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Wilhelm Worringer Abstraction And Empathy Pdf

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Second, this conception of space is related to the Th. Third, the paper integrates this aesthetics in a model that conceives form as force Goethe. After all, this notion responds also to a conception of art in terms of space and affectivity.

New German Critique 1 February ; 44 1 : — The polemical diagnosis claims that because the arts are no longer able to express a collective subjectivity, they have become socially irrelevant. In a more redemptive gesture, Worringer then proposes that sensuous criticism of past art will replace art itself, since criticism now channels Germany's creative energy and serves the former social functions of art. This article historically contextualizes this new form of criticism as an intervention into the Methodenstreit methodological debate and the field of social energetics, two crucial discussions around on the future of the humanities. The article also shows that Worringer's new criticism, which takes the form of the Denkbild thought-image , attempts to fuse the discursive with the sensuous and visual.

Obrist/Worringer/Marc: Abstraction and Empathy on the Eve of World War One

Dhika Himura rated it liked it Sep wilhelm worringer abstraction and empathy, Their spiritual dread of space, their instinct for empsthy relativity of all that is, did not stand, as with primitive peoples, before cognition, but above cognition. Dee, Publisher, Chicago. PDF The inconsistent definition of empathy has had a negative impact on both research and practice. The aim of this article is to review and critically appraise a range of definitions of empathy. Just as the urge to empathy as a.

Illustration, Abstraction, Advertising: Wilhelm Worringer and the Continuities of German Art

Wilhelm Worringers landmark study in the interpretation of modern art, first published in , has seldom been out of print. Its profound impact not only on art historians and theorists but on generations of creative writers and intellectuals isMoreWilhelm Worringers landmark study in the interpretation of modern art, first published in , has seldom been out of print. Its profound impact not only on art historians and theorists but on generations of creative writers and intellectuals is almost unprecedented. Starting from the notion that beauty derives from our sense of being able to identify with an object, Worringer argues that representational art produces satisfaction from our objectified delight in the self, reflecting a confidence in the world as it is - as in Renaissance art. By contrast, the urge to abstraction, as exemplified by Egyptian, Byzantine, primitive, or modern expressionist art, articulates a totally different response to the world: it expresses mans insecurity. Thus in historical periods of anxiety and uncertainty, man seeks to abstract objects from their unpredictable state and transform them into absolute, transcendental forms.

But even though the two books both generally deal with the topic of art and spirituality, they approach the subject in significantly different ways. Kandinsky lays out clearly in his book the ideas he developed about the relationship between music and spirituality, and telegraphs his intent to find a way to express that same relationship through abstract visual art. Worringer does not write about the connection between visual art and music, but he does address how abstraction relates to spirituality in general. And he addresses the biases that people had towards abstract art at the turn of the 20th Century. The prevailing attitude at that time was that abstract art deserved less respect than representational art. Most critics, teachers, and curators believed that only artists who did not have the competency to perfectly copy nature turned to abstraction.


Worringer, Wilhelm, [Abstraktion und Einfiihlung. English]. Abstraction and empathy: a contribution to the psychology of style I by. Wilhelm Worringer.


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File:Worringer Wilhelm Abstraction and Empathy 1997.pdf

Wilhelm Worringer

Wilhelm Robert Worringer 13 January in Aachen — 29 March in Munich was a German art historian known for his theories about abstract art and its relation to avant-garde movements such as German Expressionism. Through his influence on the art critic T. Hulme , his ideas were influential in the development of early British modernism , especially Vorticism. Worringer studied art history in Freiburg, Berlin, and Munich before moving to Bern, where he got his Ph. He taught at Bern University from to

Wilhelm Worringer's landmark study in the interpretation of modern art, first published in , has seldom been out of print. Its profound impact not only on art historians and theorists but also for generations of creative writers and intellectuals is almost unprecedented. By contrast, the urge to abstraction, as exemplified by Egyptian, Byzantine, primitive, or modern expressionist art, articulates a totally different response to the world: it expresses man's insecurity. Thus in historical periods of anxiety and uncertainty, man seeks to abstract objects from their unpredictable state and transform them into absolute, transcendental forms. Abstraction and Empathy also has a sociological dimension, in that the urge to create fixed, abstract, and geometric forms is a response to the modern experience of industrialization and the sense that individual identity is threatened by a hostile mass society.

New German Critique 1 February ; 44 1 : — The polemical diagnosis claims that because the arts are no longer able to express a collective subjectivity, they have become socially irrelevant. In a more redemptive gesture, Worringer then proposes that sensuous criticism of past art will replace art itself, since criticism now channels Germany's creative energy and serves the former social functions of art. This article historically contextualizes this new form of criticism as an intervention into the Methodenstreit methodological debate and the field of social energetics, two crucial discussions around on the future of the humanities. The article also shows that Worringer's new criticism, which takes the form of the Denkbild thought-image , attempts to fuse the discursive with the sensuous and visual. It thereby aims to reverse a modern trend toward increasingly abstract or conceptual thought. Criticism should instead rely on empathy for historical artworks, whose appreciation is meant to foster the public's feeling of being at home in the world.


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Однажды, в первый год своей работы в агентстве, Сьюзан заглянула в комнату новых криптографов за какими-то бумагами. Уже направляясь к двери, она увидела свое фото на доске объявлений и едва не лишилась чувств. На фотографии она была изображена наклонившейся над постелью, в одних трусиках. Как выяснилось, кто-то из криптографов сосканировал фотографию из порножурнала и приставил к телу головы модели голову Сьюзан.

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Wilhelm Worringer. Abstraction and Empathy

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