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Only art has the power of a form. Mathematics is an exercise for monks.
Only art has the power of a form. Mathematics is an exercise for monks.

Alain Badiou

Art and Mathematics

We all know that the relationship between mathematical activity and artistic creation is a very old one. We know that for a start the Pythagoreans tied the science of number not merely to the movements of the stars but to musical modes. We know that Babylonian and Egyptian architecture presupposed elaborate geometrical knowledge, even if the notion of demonstration had still not been won. Further back still, we find formal, or abstract, outlines mixed in with animal representations, in the...
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Stephen Barber

An immodest proposal

J.G. Ballard’s self-declared ‘Immodest Proposal’ for a global war-­alliance to exact the destruction of America demonstrates the provocatory zeal of his last fiction plans, as well as their enduring prescience. As Ballard emphasises several times in the World Versus America notebooks, he is utterly serious in his concerns and visions.
Although the Ballard ­estate declined permission for any images of pages from the World Versus America archival notebooks to accompany this essay, any member of the general public interested to do so can readily visit the British Library and view the notebooks in their entirety in the freely-­accessible manuscripts collection there.

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Marcus Quent

Belief in the world is what we most lack.

It was Gilles Deleuze who in various contexts underlined that what we most lacked was “belief in the world.” The odd remark appears, for example, in a conversation in 1990 with the Italian Marxist Antonio Negri about revolutionary emergence and the political force of minorities. In this dialogue Negri examines his interlocutor’s thought in the light of the “problem of the political,” which connects the various stages of the philosopher’s intellectual biography. Deleuze’s remark here is the reprise of a motif that would be familiar to readers of his second book on cinema, which appeared in 1985, in which Deleuze contends that the “power of modern cinema” is based on its ability to “give us back” our lost “belief in the world.”

At the end of the conversation Negri asks his dialogue partner about the possibility of present-day processes of subjectivization. After initially emphasizing the “rebellious spontaneity” of such processes, Deleuze...

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Scripted Culture: Book launch

12.04.2018, 18:00

ESPACE DIAPHANES
Dresdener Str. 118
10999 Berlin
Deutschland

Dauerausstellung »Gesichtsüberwachungsschnecken« von Yves Netzhammer

05.09.2017 – 05.09.2018

U-Bahn-Station Altes Landgut (U1)
1100 Wien
Österreich

The Storming of the Winter Palace
The Forensics of an Image

24.11.2017 – 08.04.2018

HMKV im Dortmunder U
Leonie-Reygers-Terrasse
44137 Dortmund
Deutschland

 

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Dieter Mersch

Digital disrupture

We really need an analysis of algorithmic conditions and their paradoxes and ambiguities that gives them an adequate framework and horizon. But instead we currently seem to be finding an algorithmic solution of the algorithmic, much as digital solutions are being offered for the problems of the digital public sphere, in the way that IT corporations, for example, use exclusively mathematical procedures to evaluate and delete “fake news,” inappropriate portrayals, or the violation of personal rights. This tends to result in a circularity that leaves the drawing of boundaries and raising of barriers solely to programming, instead of restoring them to our ethical conscience and understanding of what the social could mean today. The machine, by contrast, remains alien to any mechanical limitation—just as its inability to decide lies in the impossibility of self-calculation. The nucleus of digital culture should instead be sought where the cultural of culture is located:...

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Current Texts
“Poetry must be made  by all. Not by one.”

Mário Gomes

“Poetry must be made by all. Not by one.”

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Marking the passage from misfortune to good luck
Marking the passage from misfortune to good luck

Elisabeth Bronfen

The Elevator—A Heteropia

An even more strikingly risky moment, which for Don anticipates both a personal and a professional crisis, occurs at the open door of an elevator in the fifth season. After Megan has confessed to him that she wants to stop working at the agency so as to fully concentrate on her acting career, he accompanies her to the elevator, where he takes leave of her by demonstratively giving her a passionate kiss before the door closes. Then, as though this...
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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....

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Artur Żmijewski

»… it’s rather that my perception of the world is unbearable for others…«

Film is a space of freedom – you can behave cynically, or even cruelly, and the viewers will think it’s ›just acting‹ anyway, so you have an alibi.
 Reality is a bit like we describe it. Our bodies are also like we describe them. Disease is pathophysiology’s narrative about the body. Old age is the narrative about the body told by the social security system. Bodies happen to be as society wants them. If it’s a nationalised body, for instance, one called up into the army, the narrative will be potentially tragic and lofty at the same time. […]

Compassion is a concept invented for the purpose of the onlookers – it’s their alibi. I look because I sympathise, not because I’m fascinated by physical deformity – such as the sight of a legless man. And yet it’s also a roadshow of forms, a theatre of strange visual combinations, of unexpected...

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