Aesthetics, as it is understood here, is essential about forms. It questions the forms and prerequisites by which something is seen as being aesthetic. Media prerequisites, devices of knowledge and societal references are of importance in this. Aesthetics understood in this way recurs back to media theory, the history of art and science. 

Thematically, we deal with three areas: 1) History and the theory of perception as well as of optical media; 2) Spatial theories and topological debates; 3) Relational structures of the sciences and the arts.   

Historically, early modernity and (post)modernity play special roles. Optical media were generated in both periods, each time linked with artistic languages, calculating machines, illusional spaces and thirty-year wars. 

In all of these contexts the question of aesthetics becomes a critical investigation of forms that are displaced, transmitted, misunderstood, reinterpreted etc. Such a strategy is aimed at the observation of differences, gaps, and transitions.

A concern with forms also implies dealing with implicit prerequisites. Put another way: it is about that which makes visible without being visible. It is this, precisely, which is the formula for the eye’s blind spot. Its blindness however is not the opposite of visibility, rather its prerequisite. Aesthetics can only be grasped in passing through the blind spots.

Teaching Staff


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