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Humanities

The Moses complex’s place is exile.
The Moses complex’s place is exile.

Ute Holl

Introduction

The unkind and inhuman God of Moses in Exodus reveals himself as a terrifying media agent. This is why the Moses figure insistently returns in the arts and sciences of the twentieth century. It corresponds to the fact that the media initially remain concealed when new laws come in with them. When Moses climbs the mountain, the tablets on which the caesuras of writing will turn out to be there already, while the people are still camping in the desert,...
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  • Danièle Huillet
  • Arnold Schönberg
  • community
  • exile
  • Jean-Marie Straub
Current Texts

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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Maria Filomena Molder

So many egoists call themselves artists…

“So many egoists call themselves artists,” Rimbaud wrote to Paul Demeny on May 15, 1871. Even though that is not always obvious, ‘I’, the first person, is the most unknown person, a mystery that is constantly moving towards the other two, the second and third persons, a series of unfoldings and smatterings that eventually gelled as ‘Je est un autre’. That is why ‘apocryphal’ is a literarily irrelevant concept and ‘pseudo’ a symptom, the very proof that life, writing, is made up of echoes, which means that intrusions and thefts (Borges also discusses them) will always be the daily bread of those who write.

Words from others, words taken out of place and mutilated: here are the alms of time, that squanderer’s sole kindness. And so many others, mostly others who wrote, and many other pages, all of them apocryphal, all of them echoes, reflections. All this flows together into—two centuries...

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Topics
  • minima oeconomica

    minima oeconomica

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

    • economics
    • financial crisis
    • financial markets
    • discourse history
    • economization
    • economy
  • Observing the Spectator

    Observing the Spectator

    • observer
    • mirror
    • optical illusion
    • gaze
  • Wissen-Nicht-Wissen

    Wissen-Nicht-Wissen

    • poetics
    • poetology of knowledge
    • potentiality
    • ignorance and non-knowledge
    • astonishment
    • idleness
    • experiment
    • history of knowledge
    • epistemology
    • literary studies
  • Choreographing multitudes

    Choreographing multitudes

    • social movements
    • protest movements
    • crowd
    • social networks
    • swarm model
    • crowd psychology
Current Texts
Humanity is a metahuman concept.

Rolf Bossart, Milo Rau

Humanity is a metahuman concept.

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  • art theory
  • realism
  • artistic practice
  • re-enactment
  • transhumanism
  • postmodernism

 

Around a sculpture by Alberto Giacometti
Around a sculpture by Alberto Giacometti

Georges Didi-Huberman, Mira Fliescher (ed.), ...

The Cube and the Face

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...
  • art theory
  • face
  • abstract art
  • Alberto Giacometti
  • art history
Current Texts
Blood!

Ines Kleesattel

Blood!

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  • body
  • gender
  • art history
  • painting
  • feminism
  • subjectification
  • gaze