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Engagement with the image has played a decisive role in the formulation of the very idea of philosophy since Plato. Identifying pivotal moments in the history of philosophy, Dennis J. Schmidt develops the question of philosophy's regard of the image in thinking by considering painting-where the image most clearly calls attention to itself as an image. Focusing on Heidegger and the work of Paul Klee, Schmidt pursues larger issues in the relationship between word, image, and truth. As he investigates alternative ways of thinking about truth through word and image, Schmidt shows how the form of art can indeed possess the capacity to change its viewers.

How to transcend land grab economies, even by means of art?The reader REALTY moves from the safety of critique to the vulgarity of suggestions.The pandemic's effect on mobility presents a historic opportunity.Rarely has criticism of our extractive artworld logic of one-place-after-another been louder.

Why, and in what manner, did artist Paul Klee have such a significant impact on twentieth-century thinkers? His art and his writing inspired leading philosophers to produce key texts in twentieth-century aesthetics, texts that influenced subsequent art history and criticism. Heidegger, Adorno, Benjamin, Merleau-Ponty, Lyotard, Sartre, Foucault, Blanchot, Derrida, and Marion are among the philosophers who have engaged with Klee's art and writings. Their views are often thought to be distant from each other, but Watson puts them in conversation. His point is not to vindicate any final interpretation of Klee but to allow his interpreters' different accounts to interact, to shed light on their and on Klee's work, and, in turn, to delineate both a history and a theoretical problematic in their midst.Crescent Moon over the Rational reveals an evolving theoretical constellation of interpretations and their questions (theoretical, artistic, and political) that address and continually renew Klee's rich legacies.

In this interview, mathematician and computer art pioneer Frieder Nake addresses the emergence of the algorithm as central to our understanding of art: just as the craft of computer programming has been irreplaceable for us in appreciating the marvels of the DNA genetic code, so too has computer-generated art—and with the algorithm as its operative principle—forever illuminated its practice by traditional artists.

[...]even after that date, Heidegger did not see it fit to have these sheets edited, since occupying oneself with them would only make sense for experts on the subject matter. [...]the only remaining option was the path taken here (one might call it a middle path or not): to describe Heidegger's handwritten notes and to sketch out the direction of Heidegger's interpretation. II.Heidegger's Klee Excerpts In their very selection from the entirety of Klee's theoretical writings or at least from the respective texts being cited, Heidegger's Klee excerpts make manifest what Heidegger attached importance to in Klee, and what fascinated him about Klee to such an extent that he came to see him as the forerunner of a future-oriented definition of art [zu-künftige Bestimmung der Kunst].12 * \"Nevertheless, the rendering that is distant from nature becomes the norm again, and thereby the construction attains increased significance even as technical alleviation. [...]the scaffolding of the image-organism comes to the fore and becomes truth coûte que coûte [no matter the cost].

Abstract This paper traces and examines the different connotations given to the notion of \"tragedy\" in Paul Klee's thought. From his early reflections on, Klee relates this notion to an intermediate and conflictive condition that characterizes human existence-an existence that takes place between heaven and earth, between the ethereal and the earthly. This essay focuses on how the connotations Klee gives to tragedy in different moments of his reflections transform the way he conceives the work of art. Hence, I will attempt to show how Klee's reflections relate the tragedy of human existence not only to the figure of the artist, understood as a tragic figure, but also to an idea of tragedy that the work produces and represents in its own particular way of coming into being. Thus, this paper poses a new approach to Klee's suggestive proposal on modern art as well as to the meaning given to pictorial representation throughout his thought and artworks.

According to Heidegger-judging by the Klee notes-such is clearly not the case. Yet it is possible to conjecture that in such movements of the \"objectless\" he sees only an abstract negation of objective art: such modern art movements no longer depict beings as beings, yet they nonetheless remain fixated upon the \"ontic,\" namely, the \"elementary media\" of form and color, and in so doing only perpetuate the metaphysical orientation toward representation [Darstellung] of that which had previously been a mere \"means\" for the representation of objects.\\n It is not only invisible, it is-as Heidegger additionally remarks-also \"inaudible\" and \"unsayable (in propositions), but also and precisely in the proper. . . ,\"39 In another selection, one reads: \"Language becomes work-but never the saying.

This article explores the way in which art can illuminate war, in particular the Great War. It focuses on Paul Klee's painting, Angelus novus (1920), and the interpretation of that painting by Walter Benjamin, who owned it, in his celebrated theses 'On the concept of history' (1940). Benjamin's interpretation was a kind of parable: he called it the angel of history. Some have taken inspiration from that characterization; others have offered striking alternatives, including Kaiser Wilhelm II and even Adolf Hitler. The article traces the evolution of these identifications; it also considers the continuing artistic response, in historical perspective—notably Anselm Kiefer's The angel of history: poppy and memory (1989). It argues that our conception of the war, and of all wars, is profoundly affected by artistic imagination, and re-imagination.

En este trabajo busco aproximarme a una historia in-finita de la naturaleza en el pensamiento-en-imagen de Paul Klee a partir de una interpretación de los parágrafos 76 y 77 de la Crítica de la facultad de Juzgar de Kant. Para su lectura, propongo considerar como contrapunto uno de los principios del entendimiento puro que Kant considera en la Crítica de la razón pura, este es: el principio de las anticipaciones de la percepción. A saber, el principio que explica la condición de toda sensación. Para preguntar por una historia in-finita de la naturaleza es fundamental atender a la diferencia implicada en la relación entre naturaleza y arte que advierte Klee. Dicha diferencia conlleva considerar el origen de esta historia como fractura por la atención puesta hacia lo que la diferencia, lo cual exige pensar en lo que denomino un cambiode percepción.

The fact that Paul Klee (1879-1940) consistently intertwined the visual and the verbal in his art has long fascinated commentators from Walter Benjamin to Michel Foucault.However, the questions it prompts have never been satisfactorily answered--until now.