|
It
is remarkable
that neither painting nor room where the meeting
took place is
announced not even the gender of the person is
clear.
Because the search announcement is signed with Geenie, hence a genius (Geenie is ridiculing the german word for genius: Genie) like Rembrandt, with a hysterical second 'e' out of pure - likely caused by hormones - confusion: a scream as signature - not very useful to find the person. It is a private inside perspective, a projection - irrational, undividable and solipsistical. A symptomatical thoughtlessness one could say, a typical manifestation of SCHEIN as separated single appearance. And then to top it all even with the idea of communication as well - not even artists proceed like that. But selfdeception works very well as long as one is not disturbed in the middle of it and quite right so one reacts with anger when it busts. "What is praised
higher by poets than the enchanting
beautiful stroke of the nightingale
in lonely bushes on a still summer evening
with the tender light of the
moon? Meanwhile there are examples where
none such singer has arrived
some cheerful host has tricked his entered
guests - who came for the
enjoyment of the country air - with great
satisfaction for them by
hiding a frolicsome guy in a bush who knew
how to similarly imitate
from nature this stroke (with reed or cane
in his mouth). But as soon
as one becomes aware of the trick nobody can
stand for long what has
been regarded as so enchanted singing
before; and thus it is with any
other sing bird. It has to be nature or to
be regarded as such by us so
that we can take an interest in the beauty
as such" says Kant
about the beauty of nature and that means that
as soon as the fraud -
which was not marked as such as it is the case
with art - is busted as
illusion the aesthetical happyness finishes
right away.
"The dialectics of modern art is on a large scale in such a way as to wanting to get rid of the illusion character like animals get rid of a grown antler." (pg.157) so much about the natural beauty at Adorno. It is a funny thought to imagine a deer that shakes its antler in the woods and a deer, a painting pig in the studio who finally wants to paint the painting without his EGO but on the other hand urgently needs it to get up in the morning. One is cursed with paradoxicalities and with great success there. No artwork has un-narrowed unity each one has to mislead people and collides with itself because of this. When confronted with the antagonistical reality the aesthetical unity which opposes itself to it becomes seemingly immanent |
as
well. The formulation of art works limited by
appearance -
their lives would be one with the lives of their
moments, but the
moments bring the heterogone aspect into them and the
appearance
becomes false (....) Appearance is the art work not
only as antithesis
to existence but also towards what it wants of itself.
It is cursed
with unclearity....." Still there are these much discussed and enthusiastically celebrated relations in sense and reason. This essential relation of sense in art is but the SCHEIN, appearance. It integrates art in a connection. "But by integrating art unity-giving sense itself was created claimed by the art work as being present though with appearance not truly being that. Sense that creates appearance takes part in the illusion character of art at the top level. But still the appearance of the sense is not its complete calling. Because the reason of the art work as well is the entity hiding in reality;(the sense) quotes to the appearance what it (this appearance) otherwise blocks." (page 161)* We have an appearance Rainer Maria Rilke, October 1914, Munich, Complete works, vol. IV, l., Leipzig 1927. "Wir haben eine Erscheinung. Sie steht in den Zimmern, und auf den leeren Plätzen steht sie um Mitternacht, und wenn es Morgen wird, so wird sie deutlicher mit dem Tag, und wir sehen die Häuser durch ihre durchscheinende Gestalt. Ein Revenant ist davon abhängig, wie viele ihn wahrnehmen. Diesen gewahren alle: er ist aus allen Gräbern gestiegen. Alle gewahren ihn. Aber wer erkennt ihn? Nein. Ihr sollt nicht bekannt tun mit ihm. Ihr sollt ihm nicht das Zubehör und die Zunamen früherer Kriege anhängen, denn ob es gleich ein Krieg ist, so kennt ihr ihn doch nicht. Da man euch Bilder von Greco zeigt, so gabt ihr zu, dass da ein Erleben sei, das ihr nicht kanntet. Und wenn dieser Krieg ein Gesicht hat, so sollt ihr es ansehn wie das Gesicht Amenophis des Vierten, das vorher nicht da war. Ihr sollt davor stehen, wie neulich vor der Tatsache, dass in ein paar Pferden, bisher unangerufen, eine Gegenwart des bestimmtesten Geistes wohnt; ihr sollt als die, die ihr jetzt seid, den leidenschaftlichen Umgang des Todes hinnehmen und seine Vertraulichkeit erwidern; denn was wisst ihr von seiner Liebe zu euch? Wir haben eine Erscheinung, - und es hat sie mancher angerufen; sie aber weicht nicht und schreitet durch unsere Wände und steht nicht Rede. Weil ihr tut, als kenntet ihr sie. Erhebt eure Augen und kennt sie nicht; schafft ein Hohles um sie mit der Frage eurer Blicke; hungert sie aus mit Nichtkennen! Und plötzlich, in der Angst nicht zu sein, wird euch das Ungeheure seinen Namen schrein und wegsinken". *(all parts in itallics are from ästhetische Theorie by Th.W.Adorno / publisher Gretel Adorno and Rolf Tiedemann. Frankfurt/M. 1970; 13. edit., 1995.) Nora Sdun |