Extreme Curves Artwork

Q 3 / 4: Honore de Balzac on the artist's life in the cabaret

Balzac caste society
The text "The Artist's Life" by Honoré de Balzac in the "Physiology of the elegant life" first appeared 1830th He describes one of the three aspects of the company image of Balzac.
Balzac observed during his lifetime from 1799 to 1850 three basic types of human life: working life, the artist's life and the elegant life. The worker
define his life in that he was working. He lived to survive. Consequently, he is just an instrument of his work, de-individualized, not intellectually free and pursuing not a high goal. Balzac differentiated, however, between different types of workers: the day laborers and soldiers, the number would be zero (zero is multiplied by some zero), the agency officials, the tailors that match would have the numbers between zero and one, and the lawyers and doctors who correspond to the number one would.
The artist defines his life in that he thinks. He freely live. It is free of social conventions, individually, create new ideas and dominant society.
The Elegant define his life in that he was doing nothing. He lived to revive the peace. Preliminary he was subject to a total exclusion of the work. No one can live elegantly, if Once he had come into contact with the work.
By Balzac's descriptions can be found a clear hierarchy or ranking within the three forms of life: beauty and elegance as the good. Elegance can be abstracted here from the "first and second level" defined as intellectual freedom, ease and sophistication.
be considered critical of Balzac's system as a kind of human-class thinking. In this conflict has its own critical intention of Balzac and his own inclusion in the system. Still does, however, from the parent position of the artist to the society a moral responsibility towards their deduced. The artist must society lead (reference Lukács). This role is however in conflict with the otherwise very different view from the romantic artist's life. Another question that arises is whether this classification is still correct to our present day, and whether she has ever applied at all?

Formal:
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blog post written by Tim Pauli
rate: Q 3 / 4 PL1 and PL1 HEM
Date: 15.11.2010
topic: Honore de Balzac, artist life, art as a photocopy of the social relations

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teacher :-)

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Q 3 / 4: Hegel week at Harald Schmidt

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Today: WORLD P hilosophy

Celebrating the UNESCO today on 18 November the World Day of philosophy. Schools, universities and other institutions are encouraged to focus attention on the philosophy as such and to call for critical thinking. Young people are to discover their philosophical vein and in a globalized world, learn a questioning attitude in life, everyday life and science take. Primarily the quality of reflection also plays a role. The Frankfurt Observations rightly calls today in a comment, journalists, like Richrad David Precht (Who am I, if so how many?) And quoted on Leitartikelniveau supposed philosophical Gedankenergeüsse and leave on talk shows to address with "philosopher," not to count as a philosopher. This unfortunate term of philosophy as a science of precise and critical thinking.

more information directly to UNESCO [ click ]

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Jgst. 10: Kant and the adidas bag




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Formal:
Blog Posted by: Vanessa
Course: Jgst. 10 PL hem
Date: 17:11:10
topic: Theoretical Philosophy of Immanuel Kant

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Q 1 / 2: Wilhelm von Humboldt: language - an understanding and non-understanding!

"In the way that the language modified in each individual is revealed, compared to their last represented power, a power of the people about them .
The subject matter of objective observation, the word is replaced only after the subjective editing of the collected information on the subject, by the Spirit. Every one can incorporate the word empirical experience. It is precisely this which gives the language of their power. This power is that with their help, through rhetoric and through the right words, the reality may change so adjust, and so it follows the view of the speaker.

But how exactly created this power of language?
It arises in that no one with the same word the same as someone else thinks.
That is in the mood for Frege is mostly the same, meaning the other hand, is almost never the same. It can at most be about the same. And it is this similarity of the importance of the spoken speech, which ensures that someone else understands. So be an "all understanding [...] are also not understand a". Furthermore, this exact phenomenon gives man a power over the language. Due to the similarity of the importance and The above options for adaptation, can use human language as a tool. He can use the enthymeme according to Aristotle, the most important means of rhetoric to the audience to convey something other than what he said. Thus, the language of the fire of communication. You can create and destroy. It is a tool of knowledge and cognition
, a tool of communication and at the same time a weapon of manipulation.

Note
was also discussed the establishment of a scientific paper in high school (including exam) with a text summary, analysis / reflection and their own opinion / judgment.

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Formal:
blog post by Gwen Saleh and Vincent Lubbe (drawings), Sebastian Klautke (text)
Course: 11pl1 hem
Date: 10:11:10 and 17:11:10
topic: Wilhelm von Humboldt - The language

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Q 3 / 4: class fashion! Or why the leader is also guided always!

Georg Simmel: On the psychology of fashion

fashion is a broad, hard-to umbrella term. It includes not only superficial things like clothing or hairstyles, but may also include behavior or manners. But how does a fashion at all? The German philosopher and sociologist Georg Simmel, in his "Psychology of Fashion will attempt to answer this question.
A fashion is characterized according to Simmel, first of all by the fact that it is carried by only one part of society. This can be a single individual or a small group of people, but never the whole of society, as a mode of living which, as Simmel called it, "according to the same striving entirety." There must always someone to the small section that specifies a certain fashion to the envy and strive to do the same. Otherwise there is no reason for designers to exercise it on. No later than when the "striving for equal population" complete the "whole is now serving with same", a new fashion ago.
The reasons for pursuing a fashion to be Simmel's view in two different needs: first, the need for separation and others in need to belong. It wants to separate oneself, with the choice of a particular style either from the community or be integrated into a specific group. Both needs arise, according to Simmel, however, due to the lack of independence and in need of support from people who need the recognition of other people in order to increase their self-esteem. Therefore, the creators of new modes are also usually the same ones that were previously in that position.
Although Simmel's theory to the social Circumstances of the 19 Century is based and our society is clearly differentiated today, are the reasons for the emergence of a fashion remained the same. The need for boundaries or membership is still crucial.

The cartoon on the fashion people " termed class women " by Erich Kästner:

they are not looking at Pooh diabolical? Suddenly, the color
class women, because it is
fashion, the nails red!

If it becomes fashionable to discourage chewing
hit with a hammer or blue, it's
tuns are also pleased and half dead.

If it becomes fashionable, the breast
to color or - if you do not have - the belly ...
when it is fashionable to die as a child or
hands yellow to tan
Handschuh'n until they resemble, they do it well.

If it becomes fashionable to smear the black, if
crazy geese in Paris
pleat the skin like crepe de chine,
if it is fashion, crawling on all fours
through the city, they do it.

If it would apply to learn Volapük,
and nostrils zuzunähn
and to remove the skull and the leg
to raise lanterns
tomorrow we might behold's with them.


because they fly like Angel wings
always best at first crap.
Even the shin, they would be ironed!
And they are to rein in any way, when they hear
that what is fashionable.

If it's fashion but would, to go gaga!
For in this respect they are great. If it's fashion but would
, zuzulöten these toads
each opening individually
because then we would finally be rid of them.

at [click ] there is a version set to music by Holger Muenzer (1976)

Other links / reading:

• Eveline Müller (University of Zurich), Georg Simmel's theory of fashion, Zurich 2003. [Click to pdf]
• Mörth Ingo (University of Linz), Georg Simmel Modetherien, Linz 2004th [Click to pdf]
  

Formal:
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blog post by: Felix Sievers
rate: Q 3 / 4 pl1 and pl2
Date: 11/14/2010
topic: Georg Simmel: On the psychology of fashion

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Q 3 / 4: Heidegger - is already on the horror

What Martin Heidegger (1889-1976) with the horrible thought he answered in his first sentence from his essay "The horror has already happened." He says that the shrinking all distances in space and time. The fact that you get at the time gelgt foreign cultures other countries, the germination of plants and thrive, almost anything, which we knew nothing, now the media's feet, can appear for Heidegger, the world in a new view. The people are in a world in which everything "uniform is the distance swept lots together. We can not feel any more close to things. The near term is not defined by Heidegger. He says only that these would be close to a small degree of removal. With around here the reference is meant to things. This reference is only by the personal Use can be achieved. We must deal with the things (or even objects) in this precise order to feel close to Heidegger's notion can. People have this proximity to Heidegger unfortunately banned from the world because it would give her no chance to exist. The proximity of remains, therefore, is blocked by us and with their absence is also the distance, according to Heidegger, can give us a stimulus to try to feel a close, precisely because things are "far" are. The proximity and the distance to each other in very close Beziehungung. For Heidegger, man is in this context, an internally truncated creatures that lives in a single mash, where "everything equally near and equally far is. "It is a great misfortune that had befallen the world. The man objected to that deal with things and build up the knowledge of actual titles, or Nähezu them through their own process. If man had been thinking precisely it would not result in such a state had been moved closer together in space and time to the closest are. For Martin Heidegger, this rapprochement even more sinister than a separation burst of everything. Basically, the man the world has been wiped out virtually. If man had had doubts from the beginning, he would have realized that one should not only pay attention to the consequences, but more attention to the causes must pay.
"Thinking we learn when we pay attention to what there is to be considered." This quote from Heidegger shows that the thought has entered in the people too late. And what has been noticed too late, can not be reversed, because: "The horror has already happened."

five-part series to Martin Heidegger. Original recording of 1975. to find more parts with www.youtoube.de, Tags: Martin Heidegger

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Formal:
Blog Post by: Kosta Nikolaidis
rate: Q 3 / 4 pl1 and pl2
Date: 01:11:10
topic: Martin Heidegger, aesthetics, the horror has already happened

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Q 3 / 4: Umberto Eco: Art work is

selling author Umberto Eco writes in " the work process to tell "from the" Postscript to the Name of the Rose ", about how a work of art or document created or should arise here. He advances three main theses in his remarks.
The first very clear and provocative thesis is that, the author could not interpret. He should, according to Eco, only explain his motivation. One should not anticipate this step the reader , Otherwise would take the "poetic effect" completely lost. If he does not, he can always be new ways that the text (always the work of art) "non-useful" to do. His attitude is so contrary to Lukac, who is a representative of the political art. According to him, the author clearly interpreted from his political stance, his work and pretend helps the recipient to interpret. It should remain no room for other interpretations.
His next argument, like his others, is very clear, genius is 10% inspiration (of course, libidinous ..) and 90% perspiration (labor, equipment, rules, etc.). He takes all the "romantic" Ideas of an artist. He even claims to have said in the the "rush of inspiration," wrote, was a liar. His attitude in this thesis corresponds to his biography, as Eco himself is a linguistic and literary scholars. He called the 90% perspiration, make up a genius dominates. Thus, this is perhaps an understanding of self-praise. It would, however, that virtually everyone could be a good artist with diligence. He moves the creators much to the fore, and thus constitutes Gegenpostion to Baudelaire dar. This asserts the art itself is of value, that brings more inspiration in the foreground.

With his final thesis he accompanies his remarks again, in which he says that everyone, even if some unconscious, the procedures operate. With the proceedings, he says, for example, the classical dramatic theory, composition, or the sonata form. Either you deliberately uses these rules or you can choose an individual form. But even in this individual form put a rule to use, not the actual.
the end result in Eco's remarks a "guide to creating a work of art."

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Formal:
Blog Post by: Johanna Denfeld
rate: Q 3 / 4 pl1 and pl2
Date: 11/11/2010
subject: Umberto Eco: About the work process tell


Umberto Eco in an interview:

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Q 3 / 4: Man, do not blow his nose!

The sociologist and philosopher Norbert Elias dedicated in his two-volume magnum opus "On the process of civilization "by 1939, a chapter to the topic of the nasal cleansing. Interestingly, this is something also listed under the heading "aesthetics".

The handkerchief, as Elias, is a relatively recent invention. In the Middle Ages people had used to clean her nose, the bare hands. A rule was there at the table but already given: the right hand for the food, left for the vacuum. Here are but a purely pragmatic reasons were decisive, such as reducing health risks in society. And that that was only at the table. In Italy have finally his handkerchief as a tool to free the nose established. In addition to the suppression of a natural instinct (ie the blowing of the nose), the handkerchief has even developed a prestige object. But every practice brings with it a bad habit and so have developed the habit to consider blowing the nose after his own work in a handkerchief. According to Elias, the expression of the natural instinct of seeking to position itself a new way of removal. Especially in children, this archaic drive show today. Elias now understands morality and its opposite, but as concepts whose objects are always on the people. It was perceived as irreverence, a view used to throw a handkerchief. This leads to a sense of shame that keeps one person from view. Education here seek to suppress immorality by acting as a conditioning agent hygiene and morality together equate external constraints, and so gradually umwandele to self-constraints. The penalty will become a robotics and so man ashamed even if far and wide, no fellow human being was present when he looks into his second-hand tissue.

A classic, Freudian dilemma:
The custom, as a social norm, characterizes the superego, which is now struggling against it, trying to enforce the natural instinct of blowing the nose. Normally, it is possible the ego to find a compromise. More and more often, however, the stronger the moral instincts are trying to push, I take refuge in the neuroses. For the customs were adapted to the immorality and vice versa, so that an increasing restrictions are an ever-increasing drive towards energy. Where that leads, which is an important question.

But where lies the link between Elias' theories and aesthetics of our subject?
from a natural Engines such as blowing the nose is in the company of all a question of ethics. Dirt that collects in the nose, is often harmful. And at a social event such as a round table, it in itself is useful to keep this filth of contact points between the present order to protect yourself and others. Another purely pragmatic considerations may have led to the handkerchief. to blow his nose in one hand and eat with the other has been so long in order until you need both hands for one of the two activities. A cloth in which it dismisses the secretions helps more so. The handkerchief is now but a status symbol, because who can afford a cloth, only to the fact to collect mucus, has made it obvious. Moreover, in contrast to the use, man makes even a piece of jewelry from them. Here, therefore, affect ethics and aesthetics, albeit involuntarily.

Based on Ludwig Wittgenstein's dictum "Aesthetics and ethics are one." (In: Tractatus Logico-Philosophicus, set 6421), we look at ethics and aesthetics in general. And indeed, we recognize that they have some parallels. Both ethics and aesthetics are of the culture-dependent and they are both subject to a certain zeitgeist. Their Enste Hung is closely related. Man is anxious and that instinctive, one's own Life more pleasant. All that his life or detrimental to the pleasant is a hindrance, he will try to avoid. Living together in community requires certain rules, ethics, and who can also be supported by the beautiful, which is an advantage. Amazingly, however, which has to serve something as natural as sneezing, for that.

• explanatory and further thoughts on Jochen Ebmeier Blog: ethics and aesthetics are one .
• with Herbert Huber: ethics as an aesthetic phenomenon
• Jeff Chi: Why can not shit in public! [Click ] OR fundamentally at: Spink & Turmina

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Formal:
Blog Posted by: Sören Meyer
rate: Q 3 / 4 pl1 and pl2
Date: 04:11:10
topic: Norbert Elias, aesthetics, about the aesthetic effect of blowing the nose

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literature Tip: American pragmatism

indication from some students a literary reference Tip and literature to Richard Rorty, a representative of American pragmatism.

On the Internet platform of the journal "Information philosophy" we find the article " relativism - Find and invention ". the 1997

topics:

• relativism as Antiplatonismus
• Two" relativistic "traditions
• philosophy from a pragmatic standpoint
• moral decision as a compromise between competing goods

the URL ....

http://www.information-philosophie.de/?a=1&t=563&n=2&y=1&c=1

About his person and his philosophical position has pragmatism Bärbel Frischmann has written an article: [ click ]

Richard Rorty on pragmatism and truth:

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Q 3 / 4: There is nothing better than a joke!

In the text "Beautiful objectivity" (from: Preschool of Aesthetics), Jean Paul (1763 - 1825) the different views of beauty in poetry.

On the one hand, Paul describes the poetry of the ancient Greeks and their myths and gods as a "reality of the poetry." And the "modern poet" as "poetry from reality ". This contrast is not the only one in the (dialectical) text, but only one of many with which Jean Paul holds the various benefits of Greek classical and romantic to today. He compares the polytheistic faith, with the dull-gleaming Saturn and its rings and moons, and will even like the hot, sun-Mercury is near.
Despite the many metaphors and paradoxical formulations can see Jean Paul's position never clear, but one believes even listen to an ironic undertone out, losing only in the different levels of rational-analytic interpretation.
is Throughout the text, the question of objectivity in poetry, and its aesthetic value never sufficiently clarified and remains one at the end, only the knowledge that all objectivity in the arts can only be subjective, and thus the whole discussion is irrelevant. But the attempt to abstract the analysis comes from Jean Paul has a certain comic alike. To this extent, - said Jean Paul - only the wit, the funny and the humor is genuinely lovely.

Source:

Friedrich Meier (1785-1815): Portrait of Jean Paul, 1810, Oil on canvas, 59.5 x 50.7 cm Gallery: Alte Nationalgalerie Berlin, A II 865 --------------------------------------
blog post by: Patrick Minke

price: Q3 / 4 pl2 gN
Date: 28.10.10

topic: - "power words" Jean Paul Nice objectivity