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Overview of the aesthetic positions of Didi-Huberman in the context of some of his programmatic texts; insights into the theory and practice of philosophical aesthetics on the basis of specific case studies; outlooks on the further development of aesthetics.

"Should we not", asks Didi-Huberman at the beginning of The Archive burns (Das Archiv brennt), "think about what prevented its destruction, its disappearance, every time we look at an image? Because it is so easy, because it was so common to destroy images in every epoch." (Didi-Huberman 2007: 7) With these impressive and insistent words Didi-Huberman reminds us that the history of aesthetics corresponds with a history of appearance and disappearance, that is of creation and destruction of art. In this seminar we will trace some moments of the unsettled history of art with Didi-Huberman, insofar as we will be posing the question in the context of programmatic texts and case studies, what images are able to convey to us.

Reading proseminar; short presentations followed by discussions. 

Written.

Didi-Huberman, Georges. Wenn die Bilder Position beziehen. Das Auge der Geschichte 1. München: Fink, 2010.

Didi-Huberman, Georges. Das Nachleben der Bilder. Kunstgeschichte und Phantomzeit nach Aby Warburg. Übersetzt von Michael Bischoff. Berlin: Suhrkamp, 2010.

Didi-Huberman, Georges und Ebeling, Knut. Das Archiv brennt. Berlin: Kadmos, 2007.

Didi-Huberman, Georges. Bilder trotz allem. Übersetzt von Peter Geimer. München: Fink, 2007.

Didi-Huberman, Georges. Die leibhaftige Malerei. Übersetzt von Michael Wetzel. München: Fink, 2002.