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
Claudia Blümle (ed.), Anne von der Heiden (ed.)
Blickzähmung und Augentäuschung
Werner Busch (ed.), Carolin Meister (ed.)
Beate Fricke (ed.), Urte Krass (ed.)
The Public in the Picture / Das Publikum im Bild
Carolin Meister (ed.), Dorothea von Hantelmann (ed.)
It was Gilles Deleuze who in various contexts underlined that what we most lacked was “belief in the world.” The odd remark appears, for example, in a conversation in 1990 with the Italian Marxist Antonio Negri about revolutionary emergence and the political force of minorities. In this dialogue Negri examines his interlocutor’s thought in the light of the “problem of the political,” which connects the various stages of the philosopher’s intellectual biography. Deleuze’s remark here is the reprise of a motif that would be familiar to readers of his second book on cinema, which appeared in 1985, in which Deleuze contends that the “power of modern cinema” is based on its ability to “give us back” our lost “belief in the world.”
At the end of the conversation Negri asks his dialogue partner about the possibility of present-day processes of subjectivization. After initially emphasizing the “rebellious spontaneity” of such processes, Deleuze...
After all, the history of modern and contemporary art can be read as the progressive inclusion of a growing part of the formless into apparatuses.
We all know that the relationship between mathematical activity and artistic creation is a very old one. We know that for a start the Pythagoreans tied the science of number not merely to the movements of the stars but to musical modes. We know that Babylonian and Egyptian architecture presupposed elaborate geometrical knowledge, even if the notion of demonstration had still not been won. Further back still, we find formal, or abstract, outlines mixed in with animal representations, in the great prehistoric decorations, without our knowing precisely to what it is that these mixtures refer.
For the philosopher that I am, or that I believe I am, the entry into our question, as so many others, passes through the contrasting disposition between Plato and Aristotle.
For Plato, mathematics is fundamental in the sense that it mediates between, on the one hand, experience, or the relation to the sensory world, and,...
A permanent film and photo exhibition has been opened in a complex of shops in Joachimsthaler Street. It brings together material that has never been shown before in such a comprehensive way. Frankfurter Zeitung, 12th July 1932
How dance performance may be seen as the place of the Other, as a “space” in which “something happens”?
In Le Roy’s Sacre the audience is not an “audience” in the sense of a closed unity; not an audience as a multitudinous communal body that is positioned opposite the “body” of performers (orchestra/ballet) of a performance of Le Sacre du printemps. The other side, the opposite is inverted the moment Le Roy – back on stage with his back to the audience – turns around to face it and, imitating a conductor’s movements, treats it as an orchestra, as if he were standing face to face with the various groups of musicians to whom he was giving cues. At his moment of turning the unities of the normal performance set-up collapse, and the conventions of representation are shaken. This theatrical “as if” – Le Roy conducting the audience as a fictitious orchestra – points once again to the aesthetic negativity of this process. The gaze – the gaze back, from the stage into the...