VERSANDKOSTENFREI AB 9 € (D)
DIREKT BEIM VERLAG BESTELLEN
SIGNIERTE BÜCHER
VERSANDKOSTENFREI AB 9 € (D)
DIREKT BEIM VERLAG BESTELLEN
SIGNIERTE BÜCHER

Bodily Impacts

On the Aesthetics of Post-Popular Art
Frankfurt Adorno Lecture 2015
Suhrkamp | Insel
Rights sold to:

Korea (Mediabus)


Bodily Impacts / Körpertreffer
On the Aesthetics of Post-Popular Art
Frankfurt Adorno Lecture 2015

It’s only since the 1960s that the arts are dedicating themselves deliberately to technical recordings of sounds and images. Where there had only been slapstick and surrealism before, genres now pop up in great numbers. All the while, art criticism that still tries to divide films of the nouvelle vague, Cinema vérité, punk, hip-hop, heavy metal and minimalism, Fluxus, performance art, pop art, nouveau réalisme, Arte Povera, soul music and concept art along the lines of mere entertainment and...

Read more

It’s only since the 1960s that the arts are dedicating themselves deliberately to technical recordings of sounds and images. Where there had only been slapstick and surrealism before, genres now pop up in great numbers. All the while, art criticism that still tries to divide films of the nouvelle vague, Cinema vérité, punk, hip-hop, heavy metal and minimalism, Fluxus, performance art, pop art, nouveau réalisme, Arte Povera, soul music and concept art along the lines of mere entertainment and serious art – dividing them into categories of either fine or popular art forms – proves itself to be stolid


In his Adorno Lectures, Diedrich Diederichsen shows that it is their similarities that are much more crucial: the endeavour of integrating the disturbing effect of the recording and playback of bodies, voices and other fractions of reality, of enhancing, redirecting, adjusting this effect to art or of developing art around that effect, whether it’s the aggressive or the tender one at that. Considering these effects of phonography and photography, old distinctions need to be discarded and the consequences of art need to be conceived of in a new way – regardless of whether one’s aim is to protect children or to politicise adults.

»Diederichsen‘s sketches of an aethetics of dealing with recording mediums are fed by his great knowledge of numerous sources.« Kreuzer

» [...] a brilliant theory of contemporary arts.« Florian Baranyi, Falter

» [...] the study [gains] a dynamism that has become rare in theory, because Diederichsen’s concepts are becoming – just as the body in post-popular art – divisible links in a downright gigantic, long chain of reciprocal causations. « Bernhard Jarosch, Eikon

»An intellectually challenging as well as aesthetically pleasing read.« Till Huber, Arbitrium

»Diederichsen‘s sketches of an aethetics of dealing with recording mediums are fed by his great knowledge of numerous sources.« Kreuzer

» [...] a brilliant theory of contemporary arts.« Florian Baranyi, Falter

» [...] the study [gains] a dynamism that has become rare in theory, because Diederichsen’s concepts are becoming – just as the body in post-popular art – divisible links in a downright...

Read more
2016, 147 pages
Service
Cover (Web)Cover (Print)

Persons

Diedrich Diederichsen, born in Hamburg in 1957, was editor-in-chief of the well-known German rock and pop culture magazine Spex. His texts have appeared in publications such as Süddeutsche Zeitung, DIE ZEIT and taz. die tageszeitung. After leaving Spex, Diederichsen focused on his work in culture-theoretical and academic areas. Since 2006, he has been teaching as professor of Theory, Practice and Communication of Contemporary Art at the Academy of Fine Arts Vienna.

Diedrich Diederichsen, born in Hamburg in 1957, was editor-in-chief of the well-known German rock and pop culture magazine Spex. His...