Alexander Gottlieb Baumgarten (1714-62) hat in seiner Ästhetik die Theorie der „ästhetischen Wahrheit“ (veritas aesthetica) etabliert. Ihre Originalität besteht nicht nur darin, dass sie für die „sinnliche Erkenntnis“ spezifisch ist, sondern auch, dass die Fiktion, besonders die „poetische Fiktion“ (fictio poetica), welche „in dieser Welt als Mögliches keinen Platz hat“, in seiner Ästhetik für „metaphysisch wahr“ anerkannt wird. Diese poetische Fiktion, die bis dahin als ein „nur Mögliches“ (mere possibile) oder ein „Nicht-Seiendes“ (non ens) nicht für wahr gehalten wurde, wurde in seiner Ästhetik auf die metaphysische Wahrheit gegründet und als „Seiendes“ (ens) gültig gemacht, wodurch ihr ein ontologischer Grund der Wahrheit verliehen wurde. Die ästhetische Wahrheit bedeutet hier also nicht nur die „Wahrheit der Erkenntnis“ (veritas cognitionis), sondern auch die „Wahrheit des Seinenden“ (veritas entis). Diese zwei Arten der Wahrheit sind in Baumgartens Ästhetik untrennbar miteinander verbunden. In welchem Sinne wird nun diese Wahrheit der Fiktion, oder die Wahrheit des Möglichen, wissenschaftlich-theoretisch möglich gemacht? Beachtenswert ist hier, dass seine Metaphysik oder Ontologie (wie auch Leibniz’ und Wolffs) auf ganz anderen Ideen als vorhergehende beruht, nämlich als „Wissenschaft der möglichen Dinge“ (scientia possibilium) konzipiert wurde. In dieser Abhandlung wird dieses Thema mit Rücksicht auf eine kleine Begriffsgeschichte von „Möglichkeit“ und „Mögliches“ im Detail behandelt werden.

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In the First Book of the Critique of the Power of Judgment (1790), judgments of taste which state the beauty are based on a subjctive ground, or the feeling of pleasure, so that they are not logical cognitive judgments which constitute “a cognition of the object through concepts of it” (V 211) but aesthetic judgments. Therefore, they cannot state truth or falsehood of themselves as logical cognitive judgments do. However, Kant uses the expression of “a false (or an erroneous) judgment of taste (ein irriges Geschmacksurteil)” (V 216). If this “false (or erroneous)” is not logical one, what does it mean? About what are judgments of taste false? Now, we have three leading interpretations of judgments of taste to resolve these questions, i.e. interpretation from an epistemological, moral, aesthetic point of view. But I think that the first two interpretations are not successful, because they contradict Kant’s statements in some points as I will show. Thus, in this paper by adopting the aesthetic interpretation of judgments of taste I shall answer the questions concerned, namely argue that the falsehood (or error) of them consists in choosing an inappropriate feeling of pleasure for the ground of judgments of taste.

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I would like to nominate the thoughts of Hermann von Helmholtz, a celebrated German physiologist and mathematician in the nineteenth century, as a framework for interpreting sculptor Adolf Hildebrand’s great work, ‘Das Problem der Form in der bildenden Kunst’ (1893). It can be clearly inferred from Hildebrand’s letters that he had inspected Helmholtz’s popular papar on the non-Euclidean geometry system. The concept of the “plane” in this paper was decisive. Helmholtz’s thinking experiment, “Can an insect with only plane perception crawling on an egg recognize its three-dimensional curved surface?”, probably influenced Hildebrand’s sculpture-aesthetics, which analyzed the shapes of objects with a series of concepts, “face”, “layer”, “face layer”, etc. Helmholtz’s insight that “The world is made of flat surfaces” had thus profoundly affected the sculptor. What kinds of human abilities are needed to perceive the composition of the world? At the end of the eighteenth century, a controversy broke out between Immanuel Kant and the followers of Gottfried Leibniz about whether to lay the foundation of space on “intuition” or “intuition and concept”. However, Hildebrand’s involvement in this history made him confront the conflict between “intuition” and “intuition and concept”, which unexpectedly led to a serious political and racial problem.

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L’objectif de l’article consiste à mettre en lumière une fonction des images utilisées par Georges Bataille dans ses essais sur l’érotisme, fonction différente de celle de l’image «informe» trouvée dans la revue Documents. Les Larmes d’Éros est chargé d’ouvrir la conscience à l’identité entre la «petite mort» et la mort définitive et de l’ouvrir à la conscience de soi. L’image érotique servit à leur accomplissement. Il exige de les regarder à travers les «larmes», de les prendre dans sa propre conscience. Selon Bataille, cette prise permet de produire les images érotiques mêmes : celles-ci résultent de la prise de conscience d’une violence ou d’une fièvre de l’érotisme. Ainsi, une telle image peut servir de guide pour ouvrir à la conscience de soi. À la différence de l’image «informe», forme échappant à la fixité, l’image érotique est immobile au sens où elle est une forme faite par soin, claire et déterminée. C’est grâce à ce caractère qu’elle est mise en oeuvre dans les ouvrages de Bataille, notamment d’après-guerre, pour développer la conscience humaine.

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This paper analyzes the photographs and films which recorded the creation of Jackson Pollock’s all-over paintings. Hans Namuth was photographer and filmmaker who did them in 1950. There are black-white photographs which show two all-over paintings, and films which show three all-over paintings. Pepe Kermel analyzed these photographs and films, and insisted that there were humanoid and animal figures in all-over paintings (Pepe Kermel, 1998). However, as Kent Minturn pointed out (Kent Minturn, 2001), there is a possibility that Kermel arbitrarily made such figures by graphic software. This paper tries to analyze these photographs and films again. I sorted these by stages, and reconstructed whole canvas. As a result, it became clear that there are humanoid figures and materials at the first layers of No. 27, 1950, No. 29, 1950. Pollock drew strokes on upper layers to cover these figures. Meanwhile, on the red canvas picture which is lost now, Pollock didn’t draw the representational figures, but made each layer by repeating same simple lines from side to side. We can see that Pollock had two methods for making all-over paintings, one with representational figures and one without.

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In the early 1960s, Fluxus, an art movement organized by George Maciunas (1931- 1978), an art historian and designer, performed “Event” based on the instruction called “Score.” Their central activity was holding the concert consisted of “Event.” “Event” was performed under avant-garde interpretation in the concert and it emphasized the anti-artistic aspect of Fluxus. On the other hand, George Brecht (1926-2008) who wrote “Score” intensively and developed “Event” into concept, thought “Event” did not need to be performed. It was intended as a means of drawing the perceptual experience. I would like to pay attention to the gap between the two and how to perform the “Event” in this thesis. When looking at the idea that Maciunas aimed at Fluxus, it turns out that he requested the viewers to experience the “Event” subjectively, but in the concert actually, the viewers were passive. Therefore, through reconsideration of the “Event” by Brecht, I intend to present the viewpoint that the very “Event” which Brecht attempted embodied the ideal that Maciunas envisioned in Fluxus.

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This paper explores the Japan Ushimado International Art Festival held in Okayama Prefecture, Ushimado, every year from 1984 to 1992. Few papers have focused on the Japan Ushimado International Art Festival; moreover, art historians have not comprehensively explored this festival. Therefore, I clarify this festival as a whole through materials collected and interviews of the concerned people. I also examine this art historical condition. Furthermore, I consider the transformation and context of open-air art exhibitions in the 1980s Japan. Analyzing the content every time, we can determine the response to the problem of the transformation of “art work” and “display,” the dilemma of traditional large-scale art exhibitions in central Tokyo, finding that Japanese warehouses (Kura) as well as hills and harbors were being transformed into spaces for this exhibition. On the other hand, this festival references Ushimado’s local culture. Thus, the transformation of “art exhibition” such as the Japan Ushimado International Art Festival reflects not only the expansion of “art” but also the problem of the institution of “art.” This perspective indicates the aspect of post-modern Japan that cannot be overlooked.

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Ikko Tanaka (1930-2002) was a distinguished Japanese graphic designer in postwar Japan. Representations of his design works are diverse. However, the theme of “Japanese tradition” or “Japaneseness” is present consistently in Tanaka’s unique expression in his works. This paper examines the representation of “Japaneseness” of Tanaka’s works in the context of postwar graphic design circles. Tanaka’s design for the “Exhibition of Japanese Textiles at Takashimaya in New York (1959),” which utilized only “kanji (Chinese characters) typography,” has been evaluated by a Western sense of modern design as a work that expressed Japanese traditional culture. Without relying on Japanese motifs such as Mt.Fuji, Japanese cherry, or “geisha”, this is an epoch-making work that expresses “Japaneseness” only through kanji; it is one of the masterpieces in Japanese graphic design history. In this work, Tanaka created “the originality of Japanese Design” by a method of constructing into the design while taking advantage of the function of kanji ideograms. In order to shed the imitation of Western design, Tanaka represented “Japaneseness” by adopting the “zure (gap)” and “kasure (scratchiness)”, which departed from modern design theory, and by devising a new color scheme.

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Dieser Aufsatz behandelt die vom Architekt Adolf Loos während der Jahrhundertwende in Wien entworfenen Geschäftsgebäude. Bei den Häuser von Loos hat die geputzte Fassade den Effekt der schweigsamen Maske, die die Bewohner vor dem Lärm der modernen Großstadt schützt. Im Gegensatz zur dieser Maske wirken die Fassaden der Geschäftsgebäude vielmehr auf die Strasse und Platz, zu den sie hinausgehen. Dieser Aufsatz versucht zu beschreiben, wie die Wirkungen von drei Werken, das heißt dem Café Museum (1899), der Kärntner Bar (1909) und dem Looshaus (1911), verwirklicht wurde. Zunächst betrachten wir beim Café Museum die Effekte, die durch Material und Form den Fluß zwischen Räumen der Lokale und Strasse verstärkt. Dieser Fluß stimmt der Ornamentlosigkeit dieser Lokale zu. Im zweiten Beispiel hat die Kärntner Bar, eine der ersten amerikanischen Bars in Wien, auf ihrer Fassade ein Sternenbanner und eine darunter liegende Kolonnade. Diese Fassade repräsentiert die Verbindung der europäischen Tradition mit der von Amerika. Das Looshaus schließlich hat in seinem Wohnungsteil eine weiß geputzte und ornamentlose Fassade, die vom Wiener Publikum als Majestätbeleidigung der Hofburg gesehen wurde. Durch diesen Werk gelang es Loos den Stadtbewohner die architektonische und kulturelle Tradition der dieser grossen Stadt aufzuzeigen.

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Movie theaters in the silent era had a feature as a concert hall. Especially in Japan in the Taisho era, they were central places where ordinary people heard Western music. Though they are important case for Japanese receptive study of Western music, how film audiences received it had scarcely been investigated. This study, focusing on some theaters in Tokyo especially around 1920 and 1927, tries to show their receptions of Western music. First three sections consider on the audiences’ columns in the pamphlets issued by one of the main movie theaters, Teikokukan in Asakusa. They show that audiences were so interested in Western music which was frequently played as intermission music that, when the same music was used for film accompaniment, it sometimes gained audiences’ attention more than the film it was used for. But until 1927, musical medleys had gradually gained popularity as a new form of intermission music. The popularity was based on each tunes’ associative images which had been formed in audience through their repetitive use in film accompaniment. The peculiar associations formed in the movie theaters gave birth to a unique musical practice.

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This paper selects Neo-Riemannian theory and aims to contextualize and characterize the developmental process of the relevant academic discipline by tracing the complementary and competitive relationship of Neo-Riemannian theory with the existing Schenkerian theory. Neo-Riemannian and Schenkerian theories cannot be compared even by analytical objects. However, as observed by Julian Hook (2007, 168) who considers it a “mistake” if one regards “transformation” and “prolongation” as antithetical conceptions, even though there is a fundamental difference between the theories, the integration or differentiation of both theories has been suggested in several studies (Cohn 1999, Samarotto 2003, Hook 2007, Goldenberg 2007, Rings 2007, Baker 2008). This case study examines the effects of the methodological arguments that advocate a new theory over an existing one. The effects are divided into two categories: first, enabling heuristic interpretations through a hybrid theoretical framework by quasi-integration and, second, showing the capacity of one theory by explaining what the other theory reveals. In other words, a series of arguments arise from the methodological difference related to the priority of “interpretation” or “method,” that is, the theory that sets as an end objective renewing the interpretation of musical pieces, holding the incompatibility of methods, or evoking a new theoretical model.

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