Life and Opinions of the Tomcat Murr), this paper explores how literature reacts to technical changes in the production of books and subsequent juridical debates. I read the novel as an intertextual play in reaction to an article by Johann Gottlieb Fichte on literary property (»Beweis der Unrechtmäßigkeit des Büchernachdrucks«). In trying to work through Fichte’s proposals concerning materiality and mediality, Hoffmann generates a new style of writing.

Reading Kleist’s Verlobung in St. Domingo« and Benjamin’s »Zur Kritik der Gewalt«, this paper proceeds from the novel’s problematic of immanence and violence to Benjamin’s question, whether violence has a linguistic structure – and whether ›pure‹ or ›divine violence‹ can rupture immanence. In this sense, Benjamin’s ›violence‹ leads back to Kleist’s and to an analysis of both as transcending effects of language.

Malevich’s main Suprematist works, such as ›Black Square‹, ›Black Circle‹, and ›Black Cross‹ from 1915, consist of black shapes on white ground. Surprisingly this series of shapes strongly resembles scientific black-and-white images used for research on colour theory, physiological optics, and psychology throughout the 19th century. This paper examines the parallels between Malevich’s paintings and the scientific drawings in three steps: It first characterizes black-and-white images in general, using Edmund Husserl’s definition of the term ›contrast‹. Secondly, the paper investigates the development and function of black-and-white images as tools of perception in the sciences. It finally discusses the specific knowledge generated through Malevich’s art and through scientific black-and-white images, following Max Scheler’s phenomenological identification of knowledge.

One of the central questions in modern poetics is, how literary writing proceeds from the creative richness of its material to an aesthetic determination as autonomous art. Sten Nadolnys lectures on his poetics enable an astonishing insight into the self-organisation of operations beyond writing, which can be considered as a theory of self-values in literature.

During performative artistic projects in Ambient Art, both space and structures of embodiment are constituted. I illustrate this thesis with examples of performative works in music, theatre and art, in order to analyze the transdisciplinary phenomenon of Ambient Art as a complex structure. My point of departure is a model of lived space in which the bodily enactment in the performative artwork produces place and, vice versa, the place of the artwork determines the active body as an immersive aesthetic experience.

Paradoxically, avant-gardes are elements of social stability, because they trust in what they want to change, according to their »double character« of aesthetic autonomy and social fact (Adorno). The avant-gardistic conflict between élite distance from the public for the sake of autonomy and egalitarian popularity for the sake of political or aesthetic commitment is therefore always being renewed. Schönberg’s demand for education, mental mobility and individual curiosity for the artists and the public as well, is a social argument that always has strengthened avant-garde-arts, while scandals, scorns and provocations weaken them.