Professional Documents
Culture Documents
Magazine
Events
http://cabinetmagazine.org/issues/2/rudolfarnheim.php
Books
Projects
Info
Rental
Subscriptions
Shop
1 von 10
6/23/16, 11:10 PM
http://cabinetmagazine.org/issues/2/rudolfarnheim.php
2 von 10
6/23/16, 11:10 PM
http://cabinetmagazine.org/issues/2/rudolfarnheim.php
the same year I received my doctorate, and Ossietzky became chief editor.
He carried the entire responsibility, since Tucholsky lived almost exclusively
outside of the country. Ossietzky had to answer to everything that
Tucholsky caused through his radicalism. He even went to prison for it. So I
became a steady employee of the cultural section of Die Weltbhne, and
Ossietzky worked on the political section. This went on until 1933; until the
Nazis came.
Berlin was known in the 20s as the center of political journalism;
this reputation was based in large part on the existence of the Die
Weltbhne, which, more than other newspapers, functioned as a
sort of "wanted list" of the Weimar Republic. To what extent were
you affected by the political events surrounding Die Weltbhne?
After the burning of the Reichstag in 1933, the employees of the
newspaper would no longer be safe.
I must confess that I never had much to do with politics myself. Sure, Die
Weltbhne was a very important political newspaper. At the same time, we
weren't aligned with any party, rather with human rights in general, with
the efforts toward freedom and justice, with truth. I had published a short
essay in the fall of 1932 in the Berliner Tagesblatt, a satire of Hitler. Hans
Reimann, who had some kind of relationship with the Nazis, called me one
day and said: "It's better if you disappear from here."
I did that; at first I simply didn't let myself be seen. I lived at the time in
Spandau. And in August 1933 I went to Rome.
To Italy?
Everything wasn't as bad there as in Germany. And you know, our
conception of the danger that came from the Nazis was quite nave. We
had one government after the other and thought it would be over within
half a year.
After that you emigrated to America through London.
I no longer know exactly when that was, probably 1937 or 1938, since
Hitler visited Mussolini in Rome and Mussolini declared his support of the
race laws. Now, I came from a Jewish family and I had to leave Italy. The
writer and art critic Herbert Read, who with his wife had translated my
book on radio into English, vouched for me so that I could go to England.
There I worked as a translator at the BBC for two or three years and waited
for my entry visa for America. In 1940 I finally arrived in New York.
Your first film criticism appeared in 1925. Already at that time you
defended photography and film against the accusation that they are
nothing more than mechanical reproductions of nature. In your
book Film as Art from 1932 you worked out the expressive means
of film in terms of the difference between the images that form our
view of the physical world and the images on the movie screen, and
you interpreted them as a source of artistic expression. How would
you define the artistic basis of film?
3 von 10
6/23/16, 11:10 PM
http://cabinetmagazine.org/issues/2/rudolfarnheim.php
4 von 10
6/23/16, 11:10 PM
http://cabinetmagazine.org/issues/2/rudolfarnheim.php
5 von 10
6/23/16, 11:10 PM
http://cabinetmagazine.org/issues/2/rudolfarnheim.php
In your book, Art and Visual Perception, you apply Gestalt theory to
art. Is there a general visual composition principle in art? Which
elements constitute artistic expression?
Art, just like perception in general, is dependent on the structure of forms
and color. Consequently Art and Visual Perception deals with the
relationship between perception and art. We had already said that vision
orders reality, and it does so in its primary, projecting structural features.
A good image can only be one that informs us about the observed "thing."
This means that it must leave out unnecessary details, concentrate on
meaningful characteristics and convey them unambiguously to
consciousness. Furthermore, it is completely essential for perception, and
also for art, that that which is seen possesses dynamic character. One has
to understand perception and artistic expression as a dynamic relationship.
Everything that appears in a work is effective due to forces that are
6 von 10
6/23/16, 11:10 PM
http://cabinetmagazine.org/issues/2/rudolfarnheim.php
manifested in form and color. The dynamic between the forces, between
the elements, conveys the expression.
You refer in this context to the meaning of an artistic view of
reality, which makes it possible to recognize the world. What do
you think is the essence and function of art?
I consider art to be a means of perception, a means of cognition.
Perception makes it possible to structure reality and thus to attain
knowledge. Art reveals to us the essence of things, the essence of our
existence; that is its function.
Again and again you have been preoccupied with the problem of
central perspective and realism. It could well be that there are
many other representational possibilities for depicting what we
"really" see. The conviction that perspectival images are at least in
certain respects identical with natural human sight and objective
external space is intact. Since the invention of photography and
film this conviction has been further strengthened. Clearly the
mechanical apparatus vouches for the naturalness and authenticity
of its images. This suggests the conclusion that our senses
prescribe certain privileged representational forms.
I wouldn't say that. Perspective, and especially Renaissance perspective, is
only one way of interpreting the world. It is the result of the search for an
objectively accurate description of physical nature. But also, every other
mode of visual representation is a legitimate attempt to do justice to
reality. Every other mode of visual representation can bring about the
natural character of represented objects and convey an image of reality.
The claim to authenticity of naturalistic, central-perspectival representation
paradoxically originates with the fact that it appears to be the most realistic
because it evokes the illusion of life itself. That only proves, however, its
proximity to optical projection. The specific and highly complicated style of
visual representation is not at all detected. Here I differentiate myself from
what Gombrich thought about this matter.
Gombrich thinks that there is no vision without assumptions, no
innocent eye. In relation to the "truth" of our perceptions, or
images, we are always faced with the problem that there is no
unmediated "visual world" against which we can compare our
perceptions. If vision is as much a product of experience and
cultural determination as the making of images, then what we
com-pare pictorial representation with is not reality; rather, it is a
world already clothed in our representational systems. What
essential connection is there between pictorial representation and
the represented object if the mode of representation is not based
on established conventions? Is there an objectivity of perception?
You know, Gombrich was trained by the cynics. And I have always been an
optimist. I have always believed in the great possibilities of people to grasp
the truth. For me everything creative depends on objective truth. And
perceptions are objective facts, although no one has ever been in
possession of objective truth and probably never will be.
7 von 10
6/23/16, 11:10 PM
http://cabinetmagazine.org/issues/2/rudolfarnheim.php
8 von 10
6/23/16, 11:10 PM
http://cabinetmagazine.org/issues/2/rudolfarnheim.php
9 von 10
6/23/16, 11:10 PM
http://cabinetmagazine.org/issues/2/rudolfarnheim.php
10 von 10
6/23/16, 11:10 PM