Natalia Ganahl
PhD graduated 2018 with a thesis on central perspective and materialist turn after revolution in Russia. Post Doc Researcher (SNF) at Vienna University
CV:
2021-2023 - lectured seminars on the critique of matter/form-binarity in the 20th century, image structures in socialist media in soviet modernity, art and art theory of the soviet avant-garde, leftist art and science after 1917 in Russia.
2021-2024 - Post Doc Mobility SNF: Vladimir Favorsky's Theorie and Practice of the Print Media (1920-1937)
2022-2023 Post Doc Assistance Prof.Dr. Sebastian Egenhofer
2018 - Ph.D cum laude: Central Perspective in Before and After the Russian Revolution. On the Archaeology of a Dispositive
2009 - Degree in Art History, University of Zurich
2002, 2004 - - - - - - mother of two children - - -
2002 - Degree in Theory and History of European Culture, State Humanities University (RGGU) of Moscow
2000 - Masters degree in Slavic Studies, Linguistics and Literature, State University of Rostov-on-Don
Supervisors: Prof.Dr.Philip Ursprung, Prof.Dr. Bernd Nicolai, and Prof.Dr. Sebastian Egenhofer
CV:
2021-2023 - lectured seminars on the critique of matter/form-binarity in the 20th century, image structures in socialist media in soviet modernity, art and art theory of the soviet avant-garde, leftist art and science after 1917 in Russia.
2021-2024 - Post Doc Mobility SNF: Vladimir Favorsky's Theorie and Practice of the Print Media (1920-1937)
2022-2023 Post Doc Assistance Prof.Dr. Sebastian Egenhofer
2018 - Ph.D cum laude: Central Perspective in Before and After the Russian Revolution. On the Archaeology of a Dispositive
2009 - Degree in Art History, University of Zurich
2002, 2004 - - - - - - mother of two children - - -
2002 - Degree in Theory and History of European Culture, State Humanities University (RGGU) of Moscow
2000 - Masters degree in Slavic Studies, Linguistics and Literature, State University of Rostov-on-Don
Supervisors: Prof.Dr.Philip Ursprung, Prof.Dr. Bernd Nicolai, and Prof.Dr. Sebastian Egenhofer
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Talks by Natalia Ganahl
Pavel Florensky's essay "The Reverse Perspective" (1919) went down in the history of art theory as the earliest systematic, ontological motivated critique of central perspective. Where Panofsky celebrates the achievement of homogeneous extension according to the teleology of rationalism, for Florensky here begins the trouble of of quantitative unification and utilization of the world, the elimination of differences, the ignorance and negation of concrete forms of life. Although, there has been little awereness, that this critique was a part of comprehensive epistemological project: "The Reverse Perspective" should became a chapter in the book "At the Watersheds of Thought. An Outline of Concrete Metaphysics.” It concerns a turn towards a new realism, expressed in attention to concrete beings in their processuality and as we would say today, ecological connectedness. "Realism", which in Florensky's thought has Aristotelian-Neuplatonic implications, is sometimes equated with "materialism", as a kind of its actual updated synonym. In the latter case, Florensky explains realism as a "phenomenological" approach to electrotechnical materials in relation to the place and mode of their existence, as well as the need for its direct experience (making), collectivity and undogmatic transdisciplinarity of research, and the inevitability of new energetic models of thought to replace classical mechanics. Florensky develops a new, vitalist-energetic hylomorphism, far from dwelling on metaphysical binarity. While active matter is characterised by specific processing, form also has its individual potential for force and affection. Florensky insists on the priority of the morphological properties of matter over the chemical properties, which in turn can be traced back to the morphological. He stresses that "the structure of matter, as its spatio-temporal form, i.e. the form in motion and extension, characterises the properties of material formation and is the cause of unfolding phenomena". The reference to his Electromaterial Studies gives us today a better understanding of Florensky's epistemological figures of central and inverted perspective.
https://www.cihalyon2024.fr/en/program/scientific-program
Zu den Produkten des neuen methodischen Treffens der Kunst mit materialistischen Natur- und Sozialwissenschaften, das den sozialpolitischen und wirtschaftlichen Umbruch nach der Revolution begleitet, gehören didaktischen Propagandamedien, wie das Illustrierte Magazin USSR im Bau oder Kulturfilme der 1920-frühen 1930er Jahren. Sie bemühen sich um die Konstituierung des neuen materialistischen Gesamtbildes, in dem der Arbeiter, die Natur - „sein unorganischer Leib“ (Marx), die Produktion, ihre Produkte nicht mehr einander gegenüberstehen. Die sozialistische Produktion sollte die verlorene Unmittelbarkeit der nichtentfremdeten Arbeit und der Gesamtheit der Kausalbeziehungen auf neuen technologischen und politökonomischen Bedingungen ermöglichen und den befreiten Arbeiter mit der Kraft des „produktiven Leben(s) selbst“ – des „das Leben erzeugenden Leben(s)“ - bemächtigen.
Diese Werke der Produktionskunst können als Phänomene des „unterrichteten Materialismus“ betrachtet werden - der Begriff übernehme ich aus der Epistemologie von Gaston Bachelard. Historische Lektüren und Erforschung der Kontexte lassen Genealogien des produktivistischen Naturbildes aufdecken, die nach der Oktoberrevolution neue gesellschaftliche und epistemische Relevanz entwickeln: von metaphysischen Modellen der Neuzeit, durch energetisch-materialistische, positivistische und vitalistische Ansätze des 19. Jahrhunderts bis zur neuen Kulturanthropologie der Masse, Reflexologie oder Kunsttheorien der Jahrhundertwende.
Papers by Natalia Ganahl
as a productive activity, belonged to the epistemological standards of the time. One of the most influential transmitters of the energetic approach to the social production was Vladimir Bekhterev (1857-1927) - during the revolutionary years a world-renowned psychophysiologist, founder of the Psychoneurological Institute (1907-1917) and the Institute for the Researche of the Brain (1918-1948). I see the historical significance of this transdisciplinary project less in the development of a scientific canon of psychophysiology than in the so-called coupling of science and labour (smychka nauki i truda) – the epistemological generalisation of the knowledge gained in medical laboratories into the foundations of human sciences and programmatic transfer into social production – into socio-bio-politics. Like Marxism in the social sciences, reflexology provided a new understanding of labour and creation based on the systemic process thinking of thermodynamics and research into the electrical current of nervous activity at the interface between psychophysiology and sociology. The reformatory potential of Bechterev's proposed "objective-scientific" definitions of the creative activity of artists and the fight against "metaphysical concepts in psychology" was actively claimed by left-wing productivist art theory as its "scientific basis".
The epistemological and institution historical research on the energetic discourse of Vladimir Bekhterev's reflexology and its impact in early Soviet art and biopolitics is one of the branches of my PhD thesis that grew into independent research. Five years passed between submission and publication of this paper. In the meantime, it was developed to the second part, which was presented in March 2019 at the conference "Art on the Boundary of Science and Science on the Boundary of Art" at the Faculty of Liberal Arts and Sciences, St.Petersburg.
In diesem Aufsatz wird das Projekt des Künstlers im Kontext der Geschichte der Moskauer Konzeptkunst ausführlich vorgestellt. Es werden Fragen nach der Rolle der Alltagsgegenstände im kollektiven Gedächtnis, nach der Dialektik des künstlerischen Archivierens und nach dem Status des Künstlers als Archivar behandelt.
Drafts by Natalia Ganahl
Conference Presentations by Natalia Ganahl
Pavel Florensky's essay "The Reverse Perspective" (1919) went down in the history of art theory as the earliest systematic, ontological motivated critique of central perspective. Where Panofsky celebrates the achievement of homogeneous extension according to the teleology of rationalism, for Florensky here begins the trouble of of quantitative unification and utilization of the world, the elimination of differences, the ignorance and negation of concrete forms of life. Although, there has been little awereness, that this critique was a part of comprehensive epistemological project: "The Reverse Perspective" should became a chapter in the book "At the Watersheds of Thought. An Outline of Concrete Metaphysics.” It concerns a turn towards a new realism, expressed in attention to concrete beings in their processuality and as we would say today, ecological connectedness. "Realism", which in Florensky's thought has Aristotelian-Neuplatonic implications, is sometimes equated with "materialism", as a kind of its actual updated synonym. In the latter case, Florensky explains realism as a "phenomenological" approach to electrotechnical materials in relation to the place and mode of their existence, as well as the need for its direct experience (making), collectivity and undogmatic transdisciplinarity of research, and the inevitability of new energetic models of thought to replace classical mechanics. Florensky develops a new, vitalist-energetic hylomorphism, far from dwelling on metaphysical binarity. While active matter is characterised by specific processing, form also has its individual potential for force and affection. Florensky insists on the priority of the morphological properties of matter over the chemical properties, which in turn can be traced back to the morphological. He stresses that "the structure of matter, as its spatio-temporal form, i.e. the form in motion and extension, characterises the properties of material formation and is the cause of unfolding phenomena". The reference to his Electromaterial Studies gives us today a better understanding of Florensky's epistemological figures of central and inverted perspective.
https://www.cihalyon2024.fr/en/program/scientific-program
Zu den Produkten des neuen methodischen Treffens der Kunst mit materialistischen Natur- und Sozialwissenschaften, das den sozialpolitischen und wirtschaftlichen Umbruch nach der Revolution begleitet, gehören didaktischen Propagandamedien, wie das Illustrierte Magazin USSR im Bau oder Kulturfilme der 1920-frühen 1930er Jahren. Sie bemühen sich um die Konstituierung des neuen materialistischen Gesamtbildes, in dem der Arbeiter, die Natur - „sein unorganischer Leib“ (Marx), die Produktion, ihre Produkte nicht mehr einander gegenüberstehen. Die sozialistische Produktion sollte die verlorene Unmittelbarkeit der nichtentfremdeten Arbeit und der Gesamtheit der Kausalbeziehungen auf neuen technologischen und politökonomischen Bedingungen ermöglichen und den befreiten Arbeiter mit der Kraft des „produktiven Leben(s) selbst“ – des „das Leben erzeugenden Leben(s)“ - bemächtigen.
Diese Werke der Produktionskunst können als Phänomene des „unterrichteten Materialismus“ betrachtet werden - der Begriff übernehme ich aus der Epistemologie von Gaston Bachelard. Historische Lektüren und Erforschung der Kontexte lassen Genealogien des produktivistischen Naturbildes aufdecken, die nach der Oktoberrevolution neue gesellschaftliche und epistemische Relevanz entwickeln: von metaphysischen Modellen der Neuzeit, durch energetisch-materialistische, positivistische und vitalistische Ansätze des 19. Jahrhunderts bis zur neuen Kulturanthropologie der Masse, Reflexologie oder Kunsttheorien der Jahrhundertwende.
as a productive activity, belonged to the epistemological standards of the time. One of the most influential transmitters of the energetic approach to the social production was Vladimir Bekhterev (1857-1927) - during the revolutionary years a world-renowned psychophysiologist, founder of the Psychoneurological Institute (1907-1917) and the Institute for the Researche of the Brain (1918-1948). I see the historical significance of this transdisciplinary project less in the development of a scientific canon of psychophysiology than in the so-called coupling of science and labour (smychka nauki i truda) – the epistemological generalisation of the knowledge gained in medical laboratories into the foundations of human sciences and programmatic transfer into social production – into socio-bio-politics. Like Marxism in the social sciences, reflexology provided a new understanding of labour and creation based on the systemic process thinking of thermodynamics and research into the electrical current of nervous activity at the interface between psychophysiology and sociology. The reformatory potential of Bechterev's proposed "objective-scientific" definitions of the creative activity of artists and the fight against "metaphysical concepts in psychology" was actively claimed by left-wing productivist art theory as its "scientific basis".
The epistemological and institution historical research on the energetic discourse of Vladimir Bekhterev's reflexology and its impact in early Soviet art and biopolitics is one of the branches of my PhD thesis that grew into independent research. Five years passed between submission and publication of this paper. In the meantime, it was developed to the second part, which was presented in March 2019 at the conference "Art on the Boundary of Science and Science on the Boundary of Art" at the Faculty of Liberal Arts and Sciences, St.Petersburg.
In diesem Aufsatz wird das Projekt des Künstlers im Kontext der Geschichte der Moskauer Konzeptkunst ausführlich vorgestellt. Es werden Fragen nach der Rolle der Alltagsgegenstände im kollektiven Gedächtnis, nach der Dialektik des künstlerischen Archivierens und nach dem Status des Künstlers als Archivar behandelt.