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Humanities

Art in a False Present
Art in a False Present

Anselm Franke (ed.), Tom Holert (ed.)

Neolithic Childhood

The impression that “Neolithic Childhood” is a monographic project, dedicated to a single personality from history, is deceptive. Einstein himself was deeply wary of the monograph genre. In the early 1930s, he wrote that it served the “normalization” of art, because it ensured that “a person and their work are too sharply separated and that both are removed from significative relations.” 1 He emphatically shifted those “significative relations”—the social, political, economic, religious, epistemological, anthropological, and psychological contexts that determine a...
  • 1930s
  • avant-garde
  • ethnology
  • art history
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From xenolinguistics to cephalo­pods

From xenolinguistics to cephalo­pods

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

 

Topics
  • Choreographing multitudes

    Choreographing multitudes

    • social movements
    • swarm model
    • crowd psychology
    • crowd
    • protest movements
    • social networks
  • Color and meaning

    Color and meaning

    Who is afraid of Red, Yellow, Blue…?

    • monochrome
    • chromatics / colour science
    • image and imagery
    • color
    • semiotics and semiology
  • minima oeconomica

    minima oeconomica

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

    • economization
    • economics
    • financial markets
    • financial crisis
    • economy
    • discourse history
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Humanity is a metahuman concept.

Rolf Bossart, Milo Rau

Humanity is a metahuman concept.

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  • transhumanism
  • realism
  • art theory
  • postmodernism
  • artistic practice
  • re-enactment
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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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"Curriculum Vitae in Pictures“

Maria Zinfert (ed.)

Kracauer. Photographic Archive

Kracauer. Photographic Archive presents  largely unknown material from the estate of the German-American theorist of film and photography, ­Siegfried Kracauer and his wife and assistant Elisabeth, known as Lili. The single and group portraits, still lifes, street scenes and landscapes collected in this book all come from the estate of Siegfried Kracauer. Published here for the first time, they are an extensive and representative selection from the enlargements, contact sheets and rolls of film originally archived by Lili Kracauer. With...
  • archive
  • 20th century
  • biography
  • 1930s
  • 1950s
Current Texts

Mark Franko

The mythic dimension of corporeality

When Graham’s American Document premiered at Carnegie Hall in New York City on October 9, 1938 it engendered a sense of community between the general public and the dance world, and within the dance world itself, where such community had not previously existed. Lincoln Kirstein, despite previous aesthetic gripes, extolled “the quality of Graham’s idiosyncratic gesture formulating just what she meant to say.” Kirstein implied that in American Document Graham avoided the traps of national folklore into which so many choreographic productions of this period had fallen, including Kirstein’s own projects. The left-wing press, for its part, set aside its persistent political misgivings about Graham’s oeuvre: New Masses – the most prominent left-wing cultural publication of the thirties – sponsored the New York premiere. While I do not have the space here to analyze the Libretto and the piece in detail the original version was critical of injustices in American history. Its...

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  • myth
  • 1930s
  • body
  • photography
  • Anti-fascism
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Marie-Luise Angerer

Movement, Interval, Plasticity

If sensory perception of the world takes place prior to all consciousness, one might ask, finally, what this “prior to consciousness” means – is it an unconscious or rather a non-conscious? Who is dancing when dancers dance? Who is moving when bodies process stimuli? For Freud, the notion of the drive was a transitional concept bridging the divide between the somatic and the mental. I think that today, for various reasons, it is possible to replace the notion of the drive with that of affect to obtain a similarly transitional concept. But as I explain in my theory of the affective dispositif, this concept is one that no longer follows the movement of desire (for the Other) but which, with a focus on movement, interval, and plasticity, leads to surprising parallels (synchronizations) between the socio-political and the somatic. In this context, the “not-yet-movement” of affect often mentioned here can be understood...

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  • epistemology
  • media theory
  • affects
  • body
  • gender