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News + Veranstaltungen

»Es gibt ein ewiges Wesen des Theaters«: Vortrag von Alain Badiou

27.01.2017, 20:00

Akademie der Künste
Hanseatenweg 10
10557 Berlin
Deutschland

Die Sammlung (1987–2006) – Performance Chronik Basel – Band II

26.01.2017, 19:00

Kaskadenkondensator
Burgweg 7
4058 Basel
Schweiz

Yves Netzhammer: Concave Thoughts
A visual parcours with books and animations

26.01.2017, 19:00

ESPACE DIAPHANES
Dresdener Str. 118
10999 Berlin
Deutschland

Aktuell

Although aspects of cybernetics can be traced back to various points in history, the proceedings of the so-called Macy Conferences, which have been edited for this volume, represent its modern foundational document. Held between 1946 and 1948 under the cumbersome title “Circular Causal and Feedback Mechanisms in Biological and Social Systems,” the papers delivered at these conferences were soon thereafter, at least as of 1949, referred to as contributions to cybernetics. Sponsored by the Josiah Macy, Jr. Foundation (which was...

  • Epistemologie
  • Informationstheorie
  • Historische Dokumente
  • Informatik
  • Computerwissenschaft
Aktuell

Tom McCarthy

I’m not really sure what is and what isn’t theory.

Elisabeth Bronfen

Tom, our idea here was that you would give us a little insight into how you find your themes, how you use theory for your texts.

 

T.MC.

I’m not really sure what is and what isn’t theory. I don’t really know where theory stops and fiction begins. If you take someone like, for example, Derrida: half of The Post Card is basically an epistolary novel; it’s fiction, there are characters, there is a character speaking to another character—even while he’s conducting a “theoretical” analysis of Heidegger. I think it’s very hard to pin down that border-line between it being theory/fiction or not theory/fiction. So theory wouldn’t just be a reflection on something else which is somehow more integral; it’s more fluid than that.

A figure like Lévi-Strauss is just wonderful in this respect: Tristes Tropiques is one of the most brilliant books and it’s much better as literature than almost all of the fiction that was being produced in France at that time—with the possible exception of Robbe-Grillet or Claude Simon. When he describes the sunset for example; it’s amazing. But it’s also an undermining of any “natural” experience of sunset: he’s describing it and theorizing it; the theorizing becomes not just part of the description but of the experience too. Lévi-Strauss clearly wants to be a great writer or to be a poet and doesn’t quite manage. He always feels like he’s doing the wrong thing, but in that very mode...

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Aktuell

Claire Denis

Fragility is the only thing I really know about me

I am not a very balanced person. I am fragile and sad – almost as described in Triste Tropiques by Claude Lévi-Strauss. I feel both those adjectives, I grew up with them. I was aware of my fragility even when I was very young – a baby, learning to walk, living somewhere in Africa and already feeling that the number of white persons was very small compared to the number of black persons and also noticing that most of the black persons that I met were gardeners or maids. I felt – I am sure I am not lying – even at that very young age, not a sense of injustice, but a sort of guilt.

Guilt for what? My parents were nice people, they treated everyone well. My father was avidly learning languages, he spoke many African languages and also Pidgin English very well and he used to speak it to his children. I learned Pidgin English almost before I learned French. So I can say I was well-educated and I was lucky that I was educated far away from France – being able to share different cultures, to have different neighbours. The region I lived in during my early childhood was a Muslim part of the North Region of Cameroon so there were no churches, no Christian presence, the only religion there was Islam. My father got on well with it, but we nevertheless had a pig in our...

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  • Eine Carte Blanche für Künstler, Autoren, Denker, einen Leerraum zu besetzen und eine Atempause zu markieren.

  • FIKTIONARIUM

    Fortlaufender Glossar des Vorstellbaren

  • Tausend Wörter

    Auf der Suche nach einer Werkform in der einzigen Verdichtung auf die Exaktheit einer Zahl: 1000 Wörter
  • Essay

    Versuchen, was das sein könnte, seit Montaigne noch immer.

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Autofiktion | Metafiktion
Themen
  • Observing the Spectator

    • Optische Täuschung
    • Betrachter
    • Spiegel
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  • Choreographing multitudes

    • Massenpsychologie
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    • Menge
    • Protestbewegungen
    • gemei
    • chore
  • minima oeconomica

    Analysen und Kritik moderner Ökonomie, deren Wissenschaft und Legitmation im Zeitalter der Finanzialisierung

    • Finanzkrise
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  • Das Subjekt des Kapitalismus

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Magazin

Tom McCarthy

“Obsessed with buffering”

I’ve become obsessed with buffering—or the narrator in my new novel is obsessed with buffering. He’s an anthropologist who has grown up reading Lévi-Strauss but he’s also a corporate anthropologist who is working for the Man. He’s putting culture in the service of capital. Like we all do, he spends most of his life staring at a screen, and he frequently encounters bouts of buffering. And the first thought he has is that this is not ultimately a technological situation, it’s a theological situation. Behind that little circle spinning on your laptop there’s this belief that somewhere in Uzbekistan, Nevada or Finland there are many Über-servers with satellite dishes generating and sending out data. “Data” means gift and these servers are gifting all this data to you in this unconditional act of endless generosity and data angels are dancing on the pinhead of your Wi-Fi. And this places you inside the universe of information and effectively of Being, but it’s also incredibly anxious because you haven’t got it yet; it’s coming. Then the narrator has this almost Nietzschean counter-thought, which is: what if it’s just a circle and nothing else? What if there is no connection or the connection was never there? What if it’s just a stupid little circle and there are no angels? Also, when you’re watching YouTube, you’ve got that grey line which shows the buffering in advance and the red line with the cursor which shows...

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Kunst

Kunst

The Cube, as we can see, isn’t one. It is an ­irregular polyhedron which catalogues describe as having twelve sides — that nice figure, twelve, a destinal figure if ever there was one, which willfully evokes Mallarmé’s throw of the dice, at the very moment that the clock strikes twelve at midnight, in the dark house of Igitur. One can imagine that Giacometti wanted to give a unique volume to the twelve facets — six and six — of two cubes added together: a unique architecture...

  • Alberto Giacometti
  • Kunsttheorie
  • Kunstgeschichte
  • abstrakte Kunst
  • Gesicht
Magazin

Bojana Kunst

Dance and Post-Fordism

To move with the world (and with this movement attaining skills, knowledge, aesthetic experience and developing collaborative networks) here describes specific skills that are, of course, connected with cognitive work. However, to move with the world can also be understood as a specific exploitation of the human capabilities of movement. The relational aspect of movement today stands in the centre of exploitation. Movement of the body is therefore exteriorised. It is no longer inhabiting the interiority of the body as in 20th century Fordism, where exactly through the interiorisation of the movement it was possible to be a part of the bigger social machine. Subjectivities are flexible because their bodies are organised through constant protocols of acceleration and organisation of everyday and common movement. This kind of distribution enables experimentation with temporality where change is accelerated and spectralised. There is no time for hesitation when you ‘move with the world’. The result is the typical form of contemporary subjectivation or, rather, desubjectivation, which is confronted with the brutal intensification of the processes of individuation, where old forms of life become obsolete even before we are able to absorb them. One is therefore compelled to live in a state of constant tension on the verge of exasperation. Such brutal intensification of forms of individuation would not be possible without exteriorization of movement where the relational aspect of movement is being continuously manipulated and regulated by the protocols of the contemporary control...

  • Mobilität
  • Gehen
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Bücher

Literatur

Literatur

Auf Błaszczykowskis Schreibtisch stand neben übereinandergestapelten Bänden eines Medizinlexikons ein gräulich flackernder Computer­bildschirm. Seit mehreren Minuten versuchte Błaszczykowski, die Stirn in die linke Hand gepresst, seiner Müdigkeit einen Angriffsplan über den Königsflügel abzuringen, doch das Schachbrett zerfloss immer wieder vor den zufallenden Lidern. »Dr. Błaszczykowski!« Eine Frauenstimme riss ihn aus dem Halbschlaf, die Deckenlampen gingen an. »Sie müssen in die Notaufnahme!« In der Tür stand eine Krankenschwester, mit Hüften, die breiter als ihre Schultern waren. »Es ist dringend, Herr Doktor!«...

  • Gegenwartsliteratur
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Bücher

Diskurs

Diskurs

The Moses complex derives its actuality from recalling the emergence of cultures as fields of mutually engendering relationships. From the perspective of media studies, which is a science of differential relationships between materialities and immaterialities, noises and messages, channels and signals, apparatuses and perceptions, the relationship to God or gods turns out to be one between people and their systems of thought. So media studies argues against fundamentalism, whether ontological, anthropological, or technicistic.

The figure of Moses is a decisive node...

  • Arnold Schönberg
  • Gemeinschaft
  • Exil
  • Danièle Huillet
  • Jean-Marie Straub
Magazin

Mário Gomes

Über literarische Sprengkraft

Kaum etwas setzt schneller Rost an als Kriegsgerät und Literatur. Da nützt weder Pflege noch Wartung, am besten ist es, man lässt das Material einrosten und rüstet derweil am anderen Ende nach, erweitert Bestände, feilt an Technologien und poliert vor allem die Oberflächen auf Hochglanz, bzw. man nimmt den einfachen Weg und lässt eine Glanzschicht auftragen – einen feinen, seidenen Film –, denn so geht das heutzutage: man trägt auf. Dieser chemische Glanz der Panzer und Bücher kommt von der Sprühdose. Er hält allerdings nicht lange, sondern schwindet, sobald das Auge sich abwendet, und das Auge wendet sich schnell ab. Wo der Blick dann aber als nächstes hin eilt, glitzert und funkelt es wieder: bei jeder Militärparade wie bei jeder Buchmesse.

Dieser Glanz ist jedoch bei weitem nicht das einzige, was Krieg und Literatur verbindet. Ihre Verknüpfungen sind vielfältig und verworren. Wo Gewalt aufhört und das Schriftzeichen anfängt, ist selten klar, denn Krieg und Literatur stehen nicht etwa in einem Verhältnis der Affinität, sondern in einem der Spannung und Überlagerung, was letztlich auch erklärt, weshalb einem Clausewitz sehr viel mehr über Literatur zu entnehmen ist als dem Gesamtbestand literaturwissenschaftlicher Publikationen. Wer die Ilias gelesen und Heraklit noch nicht vergessen hat, versteht, was gemeint ist. Der Vater aller Literaturen ist der Krieg – oder meinetwegen die Gewalt –, alles andere dagegen ist Sand, den man der geneigten Leserschaft in die Augen streut, Sand, der aus den Büchern regelrecht herausrieselt, wenn man nur...

Magazin

Chantal Mouffe

Counter-Hegemonic Struggle and Agonistic Practices


In recent years we have witnessed an incredible acceleration in the process of commodification in the field of culture. With the development of the culture industries, the worst nightmares of Horkheimer and Adorno seem to have been realized. Indeed, some theorists claim that, through our dependence on the entertainments corporations, we have become totally subjugated to the control of capital and that we cannot even imagine modes of resistances. Aesthetics, they say, has been so completely harnessed towards the development of a hedonistic culture that there is no space left for a subversive experience – not even in art.


Were this to be true, we would have to conclude that there is no alternative to the present post-political world. The current hegemonic form of neoliberal globalization would constitute our only horizon and we would have to abandon the hope of fostering the agonistic democracy that I have been advocating in my work. To be sure, there are those who would rejoice at such a prospect because they see the present situation as a cause for celebration. In their view, the post-political consensus indicates that, with the disappearance of the adversarial model of politics, democracy has become more mature and that antagonisms have been overcome.


I disagree with such a view and I consider that a well-functioning democracy requires a confrontation of democratic political positions. If passions cannot be mobilized by traditional democratic parties because they privilege a “consensus at the centre,” those passions...

  • Politik
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  • Gegenwartskunst
  • Kunst
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Bücher

Wissenschaft

Wissenschaft

The past years have seen a re-emergence of the need to think about and conceptualise the arts in general and dance in particular in terms of the political. Developments in globalised neo-liberal capitalism and the changes it has produced in the social fabric seem to beg for a statement of some kind from the artistic field. What is more, these changes increasingly affect the production and reception of dance itself, thereby laying bare the ideological underpinnings of its claim for...

  • Performativität
  • Politik
  • Gemeinschaft
  • Körper
  • Globalisierung
Magazin

Jacques Rancière

« L’appréciation esthétique d’une forme est sans concept. »

Qu’entendre par l’invocation d’une « esthétique de la connaissance » ? Manifestement il ne s’agit pas de dire que les formes de la connaissance devraient s’adjoindre une dimension esthétique. L’expression présuppose qu’une telle dimension n’a pas à être ajoutée, comme un ornement supplémentaire, qu’elle est là de toute façon comme une donnée immanente de la connaissance. Reste à voir ce que cela implique. La thèse que je voudrais présenter est simple : parler d’une dimension esthétique de la connaissance, c’est parler d’une dimension d’ignorance qui divise l’idée même et la pratique de la connaissance. 


Cette proposition implique évidemment une thèse préalable quant à ce qu’ « esthétique » veut dire. La thèse est la suivante : l’esthétique n’est pas la théorie du beau ou de l’art, elle n’est pas non plus la théorie de la sensibilité. Esthétique est un concept historiquement déterminé qui désigne un régime spécifique de visibilité et d’intelligibilité de l’art, qui s’inscrit dans une reconfiguration des catégories de l’expérience sensible et de son interprétation. C’est ce nouveau type d’expérience que Kant a systématisé dans la Critique de la faculté de juger. L’expérience esthétique implique pour lui une certaine déconnexion des conditions habituelles de l’expérience sensible. C’est ce qu’il a résumé dans une double négation. L’objet d’appréhension esthétique se caractérise en ceci qu’il n’est ni un objet de connaissance ni un objet de désir. L’appréciation esthétique d’une forme est sans concept. Elle n’est pas fonction du savoir selon lequel un artiste a mis en forme une...

  • Kunst
  • Alain Badiou
  • Gegenwartskunst
  • Ästhetik
  • Kunstwerk
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