Hi everyone, we will try now to solve one
very complicated paradox. This
paradox lies in the problem which is
related to the representation of
negation of the personality of the
character. If we want to to draw a person,
recognizable personality or character
then we cannot show the
relations so easy. Then, we will directly
stick to some characters that may be
recognizable through all kind of forms or
portraits or ideas. So, the question is
how to solve the paradox and how to
negate the personality or the individual
but in the same time to represent it? So,
we will try to negate this concept of
representation of the portraits of the
individuals, of the personal characters,
and we will try to do this now. So, we
will use some very known persons
for somebody who are dealing with
epistemology, with philosophy and all
kind of theoretical issues. I mean let's
start with very simple and very known
portrait of one character, one individual. I
will try to do this with a portrait of
German philosopher Hegel. So let's try to
draw Hegel's portrait in a very, let's
say wider conflict and complex, let's
say options. Hegel had
blue eyes. There are like a lot of
representation of him and he had blue eyes on the
most of the photos, and a lot of
characteristics which are maybe
recognizable maybe not. So, this can be
very interesting for us to sketch
here and to represent. So let's try to
deal with this on a different level. You
know that Hegel is known for
coining the term Weltgeist. It's not
Zeitgeist it is Weltgeist, it is something
different and
that means actually world-spirit, and the world-spirit is something which
is not individual, this is something
which is practically abstract. It is
there, it is somewhere, but it is
abstract. So, this term is
interesting for our session and
activities here and what we try to do. So, we
will now go to another philosopher,
actually the performer of philosophy and
his name is Slavoj Zizek, and Slavoj Zizek is actually, I call him
performer of philosophy and he is
actually a follower of Hegel in a way, he
defended Hegel in front of many other,
like for example in front of the people
who are promoting, let's say 
open society concepts, or who are
promoting different issues, and he
defended the Hegel as well as Marcuse did
long ago in his famous book Mind and
Revolution. So, Zizek is interesting
here for us because he is connected with
Hegel in this
trans-historic flow and Zizek is in
a way another personality which can be
interesting for us in this session.
He has very interesting face, looks like
Socrates, because he looks like this epic
philosopher, but in the same time he is
against this epic position of the
philosophy. He likes to negate this, so,
perfect character to connect him with
Hegel and to try to connect him with
this trans-historical idea and narrative.
So, he has of course moustache and a lot
of hairy elements. This is maybe too dark
now for the beginning, but we will later
on come to the point where it is very
good element and it can be functioning well in this. So, how are two of them
connected? I would say they are connected with, let's say, with this trans-historic flow.
It is a kind of organic flow. This
is a trans-historic correlation between
Zizek and Hegel. This correlation is actually very strong one,
and the portraits are connected in
this trans-historical history
of ideas, and we will now try to to make
this abstract flow and then those two
portraits will not be interesting
anymore for us. This will be the main
aspect of this drawing. We can't go into
this kind of elements, maybe it had a
progress to it, some other organic flows
which can relate to it, because
this is a kind of Weltgeist moment.
Maybe car industry which is here, maybe
pharmacy, the industry of pharmacy... it's
like, we can just tackle some of those
issues. The finances, which is like
everywhere, you know, with blue.
The finances we can represent with some
kind of this arrows which are going
everywhere and are connecting them in a
way and trying to breathe between them.
So, this is quite
interesting and very
well-connected. So, we will see how
to end with this. We are still not finished,
but what is left actually here is to
draw the faces of Hegel and Zizek,
to draw their portraits, and then to
connect them much better in this organic
flow of the trans-historical history of
the ideas, and then we will come to the
question on how to draw the Weltgeist at
the end, but before that
let's finish those two very nice, but in
a way complicated portraits,
then we can address proper these
issues of the Weltgeist in the
most abstract form of today, which is
coming from both of them.
We need a bit of stronger accent, and
also here, because we have couple of
historical photos of them, but especially
of Hegel not really a photo, but the
paintings, historical paintings which can
maybe tell us how he looked like.
He had this, so to say, quite proper European male expression. He looks almost like
Benjamin Franklin or Theodore Roosevelt,
or something like that.
So, he has quite strong
expression, and we know what is to expect out from this strong, let's say
even authoritarian kind of
expression of the face,
and some kind of fur which gives a
lot to this narration and
bring us to the special and even anecdotical
approach toward the fashion of that time.
we are approaching to his end, may be a
couple of elements which can
upgrade his age to another,
different scale, and then we will go to
Slavoj's appearance. He's more like
relaxed, he looks even like a geek
Socrates or something like that.
So, we can draw him easy,
and he has very special kind of
appearance here, and with his hair and 
very cool, and yes his moustache, and
all these things that we have to draw
because we are dealing with the face of
a philosopher and not with the face of
some guy who is
young or something like that. So
we are going
almost done, we are approaching almost the end. This couple of effects and we need to finish.
Yes, so, he's almost done. It's
naturalistic, realistic approach, and we
will see how to connect two of them now?
He has a t-shirt which are often just
black, with something like his t-shirts,
like Starbucks or something he's
promoting, some brands. Let's see how
we can connect them here?
Oh my god, are they trying to touch each
other!?
Yes! but the history is very long and
this trans-historical possibility is not
there anymore, because in between are
many things, many abstract things. We will
see now how to end with this. It is still not
clear what will happened.
We are still..., it is actually still huge
question what will happen here? I still
don't know. Let's see, because it is too
abstract it is a flow, an organic flow,
it has a lot of history, and it was in between those two figures, characters.
I don't know. Let's think a bit, and we will
call some colours into, and they will try
to help. Red is always good, with red we can do something.
I mentioned this car industry, this might be blue car industry, must be
blue. We can maybe solve the
situation with lot of the finances in between.
We need also to repair some elements like for example this fur of Hegel.
It really gives another
dimension to this drawing, and also maybe
some elements are also related to his
hair, that is good to tackle.
Then maybe we need also to do
something which is quite important now,
and to see how we can get out from this
abstraction of the world-spirit which we
negate with those two portraits,
with symbols, with different strategies,
and how we can get out of this
situation of negating them? Because to
represent the the non-individual
character of the world-spirit we must
make deep changes and exclude both
particular characters aside, focusing now
on the essence of the flow and leave the
flow to flourish. The world spirit is
maybe at this moment too pathetic, but
never mind.
It is just the beginning of this element
that we will easily calling into the
abstraction.
Okay, it is something. You know we need a bit of elements, and also some
symbols which are there, but we still
cannot recognize them. is this a star or
not? What is this? We still don't know. It
is something which belongs to
the world-spirit, but it's still not a symbol.
It is still too abstract to say.
Okay,
we must turn now to the contemporary, then this
contemporary element is not the
element from where we started, but the
element which is connected to Slavoj
Zizek appearance, and his destiny of
philosophy performance and black t-shirt
here.
Also hand which is fading away in
this qualities of the abstraction of the
world-spirit. So, it's not about Zeitgeist,
it's about world-spirit it's about the
Weltgeist. It's something different, it belongs to Hegel not belongs to Goethe
or somebody else. Okay,
I think that star must be
recognizable, and this also must be
recognizable in a way.
This is this abstraction of the
finances. Okay, I think that we are
finished with this, and I hope that this
one is interesting for you, and that we
manage to tackle those two issues, and to solve this paradox of how to represent
or not to represent portraits, and how to
find something which is not-individual
but by representing the individual.
