By Gerhard Richter
Gerhard Richter's groundbreaking examine argues that the concept that of "afterness" is a key determine within the concept and aesthetics of modernity. It pursues questions resembling: What does it suggest for whatever to "follow" anything else? Does that which follows mark a transparent holiday with what got here ahead of it, or does it in truth tacitly perpetuate its predecessor because of its inevitable indebtedness to the phrases and stipulations of that from which it claims to have departed? certainly, isn't the very act of breaking with, after which following upon, a manner of retroactively developing and fortifying that from which the holiday that set the move of following into movement had occurred?
The ebook explores the concept that and circulate of afterness as a privileged but uncanny type via shut readings of writers corresponding to Kant, Kafka, Heidegger, Bloch, Benjamin, Brecht, Adorno, Arendt, Lyotard, and Derrida. It exhibits how the vexed innovations of afterness, following, and coming after shed new mild on a constellation of recent preoccupations, together with own and cultural reminiscence, translation, images, wish, and the old and conceptual specificity of what has been termed "after Auschwitz." The study's numerous analyses—across a heterogeneous choice of glossy writers and thinkers, various historic moments of articulation, and a number media—conspire to light up Lyotard's apodictic assertion that "after philosophy comes philosophy. however it has been altered by means of the 'after.'" As Richter's tricky examine demonstrates, a lot hinges on our interpretation of the "after." in any case, our such a lot primary assumptions relating glossy aesthetic illustration, conceptual discourse, group, subjectivity, and politics are at stake.
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Additional resources for Afterness: Figures of Following in Modern Thought and Aesthetics
Video and computer- Forget the Medium! generated imaging, for example, are film media, both in the sense that they may be components of what we now call films and in the sense that entire works that reasonable people would be willing to call films can be created by means of them. From my perspective, what we study in this context are still films—whether they are accessed through celluloid, magnetic tape, laser disk or CD-ROM. Film is not a single distinctive physical medium, but an array or ensemble of media, some of recent invention, and some still not invented, whose stylistic potentials cannot be fixed by the film theorist now, since the film theorist has no crystal ball into the future.
This may sound strange to you. You may be tempted to regard words as the distinctive medium of literature. And yet, are words the right sort of thing to constitute a medium? Aren’t media, in the most clear-cut sense, physical, and are words physical in any aesthetically interesting way? But put that issue aside for the moment. Suppose that words do constitute the medium of literature. They could hardly amount to a distinctive artistic medium. For words are shared with all types of speech and writing, on the one hand, and by all sorts of artforms, including theater, opera, song, and even some painting and sculpture, on the other hand.
But the single shot is standardly a picture, and, as we have seen, a picture is a very special sort of symbol. It is a symbol whose depiction is grasped by means of natural recognitional capacities. That these capacities are natural, of course, implies that they are comprehensible at the level of what they depict to most human beings, virtually automatically. Humans around the world can recognize what a picture—including a motion picture image—is a picture of, simply by looking. And this entails that motion picture images are accessible to nearly every human being without special training in any particular code or convention.