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  • Epistemologie
  • Künstlerische Forschung
  • Denkt Kunst
  • Ästhetik
  • Diskursanalyse
  • Kunsttheorie
Essays on Photography by Siegfried Kracauer
Essays on Photography by Siegfried Kracauer

Siegfried Kracauer, Philippe Despoix (Hg.), ...

The Past's Threshold

There can be no doubt, however, that in Kracauer’s texts published at the turn of the 1920s and the 1930s from his position as an editor of the cultural pages at the daily newspaper Frankfurter ­Zeitung, then in the 1950s during his American period, he sketches out a theorisation of photography that can be described as groundbreaking. But it is also true that most of his works overlap, in more than one way, with this medium of reproduction or that...
  • Medientheorie
  • Fotografie
  • Geschichte der Fotografie
  • Siegfried Kracauer
  • Film
Claire Denis

Fragility is the only thing I really know about me

I am not a very balanced person. I am fragile and sad – almost as described in Triste Tropiques by Claude Lévi-Strauss. I feel both those adjectives, I grew up with them. I was aware of my fragility even when I was very young – a baby, learning to walk, living somewhere in Africa and already feeling that the number of white persons was very small compared to the number of black persons and also noticing that most of the black persons that I met were gardeners or maids. I felt – I am sure I am not lying – even at that very young age, not a sense of injustice, but a sort of guilt.

Guilt for what? My parents were nice people, they treated everyone well. My father was avidly learning languages, he spoke many African languages and also Pidgin English very well and he used to speak it...

  • Identität
  • Autofiktion
  • Autorenfilm
  • Subjektivität
Maurizio Lazzarato

The endless array of merchandise

In contemporary capitalism, subjectivity is the product of a mass industry organized on a global level. For Félix Guattari this is actually the first and most important of capitalist productions, because it preconditions and is part of production in all other forms of merchandise. Subjectivity is a ‘key merchandise,’ which in its ‘nature’ is put together, developed and manufactured in the same way as a car, electricity, or a washing machine. Capitalism organizes the production and control of subjectivity through two different systems, which weave together the manufacture of the individuated subject (“social subjection”) and what seems to be the opposite, de-subjectification (“machinic enslavement”). Therefore capitalism exercises a twofold hold over subjectivity.

Social subjection involves techniques of government, which pass by way of, and mobilize, representation (political and linguistic), areas of knowledge, discursive visual practices, etc., and produce ‘subjects of rights,’ ‘political subjects,’ in short: ‘subjects’ of ‘I’s,’ of individuals. By...

  • Daten
  • Kapitalismus
  • Gouvernementalität
  • Algorithmen
  • Identität

Meine Sprache
Deutsch

Aktuell ausgewählte Inhalte
Deutsch, Englisch, Französisch

Neuerscheinungen
Inke Arns (Hg.), Sylvia Sasse (Hg.), ...: Nikolaj Evreinov: »The Storming of the Winter Palace«
Georges Perec: Die dunkle Kammer
Gertrud Koch: Breaking Bad, Breaking Out, Breaking Even
Artur Żmijewski, Sandra Frimmel (Hg.), ...: Kunst als Alibi
Weitere Themen
Elisabeth Bronfen

Marking the passage from misfortune to good luck

An even more strikingly risky moment, which for Don anticipates both a personal and a professional crisis, occurs at the open door of an elevator in the fifth season. After Megan has confessed to him that she wants to stop working at the agency so as to fully concentrate on her acting career, he accompanies her to the elevator, where he takes leave of her by demonstratively giving her a passionate kiss before the door closes. Then, as though this were an afterthought, he once more presses the button. Although, almost immediately, the doors of the elevator next to the one that Megan just stepped into begin to open, he suspects that something is wrong. Standing on the threshold of the opening, he finds himself looking down into the dark abyss of the empty elevator shaft. More astonished than alarmed, he steps back. Then the doors close again. The concrete...

  • Alltag
  • Architektur
  • 1960er Jahre
  • Amerika
  • Arbeitswelt
Milo Rau, Andreas Tobler
Die Dinge nicht nur dar­stellen, in sie eingreifen

Die Dinge nicht nur dar­stellen, in sie eingreifen

  • Spekulativer Realismus
  • Kunsttheorie
  • Denkt Kunst
  • Zeugenschaft
  • Wirksamkeit
  • Reenactment
  • Realismus
  • Dokumentarismus
  • Wissensproduktion
  • materialist turn
  • Das Reale
  • Dokumentarfilm
  • Ästhetik
  • Künstlerische Praxis
Ein Taschenuniversum für Denker und Sinnierer
Ein Taschenuniversum für Denker und Sinnierer

Yves Netzhammer

Concave Thoughts

OPEN
ACCESS
  • Digitale Bilder
  • Das Unheimliche
  • Ding
  • Digitale Ästhetik
  • Gegenwartskunst

Nikolaj Evreinov, Sylvia Sasse (Hg.)

Theater für sich

Wenn im Theater der Vorhang aufgeht, sollte der Zuschauer gleich sehen, wo das Stück spielt, wovon es handelt, was der Autor erzählen will. Exponierender Dialog, Dekoration, Beleuchtung und andere Theatermittel geben ihm Orientierung. Können, Geschmack und Erfahrung des Autors sieht der ungeduldige Zuschauer, sobald der Vorhang aufgeht. Als alter Theaterhase beginne ich dieses Buch – Vorhang auf – mit einem Prolog in der Art des mittelalterlichen »Docteur Prolocuteur« und ignoriere einfach den Unterschied, den es zwischen der Wahrnehmung einer Theatervorstellung und...
  • Performance
  • Theaterwissenschaft
  • Theater
  • Reenactment
“Obsessed with buffering”
“Obsessed with buffering”

Tom McCarthy

Recessional—Or, the Time of the Hammer

Towards the end of Thomas Pynchon’s mammoth 1973 novel Gravity’s Rainbow, the stumbling ingénue of a hero Tyrone Slothrop sets off on a commando raid. The territory he and his cohorts move through is a giant ­metropolis, a “factory-state” in which capital, technology and power, perfectly co-calibrated, send airships drifting through urban canyons, past chrome caryatids and roof-gardens on skyscrapers that themselves shoot up and down on ­elevator-cables: a conurbation ­Pynchon calls the “City of the Future” or “Raketen-Stadt.” The... ABO
  • Moderne
  • Literatur
  • Gespräch
  • Fiktion
  • Literaturwissenschaft
Mário Gomes

Über literarische Sprengkraft

Kaum etwas setzt schneller Rost an als Kriegsgerät und Literatur. Da nützt weder Pflege noch Wartung, am besten ist es, man lässt das Material einrosten und rüstet derweil am anderen Ende nach, erweitert Bestände, feilt an Technologien und poliert vor allem die Oberflächen auf Hochglanz, bzw. man nimmt den einfachen Weg und lässt eine Glanzschicht auftragen – einen feinen, seidenen Film –, denn so geht das heutzutage: man trägt auf. Dieser chemische Glanz der Panzer und Bücher kommt von der Sprühdose. Er hält allerdings nicht lange, sondern schwindet, sobald das Auge sich abwendet, und das Auge wendet sich schnell ab. Wo der Blick dann aber als nächstes hin eilt, glitzert und funkelt es wieder: bei jeder Militärparade wie bei jeder Buchmesse.

Dieser Glanz ist jedoch bei weitem nicht das einzige, was Krieg und Literatur verbindet. Ihre Verknüpfungen sind vielfältig und verworren. Wo Gewalt aufhört und das Schriftzeichen anfängt, ist selten klar,...

Pascal Quignard
Der Schrecken ist das Zeichen des Phantasmas

Der Schrecken ist das Zeichen des Phantasmas

  • Antike
  • Pompeji
  • Rom
  • Mysterium
  • Sexualität
  • Malerei
  • Erotik
  • Psychopathia sexualis
  • Tod
  • Urszene
Of what can I be truly certain?
Of what can I be truly certain?

Jean Paul Mongin, François Schwoebel

Mister Descartes and his Evil Genius

Can one trust his senses when perceiving the outside world? When my sensations are the basis of my perception of my own existence, what if these sensations are to be doubted – what can the proof of my own existence be? These questions, both simple and profoundly undermining, stand at the beginning of Modernity: the philosophy of René Descartes. This book drags its readers – and musketeer-like Mister Descartes himself – into the adventure of thinking. It gives a lively...
  • Descartes
  • Gewissheit
  • Epistemologie
  • Junge Leser
  • Denken
Gareth A. Jones
Multiculturalism and the Embodiment of Fear

Multiculturalism and the Embodiment of Fear

  • Südafrika
  • Multikulturalismus
  • Zeitgeschichte
  • Kriminalität
  • Gewalt
Alain Badiou

Only art has the power of a form. Mathematics is an exercise for monks.

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,...

  • Kunstkritik
  • Dichtung
  • Kunst
  • Gegenwartskunst
  • Ästhetik