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Kafkaesque Expressionism - Nihilistisch No. 1 : Geworfenheit

Music and painting by Momo Fariq Performed by Oleg Bezuglov [viola] and Natalia Bezuglova [piano] Thrownness (Doom Expressionism) In Kafkaesque Expressionism, I set out to unify ‘Kafka The Expressionist’ and his nihilistic literary themes together with visual art and music. I somehow find the works of those from the Second Viennese School to be out of sync and incongruous with its contemporary visual art and literary movements - strangely to me, Schoenberg’s dodecaphonic music and many other serialists’ works seem to resonate more with the 1940’s American abstract expressionism, compared to the pre-serialism era - they were indeed ahead of their time. In my view, a purer form of free tonal expressionism that is more in harmony with Kafka’s literatures and the early expressionists’ style of painting are Scriabin’s late sonatas and mystical harmonies. Thrownness (German: Geworfenheit) is a concept introduced by German philosopher Martin Heidegger (1889–1976) to describe humans' individual existences as being 'thrown' (geworfen) into the world. Geworfen denotes the arbitrary or inscrutable nature of Dasein in the sense of its having been born into a specific family in a particular culture at a given moment of human history. The past, through Being-toward-death, becomes a part of Dasein. Awareness and acknowledgment of the arbitrariness of Dasein is characterized as a state of "thrown-ness" in the present with all its attendant frustrations, sufferings, and demands that one does not choose, such as social conventions or ties of kinship and duty. The very fact of one's own existence is a manifestation of thrown-ness. The idea of the past as a matrix not chosen, but at the same time not utterly binding or deterministic, results in the notion of Geworfenheit—a kind of alienation that human beings struggle against, and that leaves a paradoxical opening for freedom. “One of the first signs of the beginning of understanding is the wish to die. This life appears unbearable, another unattainable. One is no longer ashamed of wanting to die; one asks to be moved from the old cell, which one hates, to a new one, which one will only in time come to hate. In this there is also a residue of belief that during the move the master will chance to come along the corridor, look at the prisoner and say: "This man is not to be locked up again, He is to come with me.” - Franz Kafka, The Blue Octavo Notebooks (1954)