John Gutmann learned painting from Breslau to Otto Müller, and exhibited in Berlin in 1931. In 1933, when he had to emigrate to San Francisco, bought a Rolleiflex . Then he used .
can read an article in the excellent Weimar, and explore the official website, where you can see clips from the film by Jane Levy Reed Gutmann, My Eyes Were fresh.
And "That inward eye ", of course, is a quote from the poem that everyone knows and everyone has forgotten .
I remember the year 1967-68 - we were finally a small group to leave the Hotel , dreamily we completed (the word) a license philosophy, and to change the Buffet we opted for the certificate Esthetics .
At the time this happened in the building Assyrian-Babylonian Art Institute . We immerse himself in a sea of ladies in lace collar that had on us the advantage of knowing the works and that, moreover, we snobs. We watched the parade in sofa slide Chick, Juan Gris, Fernand Leger and Quattrocento. The program this year, Cubism ...
Juan Gris - Fantomas , 1915 National Gallery of Art, Washington Source: Wikimedia Commons
... the Vanitas ...
Antoine Steenwinkel - Vanitas, self-portrait of the artist , XVIIth century Royal Museum of Fine Arts, Antwerp Source: dianalehti
... and Schoenberg.
Eine Nacht. Ein Leben TV movie by Oliver Herrmann, 1999 mus. Arnold Schoenberg, Pierrot Lunaire, 1912 - Christine Schäfer, soprano with lyrics by Albert Giraud, trans. Otto Erich Hartleben InterContemporain Ensemble, Pierre Boulez Uploaded by LopezDeLoyola
Revault Allonnes Olivier (1923-2009) was for all those who approached a little more than a teacher. Great-grand-son of Ernest Renan, it was this school of aesthetics behind Mikel Dufrenne, who tried to resist as well to the ankylosis Marxism, structuralism than ambient. And he was one of the few teachers of the University to support its students to the point of splitting from May 7, 1968 a personal letter to the rector of Paris: "I expressed with them in the street and continue to do "(1).
Revault By listening to that for the first time at the Sorbonne and its dependencies, we heard the name include:
Theodor Adorno Wiesengrund Six Studies for String Quartet String , 1920, 3rd movement Uploaded by Hochdorff
In those days in Paris, the Frankfurt School was not really hype. What was hype, Althusser was among the Maoists (and / or Stalinists), Lukács and Soub among others. Everyone also read a little Henri Lefebvre, and thousands of IS purchased at a specific booth on the Boulevard St Michel. But not Frankfurt.
(Even Walter Benjamin, it was not in French than two thin volumes translated by Maurice Gandillac and Adorno's Philosophy of the new music and Essay on Wagner .)
There were beneficiaries, blocking translation - especially at this time, the Negative Dialectics - I remember Revault cursing again and again against these pitfalls, with unfeigned indignation. But as usual dross legal merely cover the deeper causes of the deafness. Revault was painstaking work, and effective for raising extinguishers (2). is thanks to him that Aesthetic Theory ...
did not wait for ... be translated as long as other books of Adorno: thirty years for Minima Moralia , and the same punishment for the Dialectic of Reason if one takes as a starting point for its first edition, American .
When the lights came back on after the slides, and follows on from Revault Critical Theory, we enjoyed a temporary advantage over the tribe of lace collars: Hegel was for us a ground less slippery than Braque Pieter Claesz . However, we hid our surprise - so we had our previous masters hidden things? We déléguâmes in a Germanist Negative Dialektik ; he returned, shaking his sandals and we confirmed in this pidgin khagneux we stuck to the skin, but it was stocky Sioux - translate: difficult to understand for a lay audience, but with superior intelligence. I also confirm, yet I rub my hand this Boeotian bark rather rough - in fact anyone can get an idea, but here English .
Once or twice a week, we sat in this room, Revault itemized series, we listened Pierrot Lunaire - then we made the acquaintance of this confusing dialectic which, like the scorpion in the circle of fire, prides himself on his own sting, but to be reborn - Scorpion / Phoenix: " more thought on behalf of 'unconditioned, closes with a passion for what may condition the more it is engaged, unconsciously but more fatally, in the world. Even its own impossibility, it must understand the love of possible. Compared to the requirement that it must face the question concerning the reality or unreality of redemption becomes almost indifferent "(3).
At the end of the year, Revault turned to his students and questioned innocently
" So who wants to become unemployed intellectual? "
Like any vessel, Theory critically needed rowers, we were cowards, we did not lift a finger. Also we were in April 68, the first time passed very quickly, then more slowly. And I never crossed Revault in his books, but I would be eternally grateful for this scorpion, and the phoenix.
can easily find his thesis of 1973, recently reissued, is incredible as a book of almost forty years old has little - if any passages detonate, it is simply that the time was flabby around this thought. Who else but Revault could try to transcribe the songs of nightingales in scoring Hornbostel-Souriau, just to verify that Hymns of sparrows at dawn or Exotic Birds, Messiaen, were not realistic? There is also an essay in the book light on Picabia analysis of Judgement Bonnard (4) which reads like a detective story, and the first chapter published in France seriously on rebetiko ...
Το μινόρε της αυγής / The song of the dawn (Spyros Peristeri / Minos Matsas), 1947 Song: Chatzichristos Apostolos Markos Vamvakaris, Yiannis Stamoulis Bouzouki: Kostas Kaplanis Up online panagos274
Nowadays how many theses state (sorry, HDR ...) to end in parallel between Lenin and Jerry Rubin (with the advantage of the latter)? And this conclusion is often cited, but I quote: "... narrowing crescent area created in the lives of men can only achieve the conditions for creativity still unknown. The determination is ultimately always surrender challenged by the creation, and especially since it determines dramatically closer. (...) All the necessities of art, material, technical, traditional, social, ideological, never resulted in another anything but the need to destroy them. These are the oppressions generate bursts, and these are possible only because of oppression, who want or think they are total, never are. Simply, the more they seek to bear on the whole, the more they are committed to being totally rejected. (...) The great law of artistic creation is that its power is proportional to the systems that want to stifle it. More extending the rules, and they control over the expanding field where new art is going to overflow, and increasing the force that will break. It is likely that this law is not limited to aesthetic activity, nor is it limited Today, the field of art. In a society that tends to abolish all creation, abolition of the company becomes the only possible creation "(5).
On the desktop of the philosopher, the metronome and the copy of the Negative Dialectics . Source: Wikimedia Commons
(1) Open Letter to the Rector newspaper Combat , May 10, 1968. In the same letter Revault, who was still single assistant and who also supported the Algerian activists during the liberation war, was clearly the approximation about the behavior of the Parisian police who had "done hand for eight years against Algerians. "
(3) TW Adorno, Minima moralia, reflections on life mutilated, fragment 153, trans. Eliane Kaufholz, Payot ed. 1983.
(4) Dalloz, 1953, pp. 405-408. The decision of 17 January 1953, denied to the painter's freedom to decide for itself what in its production fell within the finished work, as opposed to blanks. The judges confided this distribution to experts. The issue was the dissolution of the joint estate of his deceased wife and Bonnard: blanks remained owned by the painter, which was not the case of works completed. This famous ruling the problem of defining the finished work, especially in contemporary art.
(5) Olivier Revault of Allon, Artistic creation and the promises of freedom , Klincksieck ed. 1973, repr. 2007, pp. 290-291.
