Etrange (غریب) در زبان فرانسوی از ریشه لاتین extraneus به معنای «خارجی» در برابر داخلی intraneus است. آنچه از خانه نیست unheimlich (امر غریب) از heim (خانه) نیست از منزل نیست در طرف دیگر دروازه fores است foreigner (خارجی)، خارج از ضرب و زیادی است odd (زاید) ناهنجار نامعمول نادر کمیاب تکی است seltsam (عجیب) عجیب و غریب besherat رشید ظریف پراوهام خمیده verschroben (بد خو) خمیده شگفت آور خارق العاده حیرت انگیز
غنای زبان امری غریب است در کلماتی که به نحوی حولِ مفهومِ غریبِ خارجی ausländer شکل گرفته اند خارج از کشور «هم کشور ما» همانگونه که پیش تر در فرانسه می گفتیم «این کشور من است» برای اشاره به کسی از روستای من محله ی من استان من ولایت من
Kalkül und Leidenschaft
Hyman P. Minsky
Instabilität und Kapitalismus
Die Sorge des Souveräns
Geld ist Zeit
Some images from the Tiergarten are particularly successful. The park could be a symbol of photography itself, and perhaps the latter follows the park so effortlessly because photography also whiles away its time on yesterday’s threshold.
Frankfurter Zeitung, 15th December 1932
The notion of a solidary swarm is especially interesting with regard to present forms of governmentality.
From Howard Rheingold’s Smart Mobs in 2003 to Felix Stalder’s concept of Digital Solidarity in 2013, the Internet has inspired and still inspires the dream of new sorts of collectivity, of a potentially free and open space of information and communication that would emancipate and unite the people. These discourses often employ the swarm metaphor, the “ephemeral and apparently ‘grass-roots democratic’ conception of collectivity” that suggests emergent cooperation or solidarity and is therefore also used to point to new emancipatory politics.
The notion of a solidary swarm is especially interesting with regard to present forms of governmentality: On the one hand, it stands for subversive moments within societies of control or biopolitical capitalism, as it can point to new forms of sociality that overcome logics of neoliberal competition. On the other, inspiring swarm behavior is one way of governing in neoliberal capitalism. As the notion of the online swarm and, more...
The radicalisation of the process of civilisation is a challenge to art, even an overwhelming one. High-modernist art, with its claims to understanding and expressing the world, positioned within a world that has become highly complex, is challenged by itself.
How is one to dance against Auschwitz or Hiroshima?
The sheer attempt to “dance against” anything would be naïve! Art after modernism – and I think the date 1945 would serve very well as a point of reference – had to and must now relinquish its own irresolvable complexity and retreat. It becomes in a sense truly radical but it would be more accurate to say it becomes nuclear, focussing on the core. Beckett’s plays are destilled cores – their greatness lies in their smallness. Absolute music, absolute art – Merce Cunningham’s dance could well be termed absolute dance in this sense – cristallises something from out of the cultural forms of bourgeois art, something which can...