I count 15 art historians here. Most of the names are in red, and the only ones that are hyperlinked seem like progs. Then there are 16 philosophers and 14 psychologists, most of them obscure. A couple ethnologists, a few “Africanists”. Even though most of them are in red these are probably only the surface professors.
This is an epistemological inquiry- What is knowledge? Professors of today aren’t even allowed to be like the ones above. If Heidegger is among the names in the above link then I’m willing to entertain the possibility that some of the others surrounding him were legitimate scholars.
Digressing for a second, something I find funny is when a bioleninist “boosts” another sorry soul in their “extended network” of the wretched, because on closer inspection it seems to be more of a self-affirmation than anything. It’s a way of giving their own self self-esteem. Differently put, if you think of intersectionalism, you might see an Indian supporting a black. That’s a way that they support themselves. They’re screaming “You go girl!” in a mirror, in other words.
“I thought we killed all you fascists that remind us of that!” It’s just a collection of the insecure. People like that shouldn’t have political influence. Everything they say proceeds from pain, and their idea of reality is going to be distorted for that reason. Negative emotions are at the foundation of their politics.
All this to say, the general ethos of those Krauts didn’t stem from that need for self-affirmation, the you go girl kind of attitude. They were the ones who made people need those self-affirmations, that’s part of why they’re hated. That attitude is baked into this Saxon country- even if you’re as good as second you’re still conditioned since youth to identify with people who are ninth.
Back to what this Sedlmayr offers though
“a mirror image of the avant-garde myth. Revolution and reaction agree on the meaning but not the worth of modern art.” This is why Adorno was willing to engage with his thought. Adorno observed in 1958–59 that “my work on the ageing of modern music… paradoxically, runs parallel to the work of Sedlmayr.”
This is disturbing
Sedlmayr believed he could glimpse the new face of the human being, divorced from its grounding by God
This theorist really speaks to me, hopefully there’s a pdf somewhere of what Adorno called his “crypto-fascist” text
Sedlmayr, before Bruegel’s paintings, asks the vertiginous question, “What is man, anyway?” The apocalyptic answer he perceived in the “hidden dissonance” of Bruegel’s paintings is a world in which the human persists, but grotesquely emptied of essence, a husk evincing “the demotion of the human to the animal or vegetable.”
I’m in a mood of mourning for our culture.
Walking on all fours except in grammatically pristine English
The art historians from this time and place are shaping up to be as perception-warping as the anthropologists.
Remember these disgusting shows? Great for kids, huh?
This is what naturally follows when Picasso is regarded as a genius arteest.
What a breath of fresh air Sedlmayr is
No one deserves the gallows, instead you should affirm people, and thus affirm yourself.
I don’t know if there is a treatment for this cancer, he seems though like someone who can help us with that. His type of perception isn’t in any aesthetic theory books I’ve read.
Something you don’t see every day
Sedlmayr developed in art history something akin to what Schmitt attempted in political theory