This essay focuses on the ongoing references made to the ban on graven images for the foundation of political aesthetics. In this tradition the image itself plays a significant role in the creation of a dichotomy in which the image becomes either “icon” or false appearance. The image in this tradition is a powerful agent and gains as such performative power. From the Bible to Kant and German idealism to Adorno and Deleuze, the prohibition of the image signals its power (...) and turns it into a strong magnet in political aesthetics, may it be affirmative or negative. (shrink)
Die Erfahrung des Films ist abhängig von zwei Typen von Illusionen, einer technisch induzierten und einer ästhetischen. Beide spielen zusammen und generieren in diesem Zusammenspiel eine besondere Weise der Akzeptanz von ästhetischem Schein. Daraus resultieren sowohl verschiedene Modi der Bezugnahme auf Filme als auch verschiedene Weltbezüge.
Miriam and I were born in 1949, only a month apart. The world we were born to was deeply marked by then-recent history. Our playgrounds were the rubble fields in the streets and the extended woods between Frankfurt, where I grew up, and Darmstadt, where Miriam grew up, some twenty-five miles apart.
