It oscillates between seeing and blindness, between figuration and abstraction, between the void at the center of sight and the contour of the slender ridge that brooks it. The end of the war was also met with a sense of urgency by figures such as Hofer and Sedlmayr who had remained in Germany and who were eager to rapidly re- establish new cultural frameworks — whether by emphasising continuity or breach with 25 Ibid.
Incidentally, under Constable the Courtauld had benefited initially in its establishment due to the emigration to Britain of many eminent art historians during the s as well as the establishment of the Warburg Institute in London in Heibel, Yule F. One way in which differing stances were played out was via public discourse in the context of symposia and conferences.
Lasky and funded by the CIA. For more cf: Longstaff, S. The speakers at the symposium tread this fine line and draw on other disciplines in order to highlight the fact that what is in question here is not limited to the artistic representation of man. Just five years after the end of WWII and in a country recently riven in two, culture and the arts were seen simultaneously as a route back into establishing a national identity through connections with the past and a route forward away from the horrors and atrocities of the past.
The Menschenbild was thus placed at the centre of attempts to evaluate what had occurred in the previous half century and establish a way forward. Aurenhammer, Hans H.
Monthly Report: Office Of Military Government For Hesse, November › Page 82 - bygusitokodi.tk
For there can be no doubt that many people really feel that this our age is sick. Continuity vs. The word refers to visual perception, to the observation, vigilance and attention of the gaze [regard] during an examination. Although bodily analogies abound, particularly with regard to the ailments of the age, Sedlmayr circles around an analogy between era and body; he never allows a simple parallel because, in order for the divine to remain in view, an opaque connection between spirit geist and era must also be figured.
He warns of dehumanisation and the pull of death and chaos precisely because he wishes to bring about a radical correction of what he saw as the ailing spirit — and therefore the dying body — of the age. The Menschenbild, encompassing both the image body and conception spirit of man — whether intact or fractured — was a workable metaphor and an obvious pole in a wider societal discourse about chaos and continuity, centre and centrelessness, as well as humanity and its periphery.
In his PhD dissertation on philhellenism and the sculptor Gerhard Marcks — , Daniel Koep addresses what he terms the dominant rhetorical figures of Mitte centre and Grenze border in politically conservative West Germany between and In essence, the onus was placed on the visual sphere to be an identifier not only of retrograde or progressive societal movements, but also to represent 41 Westermann, Karin, Mitte und Grenze — Motive Konservativer Kulturpolitik am Beispiel Berlins —, Phil.
The ways in which images of destruction wrought on human bodies — as well as on land and cityscapes — were mediated in the aftermath of the war took their toll on visual culture as well as the political situation. Sculpture can never quite dehumanise itself as painting has done, without surrendering its very existence as an art. Intense and often misleading propagandistic use of photographs of atrocities in the run up to and throughout the war within Germany and in the Allied countries led to a complex set of responses to and interpretations of these images.
Tauris, , pp. Though attentive to tracing a detailed trajectory of the representational concept of the eye in contemporary art, Eager failed to trace the greater arc implicit — to relate, as Tillich did, the connection between the mutilation or absence of the eye and the postwar condition. Eager approaches several acute observations on the modes — both contemporary and historical — of representing human eyes.
There are figures who do not appear to see, or to be visible Die Steinigung, , Fig. In the work it is crooked at the upper end, thereby anchoring the figure within two intertwined visual histories: that of the biblical shepherd, whose role is the manifestation of the metaphor of spiritual leadership, and that of the blind man who masters the ability to move within space by substituting sight for a stick. Even in these depictions of perfect stillness the potential for movement, the association between blindness and lack of movement, is what is actually represented.
One of the spectres of blindness is the inability to master space, combined with the complete reliance on a non-visual spatial awareness via the tactile senses. The gesture, the crutch and the stick are prosthetics for the eye and work to describe the comprehension of space, which the gaze masters in the sighted. The peacefulness of the blind man, then, is an uneasy kind of accedence — a retreat or emigration inwards, away from external sight. Here, a visual tautology is performed: the vision of that which is invisible or imagined seems to compel the figure of Hofer to retreat.
His stance and posture is as defensive as his gaze is guarded. Four hands, only two of which are his own, form a shape created by negative space. This shape, slightly off centre, could be a disassembling cross, or a swastika in the process of assembling. The colouring, too, is so shot and garish it practically shrieks. Thus, the work attacks visually and simultaneously challenges vision. The figure of Hofer has nowhere to look. The depiction of eyes is particularly intriguing — not least because the figure of Hofer, whose own eyes do, in fact, glance dartingly, are surrounded by no less than eighteen other eyes — some gaze, few see and most are blind, hollow, or closed.
Thus, his eyes convey their sightedness, but indicate something further: Hofer, the artist — identifiable as such by his working smock — is on the brink of closing his eyes. Blindness is not, then, without vision, it is within vision — vision encircles it.
Is this the limit of the power implied by his or her ability to depict the blind? With an unbroken gaze falling on the shape of the body or object, gestural drawing allows the hand, through the stylus, to feel its way about the form — literally to describe it.
But the eyes are blind to the traits or marks which make the drawing. Drawing from memory or from imagination allows for no breach between the eyes and the hand as it 65! Published in English under the title: Concerning the Spiritual in Art. A trait in French can mean a trait, a line, a feature, a dash, a dart, a stroke or — most tellingly — a trace. This is a blindness which relies on the memory of form that constitutes the trait even before the drawing is begun.
In the same way, the formula can be achieved quite contentedly by direct observation of nature. It remains immaterial whether this highest form is achieved from life [ Books by Karl Steinbuch. Gemmeke with the first European Neurocomputer, completed in under Steinbuch at Karlsruhe. HNC Software Inc.
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Memistor vs Memristor :. Why 2 similar terms? In Berkeley-Professor Leon Chua requested a 4th passive component in addition to resistor, inductor and capacitor which, in the formula space of current, voltage, and, magnetism, connects el.
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Bernhard Widrow Stanford. In a publication Steinbuch requested already in such a component with "resistor memory". Steinbuch is the inventor of the first practical artificial neural network ANN in the world: the Lernmatrix Learnmatrix. But his papers published at that time - written in German language - have been mostly unknown to American scientists. In the early 60ies an influencial well-known American AI professor had condemned all ANN approaches because of uselessness, which pulled the plug of American and even world-wide research funding on this topic area for almost two decades.
It has been wrong to ignore Steinbuch for such a long time, writes Prof. Aus dem Stamm. Die Sinnlichkeit des materials.
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Just what is it Cocker Spaniel and other tools for international understanding - Kunsthalle zu Kiel, Kiel. Jahrhundert aus der Sammlung Richard H. Presenze internazionali nella collezione Cozzani. Sehnsucht nach dem Abbild. Wasser, Farbe, Licht. Von Munch bis Beckmann, von Jorn bis Gertsch. Aus dem Gesicht in Linol geschnitten. What Is Painting? All the Best.