EINSTELLUNGSRAUM e. V. Norbert Wilting: Heidelberg Maschine

It does not shatter on the windshield but possibly proofs itself to be a hallucination. Then the movie is over without the puzzle being solved. What then does this artefact mean?

5. Deconstruction of the surreal automatism of subjectivity fragments.

Is it about a Fata Morgana or does from the clinically organized traffic deployment here well up the character of humanity, the subjective, the irrationality or even the spawn of the spirit of reason that already Goya conjured. It is well necessary to delve further into the earlier descri- bed situation because with the hybrid standpoint between duty and absorption certainly not the whole state of affairs of a driver is covered. Even though driving a car is a rather recent sphere of activity it goes back - like has been mentioned earlier - anthropologically to driving with a battle vehicle and phaeton, which means it is connected with life danger and thus an act of highest stress. In addition hunting as a royal privilege was connected with high status whilst nowadays it is possible for everybody and traffic related even a mass phenomenon. Hence the consciousness of a possible endange- ring is masked by the organization of the traffic system and numerous precautionary mea- sures. By these measures and the dense infrastructure the surroundings of a house seems to be enlarged to whole states, yes even continents and even lowers the thresholds for the ocnophile⁸ participant in traffic. In the constant proximity of gas stations and motorway service areas it leads to a feeling of emerging familiarity that reminds of home, but who truly knows the areas that are traversed. Because of this reason the traffic disposition simulates an illusion of safety, familiarity and freedom for the road user to which horror may close in at any time. The entire drastic repression was staged by David Lynch in Wild at Heart (1990) where the protagonists Sailor and Luna stop at night in the middle of no-where in a deserted steppe in the Midwest of the USA. When they leave the car they find injured and dying people whilst as audience one careens wether one finds oneself on the scene of an accident or having a nightmare.

It does not shatter on the windshield but possibly proofs itself to be a hallucination. Then the movie is over without the puzzle being solved. What then does this artefact mean? 5. Deconstruction of the surreal automatism of subjectivity fragments. Is it about a Fata Morgana or does from the clinically organized traffic deployment here well up the character of humanity, the subjective, the irrationality or even the spawn of the spirit of reason that already Goya conjured. It is well necessary to delve further into the earlier descri- bed situation because with the hybrid standpoint between duty and absorption certainly not the whole state of affairs of a driver is covered. Even though driving a car is a rather recent sphere of activity it goes back - like has been mentioned earlier - anthropologically to driving with a battle vehicle and phaeton, which means it is connected with life danger and thus an act of highest stress. In addition hunting as a royal privilege was connected with high status whilst nowadays it is possible for everybody and traffic related even a mass phenomenon. Hence the consciousness of a possible endange- ring is masked by the organization of the traffic system and numerous precautionary mea- sures. By these measures and the dense infrastructure the surroundings of a house seems to be enlarged to whole states, yes even continents and even lowers the thresholds for the ocnophile⁸ participant in traffic. In the constant proximity of gas stations and motorway service areas it leads to a feeling of emerging familiarity that reminds of home, but who truly knows the areas that are traversed. Because of this reason the traffic disposition simulates an illusion of safety, familiarity and freedom for the road user to which horror may close in at any time. The entire drastic repression was staged by David Lynch in Wild at Heart (1990) where the protagonists Sailor and Luna stop at night in the middle of no-where in a deserted steppe in the Midwest of the USA. When they leave the car they find injured and dying people whilst as audience one careens wether one finds oneself on the scene of an accident or having a nightmare.	In front of the horizon of this short cultural historical excursion of travelling and driving it is a question of images with the 'EchtzeitPlastik's that break loose like dreams in waking state in the relatively untroubled driving situation. Viewed art historically there is a relationship here with the trance-like states with what the Surrealists reacted to the in the 1920 years emerging rationalizing organization of work and daily life subsequently to dada. they aspired an overcoming of the societal patronizing by seeking available direct insight into their sub-conscious in writing poetry, painting and drawing and by this giving the subjective matter a possibility for appearance. Despite of the proximity to automatic drawings, which abstractly seen may cause direct relinquishing of uncontrolled emotional states, these aspects develop disparately more complex and under contemporary preconditions in the 'Echtzeitplastik's by Wilting. They are formed seemingly without effort by series of mouse clicks with the previous choice of fitting tools. This is possible thanks to a cultural achievement which was started as well by the artists of the classic Avantgarde who decidedly searched for visual basic elements and moduls that could be able to represent certain conditions and phenomenons. These parts of an art production of subjectivity fragments by Wilting may be seen as elements of opposition against the dis-subjectifying⁹in this world. They continue the Les Machines Celibataires' method of production in order to compensate¹⁰ for the people's isolation from creativity which the machines fool them with by means of productivity. In this sense it would here even be possible to talk about further deconstruction because the ECHTZEITPLASTIK's, like the TIMEWRECKAGES before, "das Ausgegrenzte wieder ans Licht bringen" (bring to light again the outcasted)¹¹. (please also see my demonstrations about Wilting and futuristic topoi for speed that evolved for the finissage of his exhibition. They can be found on the artist's website: http://www.norbertwilting.de)
8 see annotation #7	9 comp. Agamben, pg. 39 - s. above annotation 5 10 As Maurice Blanchot writes in L'amite - the existence of machines doesn't mean anything but the human being repeating itself; becauseif our nature inexhaustible abundance there wouldn't be repetition nor the perfection of the machine. Quoted after Harald Szeemann (editor)'Junggesellenmaschinen' (bachelor machines), Venice, Civitanova 1975, pg. 19. 11 Peter Engelmann, Postmoderne und Dekonstruktion (Postmodernism and Deconstruction), in: "Postmoderne und Dekonstruktion", Ed. Peter Engelmann, Stuttgart 1990, pages 5-32, here page 31.
The 1th. exhibition in HYBRID EINSTELLUNGSRAUM e.V.	more pictures
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Supported by the department for culture, sports and media of Freie und Hansestadt Hamburg and district office Wandsbek