Das dialektische Bild ist ein Kugelblitz, der über den ganzen Horizont des Vergangnen läuft.

Walter Benjamin: Vorstufen, Varianten und Fragmente zu “Über den Begriff der Geschichte”.

In: Tiedemann/Schweppenhäuser (Hrsg.): Walter Benjamin - Gesammelte Schriften, Band I.3, Frankfurt am Main 1991, S. 1233.

(via walter-benjamin-bluemchen)


Constant and Jan Elburg, View of the Pigeon, published by Galerie Le Canard, Amsterdam, 1952

Hegel’s triadic triangles (key).
Since we are discussing triangles I want to draw attention to the philosopher Hegel who at one point in the _Philosophy of Right_ (1821) said “Reason is the rose in the cross of the present” influenced by the Gold und Rosencreutz Orden in his Berlin period. This has been interestingly debated in _Hegel and the Hermetic Tradition_ Cornell University Press 2001_ by Glenn Alexander Magee of Emory University in Atlanta, Georgia. He interestingly shows Boehmes’ influence on the young philosopher Hegel and reproduces the below Triangle in Triangles, described earlier by Helmut Schneider “Zur Dreiecks symbolik bei Hegel” Hegel studien 8 1973 p. 55-77. The diagram cannot be dated but was found among Hegels papers.
There is a textual fragment that could have been the reason for Hegel’s drawing showing the trinity in connection with the dialectic of Subjective,Objective and Absolute concepts. This is discussed in at Magee’s text p. 110-113. He refers to Schneider who argues it is Neo-Paracelsian, neo-Agrippean and neo-Boehmian. Both authors are however lost in decoding the drawing and its sigels. Can we do better on the list?
The S in spiritus is drawn in pencil, perhaps reflecting a red letter in some original. It is uncertain whether Hegel himself drew it to shed light on his dialectic or whether he is copying something. Magee’s book is from a philosophical point of view excellent in making grey and tiresome concepts glow.
Susanna Akerman

Alfred Stieglitz, Marcel Duchamp & Man Ray, New York Dada, n° 1 (unique), 1921.

Sophie Taeuber Arp, Vertical-Horizontal Composition, 1918

Sparrows in various poses of flight.
From here.
                                                  High-res →

Viking Eggeling, Etude pour ‘Horizontal-Vertical Orchestra III’, (Etude pour ‘horizontal-vertical orchestra,III’), 1920, Mine graphite et crayon gras sur papier, 33,5 x 68,5 cm, Centre POmpidou, © Georges Meguerditchian - Centre Pompidou, MNAM-CCI (diffusion RMN)© domaine public

Viking Eggeling, Etude pour ‘Diagonal Symphony’, 1919, Mine graphite sur papier, 26 x 20 cm
Centre Pompidou, © (diffusion RMN)

Naum Gabo,Untitled, 1965-73.
Monoprint from wood engraving on paper.
No film which only translates into film what is known already (from the newspaper, a book, TV) is worth anything. A film has to find an expression in its own language.
- Harun Farocki (R.I.P.)

(Quelle: somenotesonfilm)


Antonio Frasconi