"Our perception becomes liquid and more flexible, if we penetrate into deeper consciousness layers, dreams, fantasies, under smoldering leagues conceptions or the fantastic visions of the creative status. It extends its focus, in order to enter expanded structures. This different distinctionlayers in our perception are among themselves in a constant interrelation, not only during the enormous reversal of dreaming for being awake, but also with the rapid back and forth from differentiation and dedifferentiation, which undiscovered constantly pulsate through our daily life. It is extremely difficult to get those between the sharp pictures of our conscious memory here and there available gaps, in which a dream-similar ambiguity prevails and which is more broadly strewn attention, into the grasp. It probably presupposes a special capability to in-look to the own consciousness stream and consider on the innumerable twilight statuses between the sharply outlined shape structures of our memory or rather to restore them. Freud assumed, the memory registers only the periodic (shape -) crystallizations in the consciousness stream, and the undifferentiated gaps were once and for all lost - a strange acceptance for the founder of the Psychoanalyse, who on the other hand the post effect long lost memories and the timelessness of the unconscious one announced."

The german pendant for sublim is the Erhabene, this - how I mean - somewhat pompous word describes a feeling status, which is in the reason nevertheless quite clear and unique. Only by the philosophical view and the verbal, rational description attempts will the term complicated and encoded and saves due to this ratification and containment the danger, to be protact or missed and thus set up for independent itself, only be a play meadow of the philosophers. On this play meadow now is already struggled in over two thousand-year old tradition, to fathom the essential structure of a complex intercultural phenomenon, with the probably still secret longing of strukturalen linguistics and anthropology, itself the proteistic processuality of the world by means of always new rules (out-maneuvered thereby one halfway passably still from an offside position), to seize by means of formulaful reductions to a certain extent to a original law. One of the most industrious coaches is probably Kant, who sets up an effective tactics, but he must gave his players always new sprags and prostheses. 
With the Erhabene by Kant  the sensual and the transcendental fortune meet one another directly. With this dialectic structure a transition problem with the faint and questioning of the subject is joined in view of over-powerful nature. The " listlessness " on the one site, on the other hand a " desire ", which results reflecting from a reason idea relating to self protection. The Erhabene remains a feeling contradictory in itself, a paradox. With the raised one thus always one occurs like the other one, both at the same time, the listlessness and the desire, the irrationality and the rationality, the negation and the affirmation, the empirizity and transcendentality, criticism and metaphysik, chaos and order, abyss and transition. It marks the boundary between the extremes, blocks the acces on the one hand, extended however the view of the other one. 

This indissoluble, belonging to the Sado-Masochisti, going into one another from fear and desire, from and over powerful wools drives also me to it, the inexpressible to show and the perceptible suspect. In order to have here a valid, true raised one non--I base (- paradoxically, there I on inner worths look nevertheless), in order to thus arrive at the border, origin of my imagination, my discretion, I put to my work - " similarly as Kant - the beauty of nature as the base. 
The beauty of nature consists now however only of one not comprehensible complexity and an impressing inexpediency. As soon as I subordinate it now to an appropriateness, in order to make it accessible for my understanding, seize it into terms , make distinctions, nothing remains more from the true beauty  - I move only in my own definition space. 
It is impossible to decode the landscapes, to expose it conceptually. They are alone accessible over the feeling. Everything in nature, everything that we cannot understand, is " trueful beautifully ", indescribably, on an equal footing, it`s fact. If we feel something as " ugly ", then this results to only from an empirical fear, possible an instinct, or because it does not gnaw tied at the boundaries of our understanding. " beautiful " and " ugly " are only terms, which rise from an appropriate understanding definition, and we can apply them only to (art)works, which were created also even by this simple understanding. How more intention/rule behind it is to create something beautiful ,how fewer of that "true beauty " will be remaining. -This does not mean that, if I make somewhat ugly it becomes beautiful then.  The beautiful will felt as pleasant, because it does not load the spirit, and the opportunity offers to the pure reflexive (indifferents) judgement to arrive up-to-date at the execution. 

A complex definition framework adheres to the term of the aesthetics by the numerous endless philosophical views, in which it was revoked and extended again and again. 
Like that it is only a small step of the double aesthetics carried forward implicitly by John Denis to Joseph Addison, who separates some years later the raised of the beautiful,  and thus should give to the aesthetics of the18. Century their substantial pair of categories. 
In my text I call with aesthetics fewer an ethical as a formative, visual, harmonious beauty in the art-aesthetic sense. Today an openly thinking art viewer hardly doubts the aesthetics of scribbled pencil line on a cheap, printed calendar page paper, decoreted with grease mark (he doesn´t have to). I show on the basis my work that the term of the aesthetics is  not only very flexibly, but perfectly unnecessary in the traditional academic sense. 
Aesthetics can refer only to form, material, colour, mark way, motive, composition or abstraction (recognize). I will now define these individual categories on the basis of my work. Overlaps of this allocation occur also again and again, which shouldn´t however tempt  to hope for the presence of an aesthetics formula. 

Already since the turn of the century artists require the detachment from the classical thought categories of the view of picture. The Dadaisten, often already freely of image carriers, and the Kubisten with " polydimensionaly " opinions, but arrested still aesthetically on the canvas. 
The black square of Malewitch is the cleaned image plane, on which all conceivable one can appear: an imagination surface, on which the characters and graphisms can be entered freely, on which each line as wound and each picture as over painting becomes recognizable, which protect at the same time against the infinity and refer to it. Which constitutes here the unit of logic, appearance, gleam and secret of the world, is already alienated by the analytic burst tests in the cleaned knowledge and image spaces into its tautological blank characters. 
 

In my analysis of the picture world I have logical first dealt myself with the image carrier. Most concisely the breakup of the chains from the centuries  long brought square form of the board picture, is shown by the open puzzle section form. This form saves the elucidation of anyness of the form with its various variations. Even for dogmatisch assessed humans, the puzzle form facilitates the detachment of the traditional board picture and the entrance  into a new view dimension, cause this form is familiar since childhood days. If one begins now to detect in place of a " missing " puzzle play section also a picture, one learns to discover this, freely from each form, also on different place - everywhere -. 

It proves with Duchamps "Ready-made" objects as appropriate to adhere as close ones as possible to the reality and, the way already free from personal, artistic intentions, to place the term of the aesthetics within the forming art in question. Thus I tried to paint the respective sections as free as possible by manierierted artistic orgasm. To this " van Gogh-Syndrom " I mention later in greater detail with the puzzle of reproductions of his "sunflowers". 
 

In order to revoke a further artistic domain, I made the condition for me to select even the motive at any will. Thus I operated freely after the Dadaist -, in the " Cabaret Voltaire " their poems wrote, by mixing chads with words on it on the desk and sorting the poem in the order, how they pulled the chips. I spread thousands of puzzle section on a table, drew one and paint it then, on a descriptive measure increased. Also the printing-specific inadequacies were along-painted by me, since I would not dare to imitate nature. There are thus always reproductions of reproduced nature/reality.

The comparison to the Pop-art, in particular to Andy Waarhol with his "reproductions" of popular consumer pieces is quite intended with this play of the reproduction . Here the repeated conscious alienation of the alienation becomes clearly by second reflection. The tradition up to the Renaissance teaches that the new in art, which settles in particular in the understanding of the imagination or the fantasy, only can be one combination out of already existing impressions or circumstances, an assembly thus like a fabulous creature, which is assembled from the sections of different animals. The painting copies thus not the idea of something, separate it illustrate already imitations. 

 Platon shows the comparison with the mirror, with which everyone can simulate the Demiurg, points to the fact that for it the trueful imitation is  inseparably connected with the knowledge around the imitation : "It goes completely easy and is often applied. Fastest, if you want to take a mirror and carry him everywhere. Rapidly you can create the sun and the world of the sky, rapidly the earth, rapidly you and all animals and devices and everything that we enumerate evenly."    "Yes, as images, not as real and trueful existing."    " Very well! You come even there, where those question you needs. Because to these masters also the painter belongs. Not?"    " Without doubt."    " Not trueful, there you will object; meanwhile somehow also the painter creates a chair. Not?"    "Yes, even if only an apparent."    " How the painting behaves to each thing? Create it imitations after the real object or after its appearance, so it is thus imitation of the reality or the shine of picture?"    " The shine of picture." " Far away from thus the art of the imitation is to the truth, and even creates it everything after, because she enters only little from each thing and there only its shine picture."

Humans of the prehistory tried to compensate their distribution to powers of nature, by avoiding threatening natural occurences by terms. In the definition of nature on terms the unit according to experience separated from picture and term. Humans stepped at the same time opposite the nature objects  as definition-moderate subject and put themselves into the position to make nature the means of their purposes. In the narration (greek. mythos) humans formed nature after their picture. In it the inlightened page of the myth was situated justified for Horkheimer/Adorno. It is now crucial that the enlightened reason integrated this mythologic - on subjecting power based - structure in itself, instead of bringing itself reflexiv broken to consciousness. Therefore still are nature, also the internal-human, faced the reason as something endangering. This threat the reason gets rid of  by rising rationalization of all areas of life. 

Vincent van Gogh is considered probably absolutely as a obsessiver painter with personal printout, gesture, duktus and which otherwise still belongs to it. Everyone means to know his sunflowers, whereby it painted different, and it is talked and written already immensely much about him and evenly these picture(s). We all know these, "sunflowers" from reproductions - lucky those, which saw them in the original. The chance ever to get it to face is probably very small, there this milestone of the history of art - it appears to me as pure derision and at the same time significantly for our time -  slumbers surely guarded in any safe deposit as value system. I found it only obvious to deal with these sunflowers in my puzzle. Thus I procured myself several reproductions, and, as was it shown, nothing remained except differenten grey tones of the "duktus". Particularly striking were the differences in color of these reproductions. Thus almost again the entire chromatic spectrum was to me for my work at the disposal. 
It is thus still the question: " Which (aesthetic) reason has this picture for the viewer, except that he knows that it is expensive and van Gogh lived a tormented life, may be intensive for him,  at the edge of its vital possibility.

In the civil society, particularly for the romantic, art plays also the role of the another to the presence. It was considered as looking at future truth, as appearances of another society, as reconciliation of culture and nature, as memory of the displaced or as objection against the system. However this different one, this transcendented was understood, then this position, -one has thought only of the genius cult developed at the same time-, has the artist a special role awarded. Flares between the martyr at the society and the guardian of the other one, that let the art become ever more a substitute- and escape dimension. But one must ask oneself nevertheless here: substitute dimension for which and escape dimension to where? 
Surely are, since the days of of the stone-temporal cult caves, where the art connected still lives and death, earth and sky, open-endedness and orientation, history and nature, human life and starways to interpretations, which should permit to arrange the appropriate relationship, some from the metaphysischen forces lost, - which would be capable perhaps for all global well-being sound of providing -, or even in one of the rear drawers of our brain stored. 
One knows the artist as guardian of the Grals. Can we still charge him another special role, approximately as special managers of the aesthetic one? Art could be understood also as an expert enclave like others, which developed themselves further in the routines of their institutions, but without at meaning for the social whole, -particularly the mass media are anyway the dominant  picture factors.

The often mentioned, but rarely inhaled category of the beauty, the aesthetics, how the " ugly " can be " beautiful " also, proves considering the history of art as expandable and habituation dependent! The biological basis of all aesthetic one is the empirically really lived time (a common vital moment). I did however with my puzzle sections not shrink from this way of the direct experience. In order to clarify this on the one hand, on the other hand to point out the immense compositional fundus, which already visual nature offers us, moreover however I reveal the graphic limitness of the means, since the sections abstracting themselves.  As a individual part we  already accept the puzzle as picture form and are now bent to hang it over the sofa. 
The aesthetics is empirical; how much emperic, puzzle parts, sections can our abstracting brain memory at composition bear? Size is a relative measure; therefore is the format under this criterion not a criterion. If it is so that one accustomed itself to everything and can train its brain to ever more complex viewpoints, there opens us itself  nevertheless already again apparent anyness, the infinite combinations of the pictures, the impenetrable chaos, the labyrinth without exit on a strange, pleasant, in the boundless outside sliding peace and calmness. Detached by restraining thoughts, which now disappear in the endless, one could now really lose oneself in that "picture", as soon as one overcomes the blockade in our brain, which protects us in our daily life to neglect vital things and social obligations.
 
 

Chaos we name everything that it is too complex, than that we would understand it, nor could seize or master it with our understanding. We extrapolate this with a " reason idea " into an idea of the infinite one. 
Already the ancient Greeks described with this term a orderless original state, a gaping abyss, immeasurable, empty space. In the chaos, there is no allocation, it is order and regulationless, separation and definitionless, a spongelike mass. The newest scientific research in the area of the complex systems occupies today, with the help of high-quality computer
simulationen, on the basis from diagrams, that one, not foreseeable, forms structure, so-called infinity loops or apple males, is build. Here a researcher possessed sufficient humor to joke about this complex representation, which exceeds all human discretion, with such a term and to refer so at the same time humans to the soil of its slight conception world. It is situated near to assume that one now, as it seems that one has the structure of the chaos as it were at the fish hook, could attain some day a type thorough law and theory of the whole world and the life. However in such a way, as relativity theory jumped over itself over the boundaries of space and time, as the quantum theory set an end to an accurately controllable measuring process, completes the chaos theory Laplace ' utopia of deterministic predictability. 

The more we know, the more open ourselves us, from which we do not know anything. This old wisdom is acknowledged here by new and our understanding-moderate thinking stands ever more complicated, - however which uses still another further sprag to the one-legged one? Should we not rather try (- perhaps a reactionary beginning?), in the knowledge around the pluralitaet and instability of the world - where we now detect that humans and nature and everything that around us is in strange way connect, are dependent from each other and belong to a large whole one - to recognize the boundaries of our understanding, to live with them? To float at this threshold, the metaphysischen " transition " of the purpose world to the sense world,  at the boundary of the Sublimen (lat.: being enough to below the upper threshold) to let  us float and not lock our senses by understanding
categories  before what penetrate to us from the infinite chaos,  through a perforated diaphragm (perhaps sleeve before the insanity) , in all purity? 
It does not concern to approach to the infinity, to explain it, one must it feel, one must it be. This is also a transition of our binaryistic thinking  to a pluralismus, although something absorbed. Perhaps we come in such a way from the I-to-you-thinking of our age of the identity obligation, to a social, neoevolutionary "we-thinking", a world feeling. 
 
 
 
 

  This wondrous chaos becomes clearest in my plastic puzzle. It concerns here a puzzle play variable in format and size, consisting of 35 to 70 polychrome veined plastic parts. They are, similarly as the tiles of a bathroom soil, always transferred in the grain around each other, and the individual parts have a size and a form identical to those of the self-portraits, thus in each case about 45cm x 60cm. In this case the clear marterial of the manufactured product plastic  provokes me, in order to keep the art free of the classical material aesthetics and possibly mannered personal interventions. It is also not humbug by the material an apparent, organic bridge in the picture, but it work by its reflecting high polish surface inaccessible and save even thereby nevertheless so much free space for the recipient.

A illustre, in this order of magnitude not intended, but nevertheless significant and at the same time relating fact, I would like to still state: By the exchangeability of the individual parts of my two portrait puzzles I succeeded,  in showing, in the chaotic measure, a infinite number of different pictures  - and so long the world existed, becomes it not possible to show all. I have asked my brother, who is number theoretician, once to calculate this number of variation options at a computer of the institute for Max-Planck for mathematics . It came out thereby a one with one hundred seventy zeros. Now, since I couldn´t imagine something under that, he illustrated it in such a way: The number of elementary particles (protons, neutrons etc..) in the entire universe becomes estimated on unity with eighty zeros; if I have available now purely fictitiously ten universes, I have eighty-one zeros; with one hundred: eighty-two zeros etc.. So I must multiply the number of elementary particles of a universe by the number of elementary particles of the universe, in order to come approximately on the number of variation options of my two puzzles. This is now indeed infinite and nevertheless only the surface of two figures of mine (- Picasso should have painted only three pictures on the day). 
 
 
 
 

It is at the time to place itself to the question about the necessity for the pictures - where we find the beautiful everywhere, in us and to few in painted, thus by imperfect human hand and spirit reduced pictures. If I need it as fixed point or catalyst for my thoughts, feelings, longings and as memory supports for life situations, then I ask myself whether my thoughts and feelings without fixed point, which only holds them, are not beyond the normal measure many more intensively, more complex, more chaotically, purer. If I want to experience new worlds, I may not limit myself from the beginning and go the trodden paths of mine a second and third time. Naturally one can train his sensitivity on the basis of works of art, but even if an artist - purely fictitious - means to be capable to mediate all over the picture and we sensitively enough to feel that, then these are nevertheless only the feelings, thoughts of another. The catalyst function of the pictures is beautiful and well, but I mean that it is rather a deficiency of ours, if we admit that we need such a thing. We draw responsible for it, if we pushed us thereby into the role of the guided, controlled, for unfree, incapable, notionless recipients. Thus effectuates someone, who put pictures to himself for self building, actually the opposite, he reduces himself to the level of bad reflections of others. It has also no purpose to proceed here eclectic and to select pleasures from each artist the fitting, cause of basically false beginning doomed to failure at once.

The insignification is, according to Clemant Rosset, not by a lack of ways, but defines rather as in a labyrinth, by a multiply of ways. The infinite is replaced by the turbulent emptiness, into which the event has to break in: "The secret of the things consists even of without being secret. The fundamental message is only one noise and it gives characters. Who can however bears that there is not anything to read on the reason of each reading."                                                       ( Michel Serres ) 
 

This is a strong remark and surely inviolable and irrefutable in its logic. It is worth to think about it, possibly it saves nevertheless the dissolution of all causality of the art; because if art are not understood as a transitory energy , which has the other world of it in the view, it becomes a form of decorative intellectuality, which circle inconsequently, sterile around itself. But perhaps we must only learn to hear exactly, in order to listen to this noise, to solve us from conventional thought categories and embark us on the deconstructivistic desire at the swindle; the fascination, to lose soil and dive into a universe-, in which there could be everywhere adventures and surprises, while it extracts itself from the sense, the purpose and the recognizable meaning.

In quite similar direction target Lyotards bringing up for discussion the raised  one(Erhabene). Erhaben is for him finaly, what is unconsumable and extracts itself the meaning and  from the sense. In this sense he understands real thinking as the readiness to receive events, whereby it concerns not, what something is, but that something is: "Only the ability to receive what is not prepared to think thinking, earned to be called thinking... Thinks is called to place everything in question - also the thinking, the question and the process. Now the question requires that somewhat occurs, whose reason is unknown yet. If one thinks, one accepts the occurrence as something that it is, even as "not yet" certainly. No prejudice, no security. One wanders in the desert." 

Often is it already occurred that I go into an exhibition or a museum and with loud abundance, lack at place and vanity of the directors of museum, to show everything what has rank and name, dear and expensive, not at all the pictures of a respective artist let affect me for enough time and intensively , in order to get at all an impression of its work, but affect rather all pictures together, the entire constellation along and against each other to me. This usually close hanging I  literally sharpened in my puzzle, "63 artists" and so exaggerated the pleonastic character of the museums. So that, as I mean, in which effect results almost again a pure picture,  from the fact that mutual effects, opinions resolve, neutralize and nihilize, themselves in the mass. The puzzle, "63 artists" consists again of the form-identical standard parts and sizes altogether a surface of for instance 2,70m x 3,60m. I gave 63 art students and artists each a section to free handling  and can present them now in disorder, together nested. In order to stress it again: There were no specifications or artistic restrictions except the form. At the same time I would like to thank again all 63 participiant for their cooperation .

It is a degree migration on the boundary to the chaos, to the delusion. We must adapt an along-increasing reason to our grown sense, which adapts to the new conditions in a pluralistic, social, ecological way and leaves nevertheless sufficient play to the fantasies, its chaotic ejections , to approach natural spheres and realize. We can regard any illusion conceptions as leeways in the chaos, where saving reason functions are missing or for example are suspended by drugs and then leave free run to the unguided original feeling. The diseased insanity results here from an outbreak from apparently chaotic social structures which can not be mastered, a head of negative experiences or evenly from fear of the threshold to the chaos.  To master this with the help of the unprepared reason, lets it completely fail, instead of selecting. Figurativy seen we should try to remain on an orbital orbit and do not catapult us out into the endless emptiness. We must set the reason speeed into related relation to our feeling orbit, in order to grasp our world. This is naturally reversible; a  increased reason rate must be assigned to higher feeling orbit.

The aesthetic boundary of art and life is so far fixed by dissonanten harmonies and disjunctive syntheses, whose "sense" do not come up in social normality. Should one give Lautremont faith, if he says "my subjectivity and the creator, that is too much for the brain."? Thus he addressed  in the " singing of the Maldoror" those visions, which touch "the clips of the insanity". The boundary, which I have in the visor and would like to blow up, saves naturally dangers. In the character of the inritualization of the art provides art  no more higher services and their Impetus is aligned to the dimensions of the " self creation ". Therefor shows up however a Hybris, which shifts the art and the artists to the frontier of their existence. 
After Adorno it points to a world, which is only compatible to the imaginary one. However constitutes this their boundary also to the madness; "Tomfoolery is truth in the shape, with which humans are struck, as soon as they do not discharge of it in the midst of the untrue one." 

 Portrait 

The search for humans, after the mind, led me there overcome the surface of the Portraits, to push in, to look up and feel the forces, which are behind it, behind this front and superficialness. My selfportraits are two large puzzle plays (in play form, the art- and the artist reference even nihilisiered), which consists in each case of 63 parts, in the form identically, so that I can combine them in any way. Each picture fills out the surface of ten square
meters, whereby the size resulted logically from the convenience of use and the number of parts and is not justified on any bombastic claptrap. 
I created a cosmos by the combination options of the two selfportrait puzzles, whereby the respective original photos were only created with a temporal difference from two weeks. It succeeded to me to point out the variety of this optical, aesthetic surface of a portrait, and put it into question. The pitorial play of the apparent variety with traditional representational forms, which turn in the meantime more around itself than around a real request opposite humans, appears to me almost infinitesimal unnecessarily considering the possibilities and the gigantic potential, which could be sought out, if it succeeded to left the flat-stepped paths of the safe realization, to push through  the columns between the individual parts.
As by a break on the inside are open views, niches, gaps, passages, whereby the silence of  the other world  become evident by its absoluteness to the this side. 

Lyotard formulates in such a way: "On the contrary it goes  therefore, to support and promote the aimless roam of these currents on surfaces of all kinds, which are out of cracks and columns, of the body, from history, the earth, the language..suddenly rising. "                          (intensities, Berlin 1977, 5. 96)
 

In view of progressive ruining of the earth and parallel to it the running production of a synthetic world, is the meditation on nature and on a culture of the senses; thus on the ideal of an aesthetic life developed in clearing-up philosophy, today more than ever obvious. Surely I would not like to renounce on the achievements of the modern technique, civilization - at least not without most, and I would also not like to be explained as reactionary, progress-restraining Nihilist, but I must open the eyes and ears to all opportunist for a new era of the evolution. 
Humans understood very probably to use its abilities to make itself the earth subject and states itself darwinistic against other creatures. Today we are in a the position to destroy the earth several times with our products of military research. Now it appears however that we, if we use all possibilities of the research far in this way, pull us away the soil under the feet. We are come  to the evolution turning point, at which the earth, on - and of - which we live, strikes back in their way, in unusual, disarming consequence and will remain for us,  in the truest sense, the air away. We must stop order now in this moment of the "reversibility" to the power of the object over the earlier power of the subject, this machine exorzism. It is evenly not sufficient, to proceed in traditional type with traditional means, because those do not have brought us further as here, where we are now, otherwise we were never left our own "vapor set". We must already concentrate us on the core of all evil, the humans, by using the mental possibilities hidden in us, in order to arrive to a new general understanding of ourself one and our natural environment.

Art can take over here a responsible role, since it spans an unavoidable depth as symbolic universe, in which the entwinement of truth and illusion, of the logic of the order and the sensitive surface of the illusions and visions; can  refer to hidden treasures and sharpen our senses for the irrational. But to lift this treasure everyone must do for itself.