Cusanus is one of the most exciting and eccentric thinkers of the late Middle Ages bridging Neoplatonism and German Idealism. We explore the specificity of Cusanus&rsquo\; dialectical theology (which is his philosophy) that makes him radically modern\, in order to explore this dimension in polyphony and other arts as well. Cusanus never theorized polyphony or the arts in a direct way. There seems not to exist any aesthetic theory or thinking about polyphony and the arts from that time. Nevertheless\, polyphony and arts are dramatic structures of thinking. Polyphony as a practice is performed based on a totally quantified diagrammatic writing. However\, they were considered &ldquo\;mechanical&rdquo\; arts and lacking a stable form on which to constitute thinking.
\nThe unthought dramaturgy of aesthetic dialectics revealed in polyphony and visual arts resonates surprisingly with Cusa&rsquo\;s own thought.
\nPolyphony and the arts are the symptom of Nicholas of Cusa. We will explore the short-circuit between Cusanus and the arts and problematize historicist approaches as well.
The seminar-sessions (one in the morning and two in the afternoon) will be lead by Bjö\;rn Schmelzer\, joined by Luí\;s Neiva (Nova University Lisbon / Spirit is a Bone) and by Cusanus expert Inigo Bocken (Universities of Nijmegen and Leuven)
\nBocken and Schmelzer are currently working on a book on the topic. Their research will provide the framework for the three days.
\nOn 19 August the sessions will be interspersed with polyphonic performances as examples and study materials by four singers of Graindelavoix (Andrew Hallock\, Albert Riera\, Marius Peterson\, Arnout Malfliet) engaged in the Cusanus project.
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