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On the boundaries of what is permissible to show
On the boundaries of what is permissible to show

Christian Beetz, Hendrik Rohlf

Catalysts of Radicalization

On the way to a digital society, we’re probably at one of the great crossroads in human civilization. The problem is that people have no images for what’s coming their way, and therefore can’t imaging a digital society. For me this is one of the most important and exciting issues around. I once tried without success to make a film about Apple—among other things I was interested in how the most successful corporation in the world was able to maintain...
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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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From xenolinguistics to cephalo­pods

From xenolinguistics to cephalo­pods

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  • communication
  • utopia
  • semiotics and semiology
  • communication media
  • linguistics
  • science fiction

 

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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  • Labor
  • 1960s
  • architecture
  • America
  • everyday life
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Language can never be private

Johannes Binotto

Language can never be private

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  • theatre / drama
  • subjectification
  • language
  • Shakespeare
  • feminism
  • gender