By Thomas Harrison
The yr 1910 marks an brilliant, and mostly unrecognized, juncture in Western heritage. during this perceptive interdisciplinary research, Thomas Harrison addresses the extreme highbrow fulfillment of the time. targeting the cultural weather of center Europe and paying specific realization to the existence and paintings of Carlo Michelstaedter, he deftly portrays the reciprocal implications of other discourses--philosophy, literature, sociology, song, and portray. His superbly balanced and deeply knowledgeable examine presents a brand new, wider, and extra formidable definition of expressionism and indicates the importance of this circulate in shaping the creative and highbrow temper of the age.1910 probes the recurrent topics and obsessions within the paintings of intellectuals as various as Egon Schiele, Georg Trakl, Vasily Kandinsky, Georg Luk?cs, Georg Simmel, Dino Campana, and Arnold Schoenberg. including Michelstaedter, who devoted suicide in 1910 on the age of 23, those thinkers shared the fundamental matters of expressionism: a feeling of irresolvable clash in human lifestyles, the philosophical prestige of loss of life, and a quest for the character of human subjectivity. Expressionism, Harrison argues provocatively, used to be a final, determined test by way of the intelligentsia to shield probably the most venerable assumptions of ecu tradition. This ideological desperation, he claims, was once greater than a religious prelude to international battle I: it was once an unheeded, prophetic critique.
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Additional resources for 1910: The Emancipation of Dissonance
This life-experience is not something outside us, an empirical "material" that we form and that can be detached from the manners in which we form it (Buber 1913a: 66). Nor is it a screen that changes with our perspectives and mental projections. Rather, it is our immersion in the dynamics of time and space. Life-experience allows no self to be detached from things outside it, no things to be detached from a self. The only I of which we can speak in this historical experience is "the I of a tension.
If they are not there, if form becomes empty and groundless, then there is no art" (Macke 1912: 89). Joy and sorrow—without which no form can be artistic—are upheavals of spiritual content, destabilizations of a given mental condition. Art is an intellectualization of passion. It is not a manifestation of spiritual content so much as a form revealing the upheaval of this content, in joy or sorrow. Dances, cathedrals, paintings, and plays are products of dissonant or ecstatic experience. If they do not reveal this turbulence they amount to nothing.
Fanfares of colors . . great, calm, heavy, disintegrating surfaces. Is this not form? Is this not the means ? Suffering, searching, tormented souls with a deep rift, caused by the collision of the spiritual with the material. . The living element of living and "dead" nature. Consolation in the appearances of the world—external, internal. Premonitions of joy. The call. Speaking of the hidden by means of the hidden. Is this not content? Is this not the conscious or unconscious purpose of the compulsive urge to create?
1910: The Emancipation of Dissonance by Thomas Harrison