19 April 2023
Style and World View: Wölfflin, Schwitters, Beuys.

Lambert Wiesing

21 May 2024
2023/24 /ɪˈməːʃən/
111
Difficult Heritage: disputed figures in contemporary memorial museums

Giulia Bertolazzi

21 May 2024
2023/24 /ɪˈməːʃən/
111
“Antimonumenta”: artistic practice in feminist Mexico

Francesca Romana Gregori

9 May 2024
2023/24 /ɪˈməːʃən/
111
Death and Virtual Mourning. The “Return of the Dead” in Digital Afterlife

Maria Serafini

7 May 2024
2023/24 /ɪˈməːʃən/
111
Vierundzwanzig Beine! Carts, chariots, carriages and other (image-)media in Warburg’s Mnemosyne

Katia Mazzucco

16 April 2024
2023/24 /ɪˈməːʃən/
111
Education meets Virtual Reality. Reasoning on learning outcomes, inclusion and didactic scenarios

Ilaria Terrenghi

4 April 2024
2023/24 /ɪˈməːʃən/
111
Rape or “rape”? Virtual violence and the somatechnical body

Pietro Conte

26 March 2024
2023/24 /ɪˈməːʃən/
111
Chiromorphisms. The technical genesis of modern disability

Alessandro Costella

15 February 2024
2023/24 /ɪˈməːʃən/
111
The Obscene Device. Archaeology of Immersive Pornographies

Roberto Malaspina

1 February 2024
2023/24 /ɪˈməːʃən/
111
Techniques of Enchantment. Magic and Contemporary Technology

Sofia Pirandello

25 January 2024
2023/24 /ɪˈməːʃən/
111
Alternative Worlds – VR without Headsets

Margherita Fontana

11 January 2024
2023/24 /ɪˈməːʃən/
111
A world of imprints. The epistemology of visual evidence in digital and virtual media-ecologies

Rosa Cinelli

21 December 2023
2023/24 /ɪˈməːʃən/
111
FEMINIST HORROR THEORY – Filmic Forms and Female Identity: Rewriting in the Key of Gender

Rossana Galimi

5 December 2023
2023/24 /ɪˈməːʃən/
111
From Photography to Virtual Reality and back again. A conversation with Francesco Jodice

Francesco Jodice

20 November 2023
2023/24 /ɪˈməːʃən/
111
Immersed in science

Ilaria Ampollini

9 November 2023
2023/24 /ɪˈməːʃən/
111
The burning gaze. An aesthetics of shame in the age of the virtual

Federica Cavaletti

2 November 2023
2023/24 /ɪˈməːʃən/
111
Forms of the intermediary: spatiality and durations between technology and aesthetics

Neda Zanetti

12 October 2023
2023/24 /ɪˈməːʃən/
111
Virtualizing Spaces: Immersive and Emersive Images from Home to City.

Fabrizia Bandi

28 September 2023
2022/23 Practices
108
LabSim: a fully featured laboratory simulator for innovative teaching of analytical chemistry
27 September 2023
2022/23 Multisensoriality
104
Immersive Rhythms, Dismersive Images: On Music Video’s Affective Atmosphere

Tomáš Jirsa

18 May 2023
2022/23 Multisensoriality
104
Spatialization of Sound

Markus Ophälders

research: Seminar

2022/23 Multisensoriality
104

Style and World View: Wölfflin, Schwitters, Beuys.

Lambert Wiesing
Kurt Schwitters „Very Yellow“ 1947 (pivate property)

The reality of my perception is connected for me with necessary consequences: not only that what is perceived is present and present for me; the reality of perception is connected for me with the self-consciousness that I myself am present with what is present. This being-in-the-world necessarily has a stylistic dimension of experience, which can be described with Wölfflin's stylistic spectrum "painterly-linear": the painterly Dasein experiences itself as a part of the world, as merged with it into a unity; in contrast, the linear Dasein experiences itself at a distance from the world as an isolated singularity. The stylistic forms of Dasein become particularly relevant when ethical ideas of a successful life are developed - as can be observed in the works of Kurt Schwitters and Joseph Beuys. As different as their works may seem on the surface, Schwitters and Beuys share a common basic concern as artists: they claim to improve life through their art. Both work with an extended concept of art, which understands art as the work on a form of life and thus as a practiced shaping of life - but this shaping of life is characterized by an opposing style, which has developed from their own relationship to the world. The thesis of the lecture can be pointed out: in the conceptions of aesthetic world improvement in the avant-garde art of Schwitters and Beuys, the designed forms of life reveal the stylistic opposition, known from the history of painting, of an extremely cool, linear thinking on the one hand and an extremely woken, painterly thinking on the other. In both cases, work becomes a tool with which one seeks to improve the world. For Schwitters, art provides the means to protect an ego from an ugly and dangerous world. For Beuys, on the other hand, art represents the possibility of bringing an ego into ecological harmony with the world.

Biography

Lambert Wiesing

Study of philosophy, art history and archaeology at the University of Muenster. 1989 Promotion, 1996 Habilitation in philosophy. 2001 Appointment to Professor for Comparative Picture Theory in the Media Science at the University of Jena. 2005 Election to the position of President of the German Society for Aesthetics. 2005 - 2008 Visiting Professor at the University of Vienna, Oxford and Dartmouth College, USA. 2015 Aby Warburg Science Prize awarded by the Aby Warburg Society. 2018 Thuringian Science Prize for Basic Research. 2019 to 2021 President of the German Society for Phenomenological Research. 2021 Award of the Marsilius Medal for special services to the dialogue between scientific cultures by the University of Heidelberg. 2022 International Annual Meeting of the German Society for Phenomenological Research in Jena Back to the Things Themselves. The Practice of Phenomenology.

research: seminar

Style and World View: Wölfflin, Schwitters, Beuys.

Lambert Wiesing
Kurt Schwitters „Very Yellow“ 1947 (pivate property)

The reality of my perception is connected for me with necessary consequences: not only that what is perceived is present and present for me; the reality of perception is connected for me with the self-consciousness that I myself am present with what is present. This being-in-the-world necessarily has a stylistic dimension of experience, which can be described with Wölfflin's stylistic spectrum "painterly-linear": the painterly Dasein experiences itself as a part of the world, as merged with it into a unity; in contrast, the linear Dasein experiences itself at a distance from the world as an isolated singularity. The stylistic forms of Dasein become particularly relevant when ethical ideas of a successful life are developed - as can be observed in the works of Kurt Schwitters and Joseph Beuys. As different as their works may seem on the surface, Schwitters and Beuys share a common basic concern as artists: they claim to improve life through their art. Both work with an extended concept of art, which understands art as the work on a form of life and thus as a practiced shaping of life - but this shaping of life is characterized by an opposing style, which has developed from their own relationship to the world. The thesis of the lecture can be pointed out: in the conceptions of aesthetic world improvement in the avant-garde art of Schwitters and Beuys, the designed forms of life reveal the stylistic opposition, known from the history of painting, of an extremely cool, linear thinking on the one hand and an extremely woken, painterly thinking on the other. In both cases, work becomes a tool with which one seeks to improve the world. For Schwitters, art provides the means to protect an ego from an ugly and dangerous world. For Beuys, on the other hand, art represents the possibility of bringing an ego into ecological harmony with the world.

19 April 2023
17:00
18:30

Aula Martinetti

Via Festa del Perdono, 7

Style and World View: Wölfflin, Schwitters, Beuys.
Lambert Wiesing
Aula Martinetti
Via Festa del Perdono, 7
20230419
17:00
18:30