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0.1 CHOCK – introduction, profile                                                        retour
Walter Benjamin: „Baudelaire made the chocks to his own matter where he obeyed his intellectual and physical character.”1
Harald Neumeyer opined, that Benjamin betakes himself into a twofold antagonism.
Systematically he shows how lyricism consolidates with experience and to make the chock adventure as a rule while sterilizing the chock control at the same time. As to say:
According to the must be plan in the interest of unceasing awareness in stimulus protection, major the success was dealed with, less chock moments emerge and quicker it fulfills the idea of takeaways. Referring directly to Baudelaire if his poetry permeating diligence awareness than it means chock control. Well, Neumeyer mentioned, that Benjamin stated the exact opposite as so:When chock control fails, automatically a shock filled with thrill of joy or dullness would fold, which sanctioned as stated by Freud the failure of chock control.”
Baudelaire covered this declaration in a shrill view. He talks about a duel in which the artist screams with horror before he was conquered. This duel is the process of creation per se. Baudelaire put this chock experience into the nucleus of his artistic work.2
Benjamin talks about chock experience and emphasizes at the same time, that Baudelaire parries the chocks, which act then as an adventure. Benjamin oscillates between defense of the chock (experience) and the breakthrough of the chock (background) not explaining if Baudelaire’s poetry is chock parried or chock leaking (ref. Oskar Sahlberg: Benjamins antimonies).3
1.0 Chock – Baudelaire
Baudelaire distinguishes precise between chock defense and permitting the chock. The awareness did not parry the chock, but perfectly the art as to be capable to transfer experienced consciousness shocks into a poetic form.4
This statement is of vast interest regarding my work: analyzing the concept of chock (Choc)
film work:5

"Albtraum", 1973,

"Wenig Wehnedig", 1973,

"New Orleans", 1974,

"Miami", 1974,

"DOT-ROT-TOT", 1976,

"Inside - Outside", 1998,

"A Different View of the Whitney Museum"


1 Walter Benjamin, “Gesammelte Schriften”, 1. Auflage, Suhrkamp, Frankfurt am Main 1972–1999.
Revidierte Taschenbuch-Ausgabe: Bände I–VII (in 14 Bänden gebunden), Suhrkamp, Frankfurt am Main 1991
3 Oskar Sahlberg, Baudelaire und seine Muse auf dem Weg zur Revolution. Suhrkamp, Frankfurt am Main 1980
4 Charles Baudelaire, ”Sämtliche Werke/Briefe”,1977, in acht Bänden. Herausgegeben von Friedhelm Kemp und Claude Pichois in Zusammenarbeit mit Wolfgang Drost.
5 Walter Benjamin / Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit (erste deutsche Fassung, 1935), Werke und Nachlaß. Kritische Gesamtausgabe, Band 16, Suhrkamp, Berlin 2013, ISBN 978-3-518-58589-4.