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Constanze Fritzsch: Carlfriedrich Claus’s Speech Sheets 'Procedural Manifestation of New Relationships between Man and Woman'
Carlfriedrich Claus’s Speech Sheets 'Procedural Manifestation of New Relationships between Man and Woman'
(p. 531 – 545)

Constanze Fritzsch

Carlfriedrich Claus’s Speech Sheets 'Procedural Manifestation of New Relationships between Man and Woman'
A Crystallization of the Exploration and Incorporation of Marxist Thought (…Speech Sheets 'Process-related Implementation of New Relationships between Men and Women':…)

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  • physiology
  • history of science
  • gaze

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Constanze Fritzsch

is a research assistant for the ERC-funded research project “To Each His Own Reality” at the German Center for the History of Art in Paris. She was previously an assistant teacher at the Bauhaus University of Weimar. She is preparing a PhD at the Catholic University of Eichstätt-Ingolstadt about aesthetic experiences as Marxist poetics in the 1960s and ’70s in divided Germany.
Michael F. Zimmermann (ed.): Vision in Motion

Vision is not mere registration of what enters, via the gateway of our eyes, from the outside world into our inner consciousness. Understanding the act of seeing as mirroring the outside world in mental images overlooks its temporal aspect. From Berkeley to Helmholtz, from Goethe to Cézanne, new discourses based on the physiology of the sense organs lead to new conceptions of vision not only conceived of as a mental process, but as a cognitive activity. Even before Freud interpreted dreams, seeing was conceived of as accompanying our life even when we sleep. However, to understand even the stream of the sensations, we have to configure them in pictures. Since the 19th century, the media reflect about the confrontation of seeing as a diachronic activity and of perception as coded in synchronic images. The contributions to the volume investigate the opposition of the stream of sensations and the configuration of time – from early illustrations of plants to the avant-gardes, from gesture to cinema, from decapitation to dance, from David Hume to Bergson and Deleuze. The main objective is a critical examination of images rendering vision in motion, without reducing them to the temporality of narrative.

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