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The Independent – The Artist Philospher

AN ARTIST PHILOSOPHER IS A PERSON WHO SHAPES AND STYLES THEIR EMPRACTICAL INSPIRATION. WHAT IS ‘EMPRACTICAL INSPIRATION’ ANYWAY? MANIA? CRAZINESS? GENIUS? EMPRACTICAL INSPIRATION IS A PHYSICAL AND SPIRITUAL CREATIVE IMPULSE TO SHAPE AND CREATE CHAOS.

An artist phi­lo­so­pher shapes the emp­rac­ti­cal. Artis­tic phi­lo­so­phy, as it were, doesn’t only reflect or talk about ‘art’ in phi­lo­so­phy; rather it talks about how phi­lo­so­phy is shaped when it meets face to face with art. Phi­lo­so­phy doesn’t beco­me true phi­lo­so­phy only when it’s mathe­ma­ti­cal and logi­cal. Phi­lo­so­phy only beco­mes phi­lo­so­phy when it’s aes­the­tic. Truth sim­ply can­not be sepa­ra­ted from beau­ty. The­re are two types of artist phi­lo­so­phers: emp­rac­ti­cal and per­for­ma­ti­ve ones. Or to quo­te Nietz­sche: Dio­ny­si­an and Apol­lo­ni­an. The­re are artists who focus on events and others who focus on expe­ri­en­ces. Art can be evo­lu­tio­na­ry or transhuman.

Art is living, shaped living. 

Per­for­mers don’t have emp­rac­ti­cal inspi­ra­ti­ons. They set the sce­ne. They belie­ve you can set ever­ything instru­ment­al­ly. They are not emp­rac­ti­cal, spi­ri­tu­al, nor phy­si­cal. They’re roo­ted to what they show. Admit­ted­ly, impro­vi­sa­ti­on does play a minor role, allowing the emp­rac­ti­cal side to mee­kly rai­se its head, but they’re always nip­ped in the bud when set­ting the stage.

The artist phi­lo­so­pher isn’t only an emp­rac­ti­cal per­son, but also an exprac­ti­cal one. A per­son pla­ced bey­ond the flow of ever­y­day life, embo­dy­ing abso­lu­te inde­pen­dence. This inde­pen­dence, this divi­ded exis­tence from life its­elf end­an­gers him and makes him appe­ar as dan­ge­rous. The artist phi­lo­so­pher radi­ca­li­ses the emp­rac­ti­cal and turns it into the exprac­ti­cal. He’s an out­si­der, stan­ding abo­ve ever­yo­ne else. He’s sov­er­eign. Sov­er­eign art is exprac­ti­cal as much as an aes­the­tic emp­rac­ti­cal ele­ment. The sov­er­eig­n­ty of the artist phi­lo­so­pher is exprac­ti­cal deter­mi­na­ti­on. Bor­ders crum­bles under the exprac­ti­cal deter­mi­na­ti­on to set new ones. The artist phi­lo­so­pher cros­ses bor­ders, his art is the bridge. The dis­or­der of the pul­si­on and desi­res in the expra­ti­cal world doesn’t need to jus­ti­fy its­elf to anyo­ne. It’s bey­ond good and evil, it’s what allows us to dif­fe­ren­tia­te bet­ween good and evil in the first place. Artis­tic sov­er­eig­n­ty doesn’t need to jus­ti­fy its­elf with use­ful­ness– it repres­ents the sen­se of ever­ything and ever­yo­ne by not being. It is absolute.

The artist phi­lo­so­pher is no huma­nist, rather an ex-huma­nist, an ecsta­tic huma­nist, a nihi­list, a huma­nist-cum­ni­hi­list. He’s deca­dent, goes against cul­tu­re. When he hears the word ‘cul­tu­re’, he takes the safe­ty catch off his revol­ver. His aes­the­tic uto­pia, his metatro­pism, ral­lies against the spi­rit of fal­se impres­si­ons, against the moral poi­son of poli­ti­cal cor­rect­ness. He fights the can­cer of human empa­thy which infects you if you read too much of Kant’s Cri­tique of Prac­ti­cal Rea­son. The artist phi­lo­so­pher rejects taboos to crea­te new values. Pro­hi­bi­ti­ons are bro­ken to make new rules. That is a requi­re­ment. The phi­lo­so­pher artist breaks, he opens new doors. He’s pla­ced on the thres­hold of being a cri­mi­nal. His time is the thres­hold of time, the time of brea­king and ent­e­ring, the time to take off.

His sov­er­eig­n­ty is reflec­ted by the fact he gets the take-off time just right, he skips over time in the river of time. He jumps into not­hing and meets the time of events. That’s how he pro­ves his sov­er­eig­n­ty. He jumps into not­hing to beco­me ever­ything. He breaks exis­tence, he breaks pre­sence, he lives out­side his own self to ensu­re he’s not just the­re. A sov­er­eign is independent.

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Künstlerphilosophin. Sie promovierte zum Thema: „Sehnsüchtige Körper – Eine Metatropie“. Lehre seit 2006 an verschiedenen Hochschulen und Universitäten. Darunter: Philosophisches Institut der Universität Leipzig, Hochschule für Grafik und Buchkunst zu Leipzig, Kulturwissenschaftliches Institut der Uni Leipzig, Germanistische Institute der Universitäten Lodz, Piliscisiaba/Budapest und Sydney/Australien. Außerdem hielt sie Vorlesungen und Seminare vom WS 2012/13 – WS 2013/14 als Juniorprofessorin (i.V.) an der Sportwissenschaftlichen Fakultät der Uni Leipzig. Kolumnistin der Leipziger Zeitung seit 2015. Mitglied des kulturwissenschaftlichen Beirates Klinikum Bremen Ost. Von 2002 bis 2010 war sie Vorstandsmitgleid der Nietzsche Gesellschaft e.V.. Wichtigste Publikationen: Volker Caysa/ Konstanze Schwarzwald: Nietzsche – Macht – Größe (De Gruyter), Volker Caysa/ Konstanze Schwarzwald: Experimente des Leibes (Peter-Lang-Verlag 2008), Sehnsüchtige Körper – Eine Metatropie (2011), Askese als Verhaltensrevolte (2015), Denken des Empraktischen (2016). www.empraxis.net. Foto © Hagen Wiel

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