A Art project with lecture videos
and free media (2 eBooks, an audio book and a pdf).
As a Introduction to public events and discussions in the post-corona period.

All of the music on the videos and free media from speed project.

Introduction to the video series
Memory art
Paradox of a tradition in the modern age

The question of a tradition in the modern age touches on the paradox of the incompleteness of thinking in relation to a certainty.

Introduction to the Video Series: The Art of Memory. Paradox of a tradition in the modern age


(1) Kafka had to reveal the truth in order to save the transferability ...

On the basis of this sentence by Walter Benjamin about Franz Kafka, I will follow up indications of an integration of the paradox as part of a methodology by Kafka.
With Revealing the truth ... is probably not meant a rejection of a possibility of truth. Rather, 'to give up' here means to put the moment of truth in the open. After the loss of meaning of the canonical and firmly established truths in the great traditions, Benjamin and Kafka are concerned with enabling an open tradition on the open stage of the spirit and supported by the unconditional ›individual‹ ...

Part 1: "Kafka had to reveal the truth in order to save the transferability ..."

(2)  ... All this literature is a rush against the border ...  (Franz Kafka)

A piece from Kafka's diaries with almost programmatic references to a tradition in the modern age, a "new secret doctrine, a Kabbalah" in Kafka's words, leads further to the complement of "the most unbridled individuality ..." (Kafka) and cultural and thus also collective memory. Kafka appears here as an example of other voices to which, after the loss of meaning of the canonical forms and, as it were, in the eye of the major catastrophes of modernity in the first half of the 20th century, a new form of tradition seemed particularly urgent.

Part 2: "... All this literature is a rush against the border ..." (Franz Kafka)

(3) ... believe that the incomprehensible appears anyway, and indeed hidden. (Simone Weil)

Kafka's methodology is continued with a few excerpts from the work of the French philosopher. With Weil, too, the starting point is the assumption of the basic human talent for substantial experience at the limit of knowledge. The perspective of a universal humanity, derived from the anthropological motif of this talent, finds a more extensive expression in Weil.

Part 3 - With texts by Simone Weil

(4) Ludwig Wittgenstein: There is, however, the unspeakable. It's the mystical.

With excerpts from Wittgenstein's only book published during his lifetime, the Logical philosophical treatise, the methodology is carried out according to the anthropological understanding of Weil and Kafka. With the often quoted sentence "Whereof one can not speak, thereof one must be silent" Wittgenstein also emphasizes a limit to knowledge and, above all, the caution against incorrect linguistic access. But it is precisely in recognition of the limit that Wittgenstein also measures the human being with a special mode of cognition as a supplement or complement to the logical-linguistic access to: That Ineffable [...] shows up. With Wittgenstein, who is hardly suspected of being a mystagogue - on the contrary, based on the Vienna Circle, Bertrand Russel and analytical philosophy, he was made a figurehead of positivistic rationalism - with Wittgenstein we can use the term and with a view to transferability understanding one mystical Regain perspective as a basic anthropological motif. With Wittgenstein, the question of one now moves more strongly than with Weil and Kafka ethical musicality in connection with the culture of a mystical perspective in the foreground: It is clear that ethics cannot be expressed, ethics are transcendental.

Part 4 - With texts by Ludwig Wittgenstein

(5) Hannah Arendt. Considerations on ›ethical musicality‹

"It is clear that ethics cannot be expressed, ethics are transcendental". Ludwig Wittgenstein's sentence leads to the question of how ethics in the modern age is still conceivable and how it can be shaped. A question that was the focus of a series of lectures given by Hannah Arendt in 1960. In the lecture "Some Questions about Moral Philosophy", Arendt describes how a society that saw itself as a supporting part of a humanistic tradition can turn its ethical principles into their opposite within a few years. Arendt asks what motives the few who showed themselves immune to this perversion lived and acted for.

Arendt: An example from our recent experience illustrates this point. If you take a closer look at the few, the very few who remained perfectly safe and innocent in the moral collapse of Nazi Germany, you will discover that they have gone through nothing like a great moral conflict or a crisis of conscience. (…) They felt no obligation, but acted in accordance with something that was self-evident to them, even if it was no longer self-evident for those around them. Your conscience, if that was it, had no compelling character: it said: ›I can't do that‹ instead of: ›I can't do that‹

(From: A lecture on questions of ethics Some Questions of Moral Philosophy. Lecture at the New School of Social Research, New York, 1965)

Part 5 - Considerations on ›ethical musicality‹

(6) A poem by Catharina Regina von Greiffenberg

With references in the poem About the unspeakable Holy Spirit inputting of the Austrian poet of the Baroque era, a Protestant mystic and ›exile‹ in Austria, the complement of unrecognizability and essential experience is poetically reflected. 

In the pictorial paradoxes:

You unseen lightning, you dark and bright light,
You heart-filled strength, but incomprehensible being!

- the poet sums up the complement in the very first lines in the image of a ›Syngenia‹, in opposition to an essential unity. Greiffenberg emphasizes experience as a cognition in the substance itself, as one Breath power, as a cognition in the Ore-being-yourself:

The soul is not so praiseworthy of itself.
It's a wonder wind, a spirit, a weaving being,
The eternal breath-power, the arch-being itself,
That in me ignites this sky-flaming light.

Part 6 - A poem by Catharina Regina von Greiffenberg

(7) encouragement. A poem by Friedrich Hölderlin

Hölderlin also opens his poem with the image of a syngeny.

Echo of heaven! Holy Heart! why

It is an experience of participating in kinship, yes, of being one from the innermost and encompassing. Cultivating this experience as the basis of a tradition, however, seems to him lost in the dawn of modernity:

Why do you fall silent among the living
Sleep, Free! of the godless
Relegated forever down into the night?

But like Catharina von Greiffenbergs, Hölderlin also points to a substantial and always effective, inevitable experience:

And blowing silently like a barren field,
The othem of nature to you who
All-exhilarating, soulful.

For Hölderlin, an attitude towards life is shaped and thus a tradition from this mystical perspective as well as its poetic perspective encouragement:

At the Jova! soon, soon the groves don't sing
Only praise of life, for it is the time
That they, from the mouth of men
More beautiful soul proclaims itself anew,

In his works, in poetry and prose, Hölderlin repeatedly points out the poetic beauty and urgency of tradition, as well as the task of poetic activity in this sense:

In the human word, on a fine day
In the years to come, how it once was.

Hölderlin also emphasizes the substantial, right up to the feeling of responsibility for shaping the physical world according to the orientation of the human being in his perception of the transcendent perspective. That such a poetically encouraged culture is expressed in the physical world is evident in view of the enormous effects of human activity on the foundations of life and landscapes.

Then more loving in league with mortals
The element forms, and only then becomes rich,
Thanks to pious children, earth
Chest, the infinite, unfolds

Part 7 - ›Encouragement‹ - A poem by Friedrich Hölderlin

(8) With a text by Friedrich Nietzsche

In a text sequence from the Cheerful science and the estate, Nietzsche, the ›re-evaluator of all values‹, describes the loss of meaning of the canonical traditions as a dramatic cultural break and an essential loss: Did we drink the sea ...

He then describes a development up to states that, knowing what will happen later, appear as an oppressive prophecy: the approaching an emptied culture, up to one Logic of horror. The modern man, in his self-confidence of secularization and enlightenment, believes that he is on the right track in overcoming obscurant forms, but actually still feeds on the sources of the outdated forms and runs out of a false belief in his own strength and the consequent lack of a new one , own tradition to a catastrophe, the stall of an essential culture, the loss of basic ethical motives and ways of life.

In the sense of a free mind but he nevertheless creates the picture of a new, open form of tradition. Also in his projection one now open sea lets you horizon detect.

Part 8 - With a text by Friedrich Nietzsche

(9) A sentence from Heines On the history of religion and philosophy in Germany

Heine, admired by Nietzsche, has a similar flair, a seismographic talent, an olfactory talent like Nietzsche - a nose for cultural traditions and developments in the history of mentality. His text On the history of religion and philosophy in Germany ", initially written for the French public in French exile, was flatly rejected by the greats of the historians' guild at the time. Heine's analysis shows a precise and fine sense for things, also gained from the experiences of his immediate surroundings, personal encounters with, for example, Hegel and the figures of the 48th revolution. He takes up Nietzsche's idea of ​​superimposed layers of traditions, and also describes the loss of meaning of Christian-Jewish culture in the image of the taming talisman, The rotten Cross, and the reappearance of stone gods (...) the savagery of the old fighters, the nonsensical berserk rage of which the Nordic poets sing and say so much, a Germanic barbarism, which was actually never really overcome. Like Nietzsche, there is a prophecy at the end of his deliberations, a prophecy from 1835 that was shattering in later knowledge of what happened, but which from Heine's clairvoyant presentation of the cultural layers and traditions appears to be quite predictable: Your piece will be performed in Germany, whereas the French Revolution only wants to appear like a harmless idyll ...

Part 9 - A sentence from Heine's "On the History of Religion and Philosophy in Germany"

(10) An elegy by Xenophanes von Kolophon

The tenth contribution and - for the time being - the last contribution in the video series on the question of tradition and transferability in modern times: The explanation of an elegy by Xenophanes von Kolophon offers a wealth of insights. For example, about the emergence of a free spirit as the basis of a scientific method in, as part of pre-Socratic 'natural philosophy'.

It is a highly multicultural environment in which the decisive departure up to our time can happen. When comparing the images of gods and religious images between the harbor dwellers on the coast of Asia Minor from all over the world, the regional absolutes are put into perspective. After the anthropomorphic images of gods had lost their meaning, the stage was cleared for wild and natural speculations, and finally for the idea of ​​an incomprehensible and universal principle, an unum of being. This is the free stage of the mind on which, as Karl-Raimund Popper, the translator of the elegy, thinks, a scientific method of critical rationalism develops for the first time from the recognition of the incomprehensible.

Part 10 - An elegy by Xenophanes von Kolophon

Materials related to the project. Free downloads.

Companion book
(as audio eBook *)


*With audio readings by Axel Grube

The reading can be started by tapping the text or individual text passages parallel to the text.

For apple iOS Devices can use the Readaloud Function in the iOS app Books be used

For android Devices will use the free app PubReader needed. This also has the Readaloud-Function)

Companion book
(as a simple eBook)

pdf reader

As an audio book

audio eBooks (enhanced eBooks)

ebooks with integrated audiobook reading
For free download

audio eBooks (enhanced eBooks), operation and possibilities

eBook and audio book at the same time ...
audio eBooks (enhanced eBooks)
With readings by Axel Grube

The reading can be started by tapping the text or individual text passages parallel to the text.

For apple iOS Devices can use the Readaloud Function in the iOS app Books be used

For android Devices will use the free app PubReader needed. This also has the Readaloud-Function)