"Mathematics of Dance" and "Mechanized Eccentric". Intermedia Motion Research at the Bauhaus // "Tänzerische Mathematik" und "exzentrische Mechanik". Intermediale Bewegungsforschung am Bauhaus (original) (raw)

The contribution of History of Ideas to History of Art (in "Kunsttexte", 1/2017)

Zwei Fragen bilden den Ausgangspunkt: Ist es möglich, eine allgemeine und 'wirksame' Methode zur Kunstgeschichte zu finden? Welche sind die geisteswissenschaftlichen Disziplinen, die besonders herangezogen werden können, um die Forschungsarbeit eines Kunsthistorikers zu unterstützen und zu bereichern? In diesem Beitrag wird eine kurze Analyse der Praxis der Kunstgeschichte vorangestellt – und 'versucht', indem sowohl Berührungspunkte mit als auch Unterscheidungen zu anderen wissenschaftlichen Forschungsmethoden diskutiert werden. Kann man etwa, da Kunstgeschichte normalerweise in Form von wörtlicher "Erzählung" erscheint, wirklich über eine Übereinstimmung zwischen der konkreten Präsenz des Kunstgegenstandes in der Realität und seiner Existenz im Text sprechen? Im Beitrag wird auch der Vorschlag gemacht, die Kunstgeschichte konsequent in einem ideengeschichtlichen Kontext zu betrachten, vornehmlich in der Richtung, die Arthur Lovejoy in seinem berühmten Essay The Great Chain of Being vorgeschlagen hat. Im Grunde schlägt die Ideengeschichte stets eine Brücke zwischen verschiedenen Disziplinen und kann immer neue Aspekte einer Epoche beleuchten, die ansonsten in fachspezifischen Forschungen verbannt oder sogar vernachlässigt bleiben würden. Die Ideengeschichte sollte so idealerweise die Kunstgeschichte immer begleiten und sie dabei unterstützen, etwa das Moment der "schöpferischen Intuition", im Sinne von Henri Bergson, der Prägung einer Theorie oder einer neuen Kunstepoche zu ergreifen, um darüber eine Art Osmose zwischen den Standpunkten von Gegenwart und Vergangenheit zu fördern.

Wassily Kandinsky - The Origins of Abstract Art

The essay dealt with the introduction of abstraction in painting, as it is crystallized in the work of the Russian artist Wassily Kandinsky. At a first level, an attempt is made to outline the era of modernity and the effect it exerts on artistic creation in the late 19th and early 20th century. The context of the main artistic currents is given in an attempt to understand and integrate Kandinsky’s work in his time while a parallel outline of his biographical and artistic development follows. Furthermore, the first artistic stimuli that inspire the Russian artist are examined in combination with the creation of the first artistic groups that he leads, as well as the approach of the path that led him to the adoption of abstraction as a basic means of expression. At the same time, the commentary of major paintings of his art is attempted in combination with his theoretical findings for the purpose and nature of the art of painting. Keywords: Kandinsky, modernity, modernism, painting, expressionism, abstract art. Aristotle University Thessaloniki - Coursework - Spring semester 2021

A culture of dissonance : Wassily Kandinsky, atonality, and abstraction

2014

painting, especially concerning the expansion of available artistic material, the new (but not unconditional) freedoms afforded, the basis in an underlying order, and the gradual process often necessary to appreciate new systems. Furthermore, Kandinsky's use 118 Kandinsky, Concerning the Spiritual, 43–44. 130 of a vibrational model in describing the transmission of unseen forces, such as "vibrations in the soul," found even greater resonance within occult and Theosophical literature. As we shall see in the following chapter, occultists, in turn, also drew on scientific models, including as many of those described above.

A NOTE ON ABSTRACT ART: Kandinsky Revisited

Discussion of genesis and development of abstract art and abstract expressionism with special reference to the contributions by Wassily Kandinsky. In conclusion the text emphasizes that abstract art, like all art, must entertain and develop the artistic mind set, engaging perception, conception, craftmanship, aesthetics and valuation - and thus support the universal mission and functionality of art. .Abstract art, like all artistic imagery, in one way or another, must make sense and it can only do so practically by enticing the viewer into the artistic experience.

Dances of the Self in Heinrich von Kleist, E. T. A. Hoffmann and Heinrich Heine

Dances of the Self in Heinrich von Kleist, E. T. A. Hoffmann and Heinrich Heine (London: Routledge), 2006

Lucia Ruprecht's study is the first monograph in English to analyse the relationship between nineteenth-century German literature and theatrical dance. Combining cultural history with close readings of major texts by Heinrich von Kleist, E.T.A. Hoffmann and Heinrich Heine, the author brings to light little-known German resources on dance to address the theoretical implications of examining the interdiscursive and intermedial relations between the three authors' literary works, aesthetic reflections on dance, and dance of the period. In doing so, she not only shows how dancing and writing relate to one another but reveals the characteristics that make each mode of expression distinct unto itself. Readings engage with literary modes of understanding physical movement that are neglected under the regime of eighteenth-century aesthetic theory, and of classical ballet, setting the human, frail and expressive body against the smoothly idealised neoclassicist ideal. Particularly important is the way juxtaposing texts and performance practice allows for the emergence of meta-discourses about trauma and repetition and their impact on aesthetics and formulations of the self and the human body. Related to this is the author's concept of performative exercises or dances of the self which constitute a decisive force within the formation of subjectivity that is enacted in the literary texts. Joining performance studies with psychoanalytical theory, this book opens up new pathways for understanding Western theatrical dance's theoretical, historical and literary continuum.

The Cornerstone Imprint of Kandinsky in the History of Abstract Art

2021

ABSTRACT: With all forms of art being continually subjective in the process by which they are perceived and appreciated, abstract art has been no exception, facing both elicited support and criticism over the years. The greatest debate on abstract art was experienced over a century ago when the art first emerged, that is in its initial stages of development. A century ago, abstract art signified a new perception of art that was conceived and accepted only by a few people. However, the art later transformed to be accepted by many as one of the purest and most beautiful forms of art, a change that was brought about through the works and ideas presented by Wassily Kandinsky. Kandinsky had, through his artistic vision and modes of expression, led to a critical revolution in the way abstract art was visualized and conceived. Therefore, he had not only helped lay the robust foundation that governed many of the concepts in abstract art, in contemporary and modern times, but he had also hel...