EN /
Introduction
-Life is a novel.
-The distortion of reality.
-The depiction of the alien through paradox.
Middle Part
-War of the signs – rescue us! Will there be a rescue?
-Visual time.
-An intergalactic mental leap
-Seeking the alien in the divine.
-About invisibility and eternity.
-Clustered temptations.
-On speech and speechlessness of images.
Chapter 1
Constructing a fiction is a symbolic trial-and-error activity.
Constructing a fiction is fundamental to children’s play. Test acting can be vital for survival.
Constructing fiction and test acting are basic poetical-social terms.
Chapter 2
…
Logic tells us that the alien (the other) presupposes a binary relationship.
He/It is the stranger or alien for someone.
In daily life, understanding the alien functions through idealization.
Idealization is based on the projection of similarities, not on empathy.
The insinuation of similarity from Ego to Alter Ego is a manner of attribution.
Attribution functions in a dialogue of gestures, mutual reflection and the taking over of roles.
A projection of similarities between us and the maximum alien could be the idea that we both live on (different) stars.
Is the simultaneity of two existences at the core of all social relations?
How does the comprehension of foreign experiences work?
How important is the opposite’s degree of anonymity in this context?
Are the alien experiences your own?
Communication means universal projection.
How can this universal projection become problematic?
Yet he does not behave as your social environment would expect you to.
How do you then appear?
Do you come across as a troubled personality?
Would your friends believe you are another, coming from space, maximally alien?
Even if he has the intention of communicating, that does not mean that he will succeed.
His possibilities for communication are indeterminate.
Is he a social unit of being?
If so, is he seeking social, cultural and maximum alienation?
Does this mean he is searching for himself?
He enters into a foreign context that is maximally foreign to him.
Will he be estranged from himself?
What are his abstract categories in order to establish a relationship to us and to himself?
What kind of individual projections does he find in me or his species, collectively, in us?
Does he have something like hopes and desires?
Does he know emotional conditions?
Do human and worldly phenomena surpass his perceptive horizon?
Why does he even deal with such borderline categories?
What are his strategies of communication?
Is he trying to idealize you in order to understand you?
Is he aiming to informatively transfer similarities in order to establish communication?
Is this feigned simultaneity also at the core of his social relationships on his star?
On his star, does something like social relationships even exist?
Chapter 3
…
Does the art work represent what is foreign within us?
Is the art work expression of the alien within?
Is coincidence a surprise within the working process?
Is coincidence the alien that helps us work?
Is coincidence an event?
If coincidence is revealed as a method, is it thereby invalidated?
Chapter 4
…
Does the maximum alien have to remain unrecognized as a condition for his research purposes?
If so, which strategies other than the idea of the double can he otherwise develop in order to adapt to our Society, in terms of both appearance and behavior?
Is such an adaption necessary for a constructive approach to and communication with the human being?
Which types of reflection can he develop as a strategy of communication?
The motif of reflection is also to be found in your drawings.
In the German silent film, the figures and objects are reflected in window panes, shop windows, glass doors, rain puddles and so on.
The eye is a motif of reflection and often foreshadows the plot.
The eye as a mirror of the world is also a recurring motif in your work.
The dreamer himself often has no interpretatory access to the meanings of his symbols.
How would you describe your relationship to your motifs?
You segment events and establish new relationships between them.
This form of first-person narration in many drawings gives rise to a high degree of subjectivity.
Are you creating a subjectivity that is not your own?
In your work, we are dealing with fragments of meaning.
The text and the image remain fragmentary, are continually re-combined/rearranged/reshuffled and filled with new meaning.
If the fragment is a prerequisite, then what is its consequence for the legibility of your pictures?
Chapter 5
…
What can we diagnose in our modern society that is geared towards progress?
Reality is becoming increasingly elusive.
Though our models for interpretation are becoming more complex and extensive, our world is becoming increasingly hard to grasp.
We are lacking models for interpretation that enable us to secure our identity.
The novel also reflects this.
It shows us the path of the problematic individual to him- or herself.
The novel deals with subjectivity and the experience of non-identity.
Does your use of literary subjects and forms express an anarchic attitude towards literature?
Decoding it is the reader’s assignment.
A similar assignment is also given when looking at your work.
The perceiver starts searching for ways to decode it.
Your work can be regarded as a labyrinth.
All in all, your textual work is very complex.
The perceiver has to take his or her time with your pictures.
Text: Maria Hinze
Übersetzung: Miriam Dagan
This framework for interview questions was inspired by: Der maximal Fremde, Michael Schetsche, 2004, ERGON Verlag – Dr. H. – J. Dietrich, 97080 Würzburg