Wednesday, December 17, 2008

Move A Stuck Kidney Stone

what is art?

history of art and science of philosophy
forward

>


29 evenings devoted Joachim Daniel in the new year of the philosophy of art. As part of its multi-year work at the A
Lexander Foundation have questioned every single day, and combined with his studies of cultural and scientific history. He poses the question this year to the center of his public philosophy course, the \u0026lt;one year to the 'sources of anthroposophy in the philosophy of the West, a year of Philosophy of Freedom Rudolf Steiner's philosophy in the context of history 'and a year to the> philosophy of myth was preceded by \u0026lt;. His brilliant performance style - both graphically and conceptually tight - is aimed at a broad and complex knowledge to practical knowledge and interested audience.


Joachim Daniel

The high-spirited modern artist with the boundaries of play, what you are used to call art, the more pressing today on the question of what is meant by art really. All the more so as 'fat edges', \u0026lt;> Art machines, not> Noise-art \u0026lt; and other works of modern artists from many people are certainly perceived as art. Even today, the views on the neatness of works of art are often very far apart, as religious, philosophical, moral beliefs are usually connected in some way with a specific understanding of art. At the same time was and is almost all great art is always in a deep contradiction at the prevailing political, religious and ideological conditions. Proclaim it from an eternal kingdom, or is it rather, each with the time of changing term presence?
Since the time of the ancient Greeks, people have been thinking about the art and are to the most contradictory results come. Above all, the question of value and importance of art for the rest of human life. The question of its truth and responsibility, splits up many minds today. The art can also be understood as a world of its own access to the knower, so people can research that one could talk with Goethe in science as art, is it a largely forgotten approach to art. Already clear, however, from the integration of artistic behavior in what we are accustomed to call science an increasingly urgent need would be.
attempts in the course of the way Western thought about art - not always chronological - to investigate. Views of works of art, museum visits, etc. to accompany the work.


evenings 29, 2009, Tuesdays 20:15 to 21 clock in Scala Basel :
13, 20, 27 January
, in his article
> Christ and the ruins \u0026lt;
the reader into the sphere of the other Time 2

Sunday, November 30, 2008

Monday, November 24, 2008

Wednesday, October 22, 2008

Shops With Prom Dresses In Belfast

the poetry of life




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>

images to print >

Ford Thunderbird Turbo Coupe For Sale 2010

eyes of another

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watery click

>

Saturday, October 11, 2008

How To Calculate Lottery Combinations

first picture



>



the Classics to the other Time 2

text hot off the press 116 pages and images
text
of including Friedrich Hölderlin, Rudolf Steiner, Wolf-Ulrich Klünker, Stefan bread Beck, Friedrich Nietzsche, Walter Benjamin, John Kiersch, Bodo v. Plato, Gottfried Stockmar, Jochen Bock, Christiane Haid, Louis Deféche, Michael Schaefer, Elizabeth, Johannes Nilo, John Sommer, Philipp Tok ...

16 pages in color , with contributions by Albert Steffen, John Sommer, Stephen Zwahlen, Corinna Holbein, Lisbeth, Christina Gerodetti ... receipt of the book for conference registration.
direct order from benjamin (at) projektzeitung.org
Direct Buy Goetheanum Rudolf Steiner and in the archive.

Saturday, September 27, 2008

What Does A Drag Suit Do For Swimming




> Kingdom of Heaven on earth \u0026lt;informed a sign on the door of the room, student of Schelling, Hölderlin and Hegel in Tubingen at the end of the 18th Century. They greeted each other with the ancient Greek words ἕν καὶ πᾶν [Hen kai pan] - All is one. - 1913 dipped at an auction a loose handwritten sheets of Georg Wilhelm Friedrich Hegel on. Four years later it is published as "The oldest system program of German idealism \u0026lt;Friedrich Wilhelm Joseph Schelling. Today, the text in the complete edition of Hegel. A wealth of papers on the allocation of the text were to be a writer. In the allocation of the text of Johann Christian Friedrich Hölderlin we follow the reasoning Eckehard forester, engaged by the reference to the motives of Holderlin> Hyperion. - The text begins in mid-sentence> -. An ethic \u0026lt;It is a programmatic proposal for a philosophical system or a disposition of formulated with a view to to be created rational mythology. - For the work context of different time II, the vitality and originality of this text is the selection criterion. The large number of possible references are initially left to the reader. The fragment can be found here on accessibility and readability shortened and edited. The full text is found in Hegel the issue or easily on the web.
unity of reason and the heart - much to the imagination and shape of Art from nothing - the only true memorial and customizable creation out of nothing. - The question is this: What must be such a world for a moral being? I would like our slow, cumbersome border physics experiments at once reflect wings.
So if the philosophy of the ideas, experience indicates the data, we can finally obtain the physics at large, which I expect from later eras. It does not appear that the current physics a creative mind like ours, or should be able to satisfy. by nature I get on the work of man. The idea of human progress, I will show that there is no idea of the state, because power is something mechanical, as little as it gives an idea of a machine. Just what is the subject of freedom, ie concept. We must therefore also beyond the state! - For every state must treat free men as a mechanical gear train, and it should not do, so he should stop.
you see by yourself that here are all the ideas of eternal peace, etc, only minor ideas of a higher ideal: At the same time I want to lay down the principles for a history of humanity and the whole miserable human work of government, constitution, government, law, down to the bare skin. Finally, the ideas come from a moral world, divinity, immortality, - After overthrow of all faith, pursuit of the priesthood, which has recently feigns reason by reason itself - absolute freedom of all spirits who have the intellectual world, and neither God nor immortality may look upset. Finally, the idea that all united, the idea of beauty, the word in a higher Platonic sense taken. I am now convinced that the highest act of reason that, by comprising all ideas, is an aesthetic act, and that truth and goodness are found together only in the beauty. The philosopher must possess as much aesthetic power as the poet. The people with no aesthetic sense, our Letters philosophers. The philosophy of spirit is an aesthetic philosophy. It can be witty in anything, even about history can not be witty raison ne - no aesthetic sense. This should be obvious what it really is missing the people who do not understand any ideas - and true-hearted enough to admit that them all is dark once it goes beyond tables and registers.
The poetry give it a higher dignity, they will end up again what it was in the beginning - a teacher of humanity, for there is no philosophy, no more history, poetry alone will survive all other sciences and arts.

At the same time We hear so often, the great pile must have a sensuous religion. Not only the large clusters, the philosopher needs it. Monotheism of reason and heart, polytheism of the imagination and art, this is what we need! First, I would
speak here of an idea that, as far as I know, still come in no man's mind is - we have to have a new mythology, but this mythology must be at the service of ideas, it must be a mythology of reason. Before we
aesthetic ideas, that is to make mythological, they have no interest for the people, and vice versa, before the mythology is reasonable, must be ashamed of their philosopher. Enlightened and unenlightened must finally shake hands, the mythology must become philosophical and sensible the people, and the philosophy must be mythological to make the philosophers sensuous. Then eternal unity prevails among us. Never contemptuous of view, never the blind trembling of the people in front of his ways and priests. Only then we expected equal education of all forces, both as individuals of all individuals. No force will be suppressed. Then there is general freedom and equality of the minds! - A higher spirit, sent from heaven, this must be new religion among us, it will be the last, largest his work of humanity. reduction and introduction of Ph. Tok as the true source of culture, the parent of any truth: "Only as an aesthetic phenomenon that existence and the world is justified forever \u0026lt;

Friedrich Nietzsche

history writes the experienced and superior.. Who has not seen much bigger and higher than all will know also suggest nothing great and High in the past. The sentiment of the past is always an oracle: only as builders of the future, with knowledge of the presence you will understand. It now explains the extraordinarily deep and wide impact Delphi's especially the fact that the Delphic priests had precise connoisseurs of the past, now is fitting to know that only he who builds the future has a right to judge the past. In that you look forward, you put a big target, it also tames those lush analytical engine, which you now laid waste the present and all the rest, all peaceful growth and maturing of almost impossible. Takes you to the fence of a large and extensive hope, a hope-filled endeavor. Formed in you an image that is to correspond to the future and forget the superstition, to be imitators. You have enough to contrive and to invent by her musing on the future of that life, but not to ask for the story, that it to you the how? What the? show. If you are not large in the great history Men into lives, so you will learn from her a top-stes bid to learn to be mature, and escape from that crippling education spell of time, which sees its value in it, do not let be ready to speak to you, the immature and exploit. And if after Biographies required, it is not for those> with the refrain Mr. So and So and His Time, "but after those on the title page it should be called> a fighter against his time. \u0026lt;Is saturated your souls to Plutarch and dares to believe in yourself, by believing in his hero. With a hundred such unfashionable behaved, that is ripe and have become accustomed to the heroic people is the whole noisy After formation of this time to bring to eternal silence.
Friedrich Nietzsche, 1874> Untimely Meditations, second piece - the Use and Abuse of History for Life \u0026lt;

Saturday, September 20, 2008

Norfloxacin, Tinidazole

always for eye

Thomas Rieser

tireless in his 16 years of use had to> Alpine Man, "starred in Paul McCarthy's Installation> The Garden \u0026lt;*, many times to be repaired. The constant activity of the (as he is known)> Tree Fuckers \u0026lt;, had both the technique fail, as drop off the limbs. McCarthy had used the discarded> Fuckers \u0026lt;you further: an art piece, the 'Old Fuckers Senior Home \u0026lt;he had in mind in which all the old service> Alpine Men a retirement home \u0026lt;were found. The owner of the installation could develop this idea, however, no pleasure, he wanted to keep the original> McCarthy \u0026lt;. The will of the collector was, and the artist had no power over his 'McCarthy'.
The 'Old Fuckers Senior Home \u0026lt;was never built.
What is original in a work of art? Original is the created, or the creation? The anecdote of> The Garden 'shows two horizons. The definition of the "Originals \u0026lt;is impossible, as they are the perspective of the person who argues based. If the essence of the original in this sense is variable, then what ignites the aesthetic experience? Is there a foundation to which it relates? is in my horizon of aesthetic experience on the basis of the potential. The opportunity or ability to recognize an opportunity and experience then leads to an experience that is aesthetic. The work of art> The Garden \u0026lt;ceased to be art in which forbade the owner of the artist to continue it at the moment. The 'Alpine Man' is a sad> Fucker ', the' Senior Home \u0026lt;he would grow old with dignity allowed. The aesthetic experience lies in the potential of the anecdote, not in the current art.

* Paul McCarthy, The Garden. 1992nd Installation, Collection Jeffrey Deitch,

Thursday, September 18, 2008

How Long Does Omeprazole To Clear The System




Gottfried Stockmar


[...] because the human form is not nature, it is not natural! Many people today do not feel unfree in thinking - that may be - but the question is, can I move around freely, I can be upright in my form? I can live decently, and I have a room? - By the way is also a motive to buy a farm house [...]. I've always wondered: How large should be a door, where the human form, without bending down passes, and what must be an area? I do not think that young children see in the fairy tale kind of a lock as a luxury, so to speak, but this is the proper [...] the human form, you will not be accommodated. Yes, I said, this is a long topic!


excerpt from a lecture during a time other

, October 2007



Sunday, September 14, 2008

Type Of Doctor For Feet

the last and largest


Christiane Haid


> My view shapes up 'is only one, perhaps the most unpleasant, provocative side of the coin. The other is shaped me your views - we are so both the 'Forms'. Everyone knows the effect that can create a view: it can encourage us to wear, cheer cheer, warm affirm, but also make small estimate that drop ban, paralyze, destroy.

Who the hope and expectant look of a man has got to know - but without a defined goal and outcome - which accompanies an over years, the growing power of that look will learn: He will remember the invigorating power, unheard of skills and called out opportunities in the deepest layers. - If one, however only evil is credited, then the growth may low, it is stagnant. Here, then any existing opposition forces muster to protect or maintain. It is now - autonomous - to find their own resources. But - it really is true that the view formed? Who says something or even argues, can make the experience that it is the view of a listener who wears it in the display and the content will be taught, can even give you wings. Afterwards, it turns out that one has said anything to which they had never considered before - New in dialogue with the gaze become possible. How different is it when the audience look to the ground ... What has So what precisely is the power of the look in? Here is the question of aesthetics at all? The Basel philosopher Heinrich Barth (1890-1965) saw the aesthetic not only a property that qualifies for the phenomenon in question. He puts in his major work> knowledge is the existence, 'that in the realization of the aesthetic> much more about what the phenomenon makes its appearance only, "go. One might think that this is a play on words: 'that what the first appearance to appearance makes'. But at the outset was clear that our view already contains a form element. We do not have the pure, undistorted view of the child, but look to the past or from our experiences, patterns of interpretation, beliefs, cultural influences, etc. Of these, only isolation can be said to be present appearance of the phenomenon. It is the moment when something happens, - where to put it in Barth, something "at stake \u0026lt;: the appearance of the phenomenon, which is simply meant aesthetics.



Heinrich Barth: 'can appear, "selected Texts from Heinrich Barth's magnum opus> knowledge of the existence "with lead by Rudolf Bind, Georg Maier, and Hans

Rudolf Schweizer, Basel 1999

Sunday, September 7, 2008

What To Do Straight Bath Tub

your souls

Urs Dietler
Rauscher III them for the first time - have artists. of course, was more precise than holbein ferdinand casual, but there was this cross in his portraits, which let me see, from then faces differently, that transcends man about himself - he made it visible to me. and yet.

the first one - so to speak - aesthetic experience of my life happened to me one floor higher, but then suddenly I was standing in front of a picture, which I initially perceived not as a picture. a tall, slim rectangle, all in a monochrome blue shimmered in a deep royal blue as it were into the wall. It was not possible for me to simply pass this appearance as in many others, which I head nodding to the guards left. Despite the restraint had this blue little overwhelming, which I only gang sign with the lettering a little distance - cognitive approaching, one would say today - told you to oppose. but this is just reinforced the enigmatic this event. I think in retrospect, not that I expected anything, but still shocked me this:> the day before one, "Barnett Newman. It was the only title that to me then this blue, which appeared in very differentiated way, is indeed modulated reasonable. and I wavered between "this is it 'and' that is' it.

to time I wonder if I picture this, I have not seen since then, to see again. it still hangs there, the woman said at the checkout, when I called.


Thursday, September 4, 2008

Ostrich For Sale In The Tri-state

saturates the artist is always right



>
The Magazine for contemporary culture > goon \u0026lt; shows in his series of articles on art as a threshold, related trains OTHER TIME:> Under the title "emerging market \u0026lt;can be found at this location [goon] Fabian Saul
The central image is found in Rothko's self-portrait from 1936. The figurative, even distant ethereal portrait seat opened up a significant moment of abstraction. It is the cold-blue spots at the point where eyes usually look into the world. This large recessed ovals can be read as spectacle frames or as blind spots, as an analogy the wise seer Theiresias, as a moment of self-alienation. They stand in stark contrast to the non-specific figuration of the body.
The view in the world is denied to the people where the threshold lies to her, in her eyes. ...

here it goes to the full article

Sunday, August 31, 2008

How Much Carrot Juice Should I Drink

closed one is not a luxury

Lisbeth
> only as an aesthetic phenomenon that existence and the world is justified forever. \u0026lt; Friedrich Nietzsche
As an aesthetic phenomenon.
aesthetics was originally called the what comes to appearance compared to what is not comes to appearance, that remains in the purely spiritual, not sensual be experienced.
The doctrine of limited appearances later to a certain range of phenomena, namely the beautiful appearance, or, as Friedrich Schiller, in his treatise on the Aesthetic Education of Man calls it, the beautiful appearance, what to do with it, however nothing has a hidden ugliness behind it, but just to the idea of beauty appropriate form.
us Since the concepts of what is beautiful, nothing more, of which one might readily agree, the aesthetics or the understanding we have of it are faltering. As

Release doctrine it uses no longer with us much, because we have quite given up to assume a spiritual element to which the phenomenon could be the other side.
The doctrine of the beautiful appearance, it uses us as well, due in will suspend anyone accused of a romantic past, longing and wanted the beautiful or intends Poetic almost intentionally slip in shallow phrases and credibility sings the song of the better world, none of the more what want to hear who has completed the necessary disenchantment and woke up in a proclamation freed into the world.
Today we have existential grip.

The beautiful appearance has overcome the general phenomenon. But by
which will overcome the beautiful appearance? From their abolition.
comes to beauty, spoken in the sense of Plato, of death.
Death. So anything that might appear. .
> only as an aesthetic phenomenon that existence and the world is justified forever \u0026lt; Is spirit carried the aesthetic phenomenon not yet beauty inspired, what is it then to the Nietzschean sense, the existence and the world forever-forever as transitory! - to justify? perception. Literally.
The phenomenon shows us her true colors not without our help, and silent and her beautiful face.
your kindness, their value lies in perception.
> You look for anything behind the phenomena, they themselves are teaching. \u0026lt;Goethe



to the point, to the place. to the boxes. If there are boxes as there are blue boxes packed. No metaphysical Behind, no over-importance, no more. garbage bags usually only takes one to wrap garbage and get rid of as quickly as possible, taking care not to drum. The contents of the boxes looks one does not, he is clear from the title of the work, Great departure from the small excerpt of the documentary last year's presentation, a part of it. If everything looks near static and fixed, mobility is recommended. to the parking lot. Usually this is nothing, this is indeed the approach path * for those who want to stop over in this house. Approach paths one can not really block it, unless the departure frequency is as strong as today **.
the format of the base 70x100. The image will only fit into this framework, so it will never again be as shown here and now. (...)
So, everything's not there.

* Application file tax exam room
**


speech on the occasion of a master student test UdK Berlin14.07. 2008

Sunday, August 24, 2008

Cheats For Pokemon Emerald Big Boob

my view shapes up as a canvas door

Louis Defèche

young actor and director, reports from his experimental research on the question of the nature of the 'Look-\u0026lt;gambling.


I can see how the momentum of the stage event arises purely from the will. This means' from the> walking. Not out of feelings and thoughts that occur only in consequence. Not that thoughts and feelings had no place on the stage thing, but you can only live on stage when they emerge from the pure will impulses. The seated in front of the stage audience wants to feel and understand something, but feel that this understanding and this feeling has to be a consequence of volitional processes. Then contribute understanding and feeling really, because they occur not only as feelings or thoughts, but as a force. I would say the force of a thought form, the power of a vivid feeling. Otherwise, the audience always try to come to the stage event in, and will lose more workers rather than receiving power.

The other side of the story, the pictures would show you that you see and understand, would like to witness. But this Only real life on stage, if the basis is indicated as the actor as an inner understanding that everything \u0026lt;from> will matter, should be designed from 'Go-pulses'.

What surprised me is that the actors often try to create feelings or thoughts communicated. While not at the most important thing. Also, I can see how the audience is animated by live actors and brought by force to flow down from the stage to him, and he is more tired and inattentive, however, if too little will to live on stage.

It is perhaps a bit risky, because what I say, and will be strictly investigated further, but my thoughts are at the moment.


[text edited by Philip Tok contoured at first the red ornament along the somewhat helpless carved Indian boats, the big city here in the middle of a small park raised the value. the man who could probably hot Dubois was, as it were at the center of a picture whose composition I first recognized as a whole and that seemed perfect. This moment involves the aesthetic experience that is essential and always characterized by all-unspoken. with only slight delay flashed the individual picture elements, like a relief just standing out: the curved tip of the boat, the painted wooden blocks on which it rests, the carefully - as if he were sitting at home - on the ground attached feet of the man who the straight and exoticism of his seat probably not notice it. that the tree growing out back, behind him out of his, was at my
-
viewing angle, the picture was, however, an internal halt -
unelected
. may be that these upright first line caused me to stop and photograph led to me now is for viewing. I saw then what I see now? can repeat the aesthetic experience - remember it? whether the initial experience was strongest, I can not judge, but it was one thing: saturated and unrepeatable. They contained the> bildaussschnitt \u0026lt;the whole periphery sensuality in its comprehensive. the memories go
-
before the look of photography
-
was strong, but blurred in the aftertaste. the photographic image but
repressed immediately
the original and generated a new and genuine experience, which deepen and any change by ongoing in-depth look can.






Sunday, August 17, 2008

1911 Airsoft Gun Golden

kœnigsblau

Lisbeth

So - if art by herald arrives and there is nothing left in our consciousness horizon is, of which we bear witness might otherwise have as it experienced an old icon painter or a Rembrandt to his pictures to write - does not then any proclamation culture finally also from our contemporary art?

Does the longing for the eternal, of which we do not actually, well, however, the belief by far - has this desire will not prevent necessary kinds of images, the real experience was reserved for eternity and have given a higher reality?

meet the content and form, a rejection of the ever successful artists like Katja Strunz and Anselm Reyle, both of Berlin, by arriving in the very specific, which is open to nothing more than for himself Closed forms in which no longer flows than that which formed the shape added. Katja Strunz

acute angled wall constructed from pieces of wood laminiertfurniertem imitation. It could be something shifted, warped paper plane shapes, they hung not so aggressive and hard, and immovable on the wall. Anselm Reyle is carelessly crumpled foil gift behind Plexiglas important, it's looks like something, or chrome in complex process waste collages. The end product is so great that it takes eight people to be prepared.

No escape in a different way. No escape in a behind, in a larger company, behind only referenced by the trash. No, just on what is visible before us, that matters. More s does not exist. No way out. The one as a viewer sometimes wants, because - well really is something else.

No more than the little that is there. A few things that may not know more to keep yourself without power over the abyss. Breakdown in existential grip.

Saturday, August 9, 2008

How Do You Put Weave Bangs




˘ ˘ ˘









˘ ˘

Sunday, August 3, 2008

Acronis True Image Freeware 2009

big departure

Johannes Nilo
> My work takes time. They allow the viewer to experience the emergence of a phenomenon. They are the expression a visual restraint, with which I would like to slow down to a perception experienced present '. This is how Tom Chamberlain's work, before the past two weeks on the Art Basel aroused my interest. My steps slow issued between the 5000 works. The aimless walk through this highly artificial world is itself part of the experience of art. People seem to float. A watercolor by Paul Klee has my attention after I discovered how wise the picture is staged in the overall constellation of the gallery. On the opposite wall is decorated with glossy blue and black areas from the series Lighter by Wolfgang Tillmans. It is> Photos \u0026lt; have been without a camera suspended directly in the laboratory to the light. In between, a work is placed where notice above all the materials, sand, rubber, rust, water and wind worked woods. Then I suddenly see that the wall where the clover is not like the other walls are painted white, but light brown.
I am in a world of surfaces where unexpected and new relationships emerge. Man goes to a space beyond the logical functionality and importance of things and the meaning between the works and the viewer can circulate freely. The feeling that arises here is, at best be described as easy.
An early drawing of Andy Warhol from the 50's is an example slightly. No artificial depth, no claims that go beyond what is actually present. A simple arrangement of free flying butterflies in child-run. This drawing is just what it is, nothing else.

Chamberlain continues: "My works do not indicate on what is one of their surfaces and what not. I am concerned with the visual experience of something that is imminent - or even disappeared. 'Is the handout of his Berlin Galerie Aurel Scheibler read: "Tom Chamberlain's works define a development process and eventually solidify into a possibility or a Illumination '. A striking formulation. Would not a way to solidify and even real? What is the possibility, if they are treated just like other reality when it is celebrated in its own right and not merely as a negation of reality? Is it time to push itself to which we here?

Sunday, July 20, 2008

How To Bake A Diver Cake

acting

> the script has already been written \u0026lt;

Philipp Tok retail approach is my entry mode for museums and other image clusters. See what might hit you. What have I brought with me is as befruchtbaren material seen. Also today at the ART in Basel. There is it already. Still in the tram, it was to me like it could happen that two events could this massive amount of time to the same place and at the same point in space. The ART, 'largest art fair in the world,' and the European Championship in the discipline of football meet in Small Town Basel. - Still almost on top of unlimited adventure areas reveals an appealing video installation. Two screens that meet at right angles to each other and show coordinated HD image sequences from a football stadium. 17 cameras are addressed as a starting material to Zinedine Zidane. He even commented out the pictures and again in the form of English subtitles. The droning sound Stadium abgedumpft is alternately hidden transferred from low pitched music or displayed in the meantime head on. The leaflet is clear, it is a game in Madrid, but the game is hidden. I see Zidane in a weak state, the doubt, but given over the resignation. The pictures take me into his inner life in which pursues the Meadow event such as a daydream bobbing his own life. > There are days when you get into the stadium and you know everything is already decided. \u0026lt;The mood is dark fatalistic. Today, nothing will succeed. Now and again he makes even bother to imitate the ball to have already lost him again. > In I get memories of bygone days. At big moments. The ball comes to me, and before I had ever touched him, I know I will score points. \u0026lt; all I need. Whatever I should discover that this work will drown. > The script has already been written \u0026lt;

> Zidane, A 21st Century Portrait - camera 6 \u0026lt;Douglas Gordon and Philippe Parreno, 2006, 90 minutes