Photo credits: Simos Batzakis
A performance between agitated thinking, writing and speaking in an unstable equilibrium.
Words exist because of meaning.
The theory of the compossible space is set into action in the artistic practice ‘HASENHERZ or the Pleasures of the Moving Image and Word’. ‘HASENHERZ’ is both a work of art and an instrument for examining artworks.
Presentation and discussion with the editors of the book 'Diziness–A Resource,' Ruth Anderwald, Karoline Feyertag and Leonhard Grond and their guests: Sarah Kolb, Katrin Bucher Trantow.
The question of art’s ability to speak to that which is unknowable, unspeakable and alien has been a long tradition held in Romanticism and Realism, the former being associated with the subjective physiologies of the individual and the latter being associated with more objective and scientific aims.
The senses work together in multifaceted and even dissonant ways. However, recognition of this multiplicity has been stymied by the emphasis on the “pre-reflective unity” of the senses within the phenomenology of perception and the focus on harmonious integration within cognitive neuroscience.
