Salon at the Komische Oper Berlin
Photo: Jan Windszus Photography
November 09, 2020, 7:30–9 p.m.
Unfortunately, due to the current measures to contain the corona pandemic, the salon on November 9 has to be cancelled without replacement.
From the ancient Greeks until well into the 19th century, art has been created time and again through engaging with nature. How has the emergence of the natural sciences changed the artistic view of nature? Conversely, how do the natural sciences assess the changes in nature, which are not least manmade? Given human interventions into the global ecosystem, can we even still talk of “nature”?
What understanding of nature do we come across today in science and in everyday usage, in picture galleries and modern art museums, in theaters and opera houses? How can naturalness even feature in a highly artificial genre such as the opera? In light of the ecological catastrophe, is the aesthetics of nature perhaps no more than a residue of the romantic longing for pristine nature? How can nature – whether artificial or natural – be the basis for aesthetic judgment? And is it not culture that is the characteristic, intrinsic nature of man?
Jonathan Jeschke was born in 1973 in Munich, where he studied biology at the University of Munich (LMU) and earned his doctorate in ecology in 2002. From 2003 until 2005, he was a postdoc at the Cary Institute of Ecosystem Studies in Millbrook, NY (USA) where he began to study invasive, non-native species. From 2005 until 2006, he studied the mating behavior of birds at the University of Helsinki in Finland. After his habilitation in 2011, he has researched and taught as Professor for Ecological Novelty at the Leibniz Institute of Freshwater Ecology and Inland Fisheries (IGB) and at the Freie Universität Berlin since 2014.
Martin Seel is Professor of Philosophy at Goethe-University Frankfurt. His book publications include Eine Ästhetik der Natur (1991); Versuch über die Form des Glücks (1995); Ästhetik des Erscheinens (2000); Adornos Philosophie der Kontemplation (2002); Die Macht des Erscheinens (2007); Theorien (2009); 111 Tugenden, 111 Laster: Eine philosophische Revue (2011); Die Künste des Kinos (2013); Aktive Passivität: Über den Spielraum des Denkens, Handelns und anderer Künste (2014); Nichtrechthabenwollen: Gedankenspiele (2018).
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