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Humanities
Georges Didi-Huberman, Mira Fliescher (ed.), ...
The Cube and the Face
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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Anthology
Zu Jacques Lacans Bildtheorie
Claudia Blümle (ed.), Anne von der Heiden (ed.)
Blickzähmung und Augentäuschung
Anthology
Involving the Beholder
Beate Fricke (ed.), Urte Krass (ed.)
The Public in the Picture / Das Publikum im Bild
Anthology
Das Gedächtnis des Auges in Kunst und Wissenschaft
Werner Busch (ed.), Carolin Meister (ed.)
Nachbilder
Anthology
Kunst und Gesellschaft
Carolin Meister (ed.), Dorothea von Hantelmann (ed.)
Die Ausstellung
Marcus Quent
Belief in the world is what we most lack.
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...
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