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Humanities
Sebastián Eduardo Dávila (ed.), Rebecca Hanna John (ed.), ...
On Withdrawal—Scenes of Refusal, Disappearance, and Resilience in Art and Cultural Practices
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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Anthology
Exodus. Reale Demokratie. Immanenz. Territorium. Maßlose Differenz. Biopolitik
Isabell Lorey (ed.), Roberto Nigro (ed.), Gerald Raunig (ed.)
Inventionen 2
Anthology
Social Media—New Masses
Inge Baxmann (ed.), Timon Beyes (ed.), Claus Pias (ed.)
Social Media—New Masses
Anthology
Soziale Medien – Neue Massen
Inge Baxmann (ed.), Timon Beyes (ed.), Claus Pias (ed.)
Soziale Medien – Neue Massen
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minima oeconomica
Analysen und Kritik moderner Ökonomie, deren Wissenschaft und Legitmation im Zeitalter der Finanzialisierung
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Liliana Gómez (ed.)
Performing Human Rights
Sandra Frimmel
Why should this be art?
I Hate the Avant-Garde. When an artist as self-ironic and self-reflective as Yuri Albert makes such a statement about art, then skepticism is called for. Like his overall series Elitist-Democratic Art, the title deliberately plays with simple affirmations and negations, and at the same time exhibits the inherent receptive dilemma of the series: a (large) part of the artistically trained viewers see these shorthand works as abstract forms, without understanding the text, and only the few who can read (Russian) shorthand perceive a text, which for them doesn’t necessarily have to be art. I Hate the Avant-Garde was created in 2017, after a sketch made in 1987 in reaction to a changed situation in the reception of nonconformist art. With the beginning of perestroika, unofficial art that had hitherto been excluded from the state-run art scene—that is, from the official infrastructure of museums and exhibition spaces, and from art scholarship...