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Reception of Walter Benjamin's thinking.
More and more artists, filmmakers, architects, curators, composers, or even gain inspiration from the figures of thought and images of the German-Jewish cultural philosopher.

discover in his lyrics, they surprisingly current answers to current challenges:
• Perspectives of European culture • the importance of religion (s), the critique of violence and the international negotiations on 'justice', • the rift between science and art / culture,
• the development of a global media culture, the festival presents

• Presentations of artists, architects and intellectuals, • Art and Archive exhibition, a film program, a radio play
and a music theater, readings and performances
• An international conference with scientists from 15 countries





© 1984 by Absalom





During the Commune Blanqui was a prisoner in the fort Taureau. There he wrote the "Eternit par les Astres." This book is the culmination of phantasmagoria of the century with a last, cosmic, which covertly include the bitterest criticism of the others. The clumsy thoughts of a self-taught, which form the major part of the text are preparing for a speculation that the revolutionary spirit of the author given the terrible denial. The view of the universe, the Blanqui designs in this book, to which he extracts the data from the mechanistic science is a truly infernal. It is while the complement of the company that Blanqui was compelled to recognize in his twilight years as a victor over himself. It is the hidden irony the author of this draft to bring in the form of unreserved submission to their science, the most terrible indictment of society that the casts of the world as its projection on the sky. The document puts forward the idea of eternal recurrence ten years before Zarathustra, scarcely less pathetic and hallucinatory with great force. Not triumph but rather oppressive: Blanqui it is about the image of progress, as an immemorial older, brought up of the garment of the most recent, as the phantasmagoria recognize the story itself is. The crucial point is:




"The whole universe is made of star systems. To create it, nature has only a hundred items available. Despite all the ingenuity and despite the infinite number of combinations that are available to their fertility, the result is necessarily a finite number is the number of elements itself To fill the space, have to repeat the nature of their original combinations and types of ad infinitum.
It has therefore to each star in time and space give infinite number of times, not merely as it appears once, but after each moment of his life from its creation until his Destruction. Such a star is the earth. So also every human being is eternal in every moment of its existence. What I write at this moment in a cell of the fort you Taureau, I have written and I will write to all eternity at a table with a pen, in circumstances that present the same to the hair. Thus, it is infinite with each ... the number of our double in time and space ... This doubles have flesh and blood, ie trousers and overcoats, crinolines and chignons. There are no phantoms, but immortalized reality. One of them is missing, however: the progress. What do we call it, is built into every earth and goes with each. Always and everywhere on the earth the same drama, the same decoration, on the same narrow stage, a raging humanity, intoxicated by their size. Always and everywhere she thinks of himself as the universe and living in their prison than would be immense, but soon to fall to the earth in the shadow away with their arrogance. The same monotony, the same inflexibility on the other stars. The universe repeats itself endlessly and is marking time. Undeterred, plays in the infinite eternity always and always the same piece. "




this hopeless resignation is the last word of the great revolutionary. The century has the new technical Opportunities not been able to meet with a new social order. This gave the false medium of the Old and New the upper hand, which was the term of his phantasmagoria. The world is dominated by these phantasmagoria - with a key word, for she has found the Baudelaire - modernity. Blanqui vision sees in this modern age - appeared as the messenger the "Sept Vieillard" - a the universe. He is the last attribute to the novelty of what belongs to the realm of condemnation. It seem a little old vaudeville "Ciel et Enfer Hell penalties" as has always been the latest, as the "Peine eternelIes et toujours nouvelles. " The people of the nineteenth century, the apparitions as Blanqui appeals are from this district.




[GS V × 2, 1256-1258]

move away from something he freezes. His eyes are staring, his mouth open, his wings are spread. The angel of history be so. He has turned the face of the past.

Where a chain of events appears before us, he sees one single catastrophe which keeps piling wreckage upon wreckage and hurls it at his feet. He wants to stay, awaken the dead, and has been smashed. But a storm is blowing from Paradise and has got caught in his wings with such violence that the angel can no longer close them. This storm irresistibly propels him into the future to which his back is turned, while the pile of debris before him grows to the sky. That which we call progress is this storm. [GS I * 2, 697-698]

Thus ends the folk song. Kafka in its depths touched the ground, which neither the "mythical idea yet know" the "existential theology" gives him. It is the reason of the German race as good as the Jewish. When Kafka did not pray - we do not know - so it was still the highest degree self, "what Malebranche the natural prayer of the soul" is the name - the attention. And in it he has, like the saints in their prayers, including all creatures. [GS II × 2, 432]

the humpbacked little man

As long as I was little I saw while walking liked by those horizontal gate that allowed even to set up a shop window, if just to him under a slot opened up, which to served to provide some light and air the cellar hatches which were in the depths. The hatches were barely into the open, but grow in the Underground. Therefore, the curiosity with which I looked down through the bars of each gate, where I was based just to collect them from the basement of the sight of a canary, a lamp or a resident with. It was not always possible. But if I by day the vain nachgetrachtet had, so it could happen, because at night the tables turned around and I was even made in a dream arrest of looks, which were aimed at me from such cellars. Gnomes with pointy hats, they threw. But once I was shocked to the marrow of them, they were already gone.

was divorced not strictly the world for me, which by day populated these windows, from which lay there at night in wait to attack me in my dream. I knew at once about what I was when I was in my "German Children's Book" by Georg Scherer came to the point: "Will I go into my basement Will / tap my wine alone, / Is it all a little hunchback, Perpetrators steal me 'n Jug. "I that clan, which was intent on harm and mischief, knew and that she felt at home in the basement, was not strange. "Rabble" was there. And at once I remembered the night fellows, who come so late, out to the hen and chickens: the sewing needle and a needle, which both call, "it" would be as dark as pitch. As it went on the host, who received them at night, committed, they probably seemed just a joke. But it horrified me. From her stroke was the hunchback. But he seemed no closer. Just today, I know what he was called. My mother told me it, without it to know. "Sends his clumsy," she said to me whenever I had something broken or had fallen. And now I understand what she meant. She spoke of the crooked little man, which I had seen. Who is this little man looks are not careful. on themselves and on the little man can not not. He is distraught in front of a pile of rubble. "Will I go into my Küchel, / Will cook my Süpplein; / Is it all a little hunchback, / Has broke my Töpflein" Where it appeared, I had the Nachsehn. A Nachsehn, deprived of the things are, to the garden throughout the year a little garden, a little room in my chamber, and a little bench become of the bank was. It fell, and it was as if they would grow a hump, which they themselves now incorporated in the world of the little man for a long time. The little man came to me anywhere before. Graciousness's turned in his way. But otherwise he did anything to me, the gray Vogt, as of each thing, which I came to collect the half part of oblivion: "Will I go into my little room, / Will eat my Müslein: / Is it all a little hunchback, /'s Hat already forgotten half '. "Thus was the little man often. But, I've never seen. It looked just always there.

And the sharper the less I saw of myself. I think that "all of life, of the is told that it passes in front of the eyes of dying from such images is composed, as it has the little man of us all. They flit past rapid as that leaves the tightly bound book, which once were precursors of our cinematography. With gentle pressure, moving the thumb of their sectional area along and then within seconds, images were visible, which are different not fast. In its volatile end they let the boxer at work and the float, as he struggles with his waves detect. The little man has the pictures of me. It looked me in hiding and in the kennel of the otter, on winter mornings and before the phone in the back hall, on Brauhaus mountains with the butterflies and on my ice rink in sheet music in front of my sewing box and drawer, in Blumeshof and when I was sick in bed, in Glienicke and at the station. Now it has its work behind. But his voice, which resonates to the hum of the gas Trump whispers of the century threshold me the words to: "Dear child, oh, I pray, / Bet for male hunchback with" [GS IV × 1, 302-304]

.

"It is more difficult to honor the memory of the nameless than that of the famous. The memory of the nameless is dedicated to the historical construction "[GS I * 2, 1241]

accompanied by an international conference and a variety of events, presented for the first time Benjamin's image of the cosmos and things public. Such orientation of photographs and documents, in the materiality of the objects is also in his work, which in turn is a reservoir of texts, commentaries, elements of everyday life, art and dream. Many of these elements are discussed as components in his "Passages" projects that the> prehistory of the 19th Century \u0026lt;explored. In addition, techniques of collecting and archiving characterize the operation of Walter Benjamin. After he was expelled from Germany, he created the conditions to rescue him, as he said "infinitely \u0026lt;frittered production by manuscripts, notes, and print documents with friends in the world deposited on the richly illustrated and annotated volume concludes the first time Benjamin's Archive: notebooks, in which every inch is used, the register, directories and files, the performed at the same time meticulous and creative; postcards, which he himself commented photo series, a collection of previously pursued words and phrases of his son Stefan, whose language and cognitive development Benjamin records of years "(Suhrkamp Verlag)

" Walter appears Benjamin Archive. " for the exhibition of Walter Benjamin Archive in the Academy of Arts, Berlin, 17 September to the 12th November 2006.

Planned Release: 02.10.2006 until the end of his life, wrote one of the icons of the 20th Konrad Eberlein century presents not only a new interpretation of the picture, which includes the texts of Benjamin, but also addresses the difficult reception of both the art and the clover shaped by Benjamin historical impact of this singular work. Johann Konrad Eberlein

, Dr. phil., Born 1948, Ph.D. 1978, Habilitation 1992, including teaching at the universities of Munich, Frankfurt aM, Bern, Graz, Salzburg, 1998 Uni.-Prof. in Graz. Publications include: Paul Klee, Munich 1994.

in the Frankfurter Allgemeine Zeitung (20 July 1991) on this issue - then under the title "A fatal angel. Paul Klee's Picture> Angelus Novus' and Walter Benjamin's interpretations. " The term = shift from the plural "interpretations" towards the singular "interpretation" as it reveals in a nutshell, the - not only - social cultural changes we have experienced in this decade and a half.

- [The facsimile of the FAZ article can be published here, unfortunately, for legal reasons!] -