Verdrängung: Ein kurzer Überblick zu den psychoanalytischen Grundlagen (German Edition)

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Physical processes, such as oscillations and vibrations e. The pen mounted in the box becomes a seismograph of movement, of physical processes. A different construction records biological processes, such as the growth of a plant.

What you see on table three are the traces made by a pen hung on a bamboo plant that was connected to a piece of paper. The first table refers to natural history showcases in museums and shows the working instruments, writing utensils and rolls of thread that were used in the analog recording machines.

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The second table shows the recordings traces of a recording machine box with pen , which reacts to vibrations and records them in analogue form. The box was set up in different public sites: on a highway, on a church clock tower, and was also worn by the artist himself, on his body.

The third table shows the traces of a biological process, the growth of a plant. Something living begins to record itself, and leave behind traces of its growth. In this case it was a bamboo bush in the Palmenhaus.

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The drawing apparatus, the recording machine, is a pen mounted on a bamboo leaf, and connected with a piece of paper that is mounted in a fixed position. The apparatus is a copy that refers to the Crescograph, which was originally invented and built by Indian-British scientist Jagadish Chandra Bose. With the Crescograph, growth movements are engraved on a smoked glass plate. The recordings seem purely perceptive, produced without the help of a subject.

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I thus find the sketchbook on table three quite stunning and appropriate where the operational mode of the crescrographic drawing apparatus can be seen as a type of technical sketch. The question of what one wants to record and how one generates a situation that makes that possible, transcends the drawing as medium. Gansterer thereby shifts this question from the level of pure data collection, of apparently objective scientific observation to the meta-level of scientific staging.

A particular aesthetic develops from that. Translation: Lisa Rosenblatt. Convergence in Probability Zeichnen und Prozesse des Zeichnens , Box mit montiertem Stift darin welche an verschiedenen Orten aufgestellt wurden, und die, einmal in Gang gesetzt, seismographisch die Umgebung aufzeichneten.

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Die Tische zeigen die von diesen aufzeichnenden Systemen hergestellten Zeichnungen. Physikalische Prozesse, wie Schwingungen und Vibrationen, z. Eine andere Konstruktion zeichnet biologische Prozesse auf, wie das Wachstum einer Pflanze. Der Zweite Tisch zeigt die Aufzeichnungen Spuren von einer Aufzeichnungsmaschine Box mit Stift die auf Vibrationen reagiert und diese analog aufzeichnet. Etwas Lebendiges beginnt sich selbst auf zu zeichnen, und Spuren ihres Wachstums zu hinterlassen, in dem Fall war es ein Bambusstrauch im Palmenhaus.

Der Zeichenapparat, die Aufzeichnungsmaschine, ein Stift, an einem Bambusblatt montiert, und mit einem fix montierten Blatt Papier verbunden. Die Aufzeichnungen scheinen rein perzeptiv, ohne zutun eines Subjekts entstanden zu sein. Wichtig ist hier zu sehen: der Zusammenhang Maschine, Ort und Zeichnung.

Gansterer verschiebt damit die Frage von der Ebene des reinen Datensammelns, von scheinbar objektiver wissenschaftlicher Beobachtung auf die Meta-Ebene der wissenschaftlichen Inszenierung. Gansterers Thema ist das Zeichnen als solches, Zeichnen auch als Performance, als performativer Prozess. Complex experimental arrangements lead him step by step to the proposed thematic. Inquisitiveness drives him to use various scientific methods, and deploy them in his art works.

The results he produces are not abstract numbers and data, like in science. They are open for all kinds of interpretation and deal with sociopolitical as well as philosophical topics. They never center on the person per se, but instead, what he produces, what moves him. He meticulously gathers the necessary data, registers, records, maps, and uncovers hidden connections. He uses diverse artistic media. Filigree drawings, lab-like installations, performances, and video recordings bring his skeins of ideas into focus in high aesthetic quality.

His models symbolize the networking of things.

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Nothing can exist on its own, isolated. It is first the connections that create sense. His works, too, are networked with one another. He brings parts of old projects into new ones, continues to develop them and finds results. In his artistic experiments, Nikolaus Gansterer exposes and decodes in a sensually perceptible way, the network structures immanent in things, their possible relations of signs and their references to the object examined.

Seine produzierten Ergebnisse sind nicht abstrakte Zahlen und Daten wie in der Wissenschaft. Niemals steht der Mensch selbst im Mittelpunkt, sondern immer das was er produziert, was ihn bewegt. Nur die Verbindungen schaffen Sinn. Vernetzt sind auch seine Arbeiten untereinander. Er bringt Teile von alten Projekten in neue ein, entwickelt sie weiter und findet neue Ergebnisse.

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With his drawings and performances, Nikolaus Gansterer moves between art and science. He consolidates his work to applied research. It appears to be a space for thinking. Although I have meanwhile developed my own formal language, I am more interested in the process that leads to thisFormwerdung, this formation of form.

He also works with living organisms and plants in what are often lengthy experiments. His style is marked by numerous references to already realized artworks, one representational form runs like a red thread throughout: drawing. His drawing works can currently be seen at the Technical Museum in Vienna. Memoseum gave rise to a temporarily amended version of this site of memory and forgetting: based on colors, based on the spaces around the objects shown there, on figures of thought, on forgotten inventions, core theses or mnemonic devices.

Gansterer presented his results as paper-thin work sheets that visitors could take with them—collect, as it were—in specially prepared bags. For that reason, I also began to draw live. For me, drawing is research in the classical sense: one feels along, experimentally, always from the start again, step-by-step. From the basic urban forms of international metropolises, from A for Amsterdam, to Z for Ziguinchor in Senegal, he developed pictograms through the abstraction of city maps, and arranged them alphabetically.

Using twenty-six of these so-called urban characters, he constructed the base for a global, universal language whose morphology generates from urban structures. The Urban Alphabetspeaks mainly to passersby. Therefore, I decided to offer a very small and fast gesture almost colossally. But The Urban Alphabet is not to be understood as simply a reflection on globalization.

It can equally be interpreted as an ironic commentary on the site of presentation, that is, Praterstern, and the, in part, disproportionately large Nordbahnhof. The work,Drawing a Hypothesis, will be published this spring, and is result of research he undertook on the diagrammatic of the drawing during a fellowship at the Jan van Eyck Academie in Maastricht.

He removed individual graphic forms from their original context and presented them to artists and theorists from various disciplines, with the request that they develop a hypothesis based on one of these forms. Gansterer thus pursues the opposite path, rather than from complex language of theory to diagram, he goes from abstraction back again to language.

The layout of the book imitates that of common scientific books. The goal of this mimicry is for the reader to accept the hypotheses formulated in the book on face value, at first glance. With the book, I move in a very early phase of the genesis of information formation. The beholder, animated by the network-like thought processes of the artist illustrated and literally traced out in various forms of representation, becomes drawn into the semantic interim space of what should be understood as a model-like world of ideas. From the history of thought one can arrive at findings, or as one would say so aptly in English, draw conclusions.

Research work on research work, or art as basic research. On the artist: Nikolaus Gansterer was born in in Klosterneuburg, he lives and works in Vienna, Berlin, and the Netherlands. In early November he presented a film project about Chinese copy artists at an exhibition in Beijing. Theorien in den Raum stellen Es scheint sein Denkraum zu sein. Wenn ich es aber schaffe, diesen Druck zu katalysieren, kann ich ihn produktiv umwandeln. Zahlreiche Referenzen auf bereits realisierte Kunstwerke kennzeichnen seinen Stil, eine Darstellungsform zieht sich wie ein roter Faden durch: die Zeichnung.

Forschungsarbeit an der Forschungsarbeit, oder Kunst als Grundlagenforschung. Furniture Lore for the Drowsy. The chair is resting on a prosthesis to keep its seat in balance. Propped up with mangled books that have long since ceased to interest any reader, it stands in the midst of a scene of furniture ruins. A couch suitable for reclining is pushed together with an upholstered chair at its head, thus forming an insignia for research into unconscious processes.

Since Freud, psychoanalysis has operated under a furnishing guideline, simple and iconic as that of hardly any other science, in which it unfolds its research and its curative effect.

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