Ξένος extraneus του έξω όχι του μέσα (intraneus) όχι της οικίας unheimlich όχι του heim όχι της εστίας της άλλης πλευράς της πόρτας – fores, foreigner όχι υπερβολικά στον ρυθμό, odd όχι κανονικός όχι συνήθης σπάνιος ιδιάζων seltsam παράξενος besherat γενναίος κομψός απρόβλεπτος στραβός verschroben
λοξός αναπάντεχος εξαιρετικός εκπληκτικός
Είναι εκπληκτικό πόσες λέξεις εκφράσεις τρόπους διαφορετικούς έχουμε για να μιλήσουμε για τον παράξενο ξένο τον ausländer τον έξω από τη χώρα και όχι «pays avec nous» όπως λέγαμε κάποτε στη Γαλλία «c’est un pays à moi» για να πούμε κάποιος από το χωριό μου τη γειτονιά μου την περιοχή μου την πατρίδα μου
Kathrin Busch (ed.), Burkhard Meltzer (ed.), Tido von Oppeln (ed.)
Elisabeth Bronfen (ed.), Christiane Frey (ed.), David Martyn (ed.)
Noch einmal anders
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...
Anyone inclined to describe hunters and gatherers as poor, would be advised to understand them as free.
It wasn’t nature and its dangers that forced domestication and enabled the economic shrine. Temple and funerary cult, sacrifice and distribution of the meat—for Homer all sacrificial animals were still hieria, holy creatures—and the containment of wildness led to symbolic and socio-cultural change, which became the vector and motor of sedentary, food-producing communities. It wasn’t sheep, goats, or cattle that were domesticated first; it was the zoon logon echon itself that bowed to the self-created yoke of the cult. Why, we don’t know. Beyond this it’s important that unlike plants only very few species of animal can be domesticated, and that this shouldn’t be confused with taming. Economic significance develops as an epiphenomenon. It transforms from possible human sacrifice to animal sacrifice to the distribution of meat in early “Greek” antiquity, then to the obeloi (skewers with varying amounts of meat, as tokens for the priests’ or judges’ portion; even...
Whatever is addressed in the elevator responds to a prior occurrence much as, inevitably, it will have an aftereffect.