lecture at Stanford University

Stanford University
Department of comparative Literature
Meyer Library Building
Room 147
3:15 – 6:15pm

If media stimulates our internal states as narrative structure of imagination and interpretation, which process is then decisive between the boundaries of collective memory and personal fantasies?

External spaces provide significant influences on 'cultural creativity' whereas projection of internal imagery can be read as the production of culture itself. How can artwork give inspiration to textual production without repeating or illustrating its content?

On the other hand – what happens when textual production tries to describe aesthetic processes?

Art establishes a floating balance of the ambiguity between explainable reality and associations, which are evoked from unconscious resources when our semantically disciplined 'production of meaning' fails.

An example for cross-frontier inspiration will be given by the installation mode of the project “Working in Los Angeles” where the production of imagination is likewise to the process of reading a book.

The affinity of photography and theory-production towards pretended objectiveness exists in the apparent absence of the researching Subject. The emerging of theoretical essays in the 20th century that include the researchers position go hand in hand with the arise of artistic investigation of the assumed 'mechanical objectiveness' in photographic images - deriving from the first steps of photography as scientific tool.

The so-called 'generating' of an image and its politics of spectatorship will be discussed within art projects concerning self-reflective theory production.

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