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Rudolf Steiner, Pleasant Valley
Es gibt kein absolutes Besonderes.
  • Humanismus
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  • Künstlerische Praxis
  • Postmoderne
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Geschichts-Fake und künstlerisches Reenactment
  • Revolution
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News + Veranstaltungen

Dauerausstellung »Gesichtsüberwachungsschnecken« von Yves Netzhammer

05.09.2017 – 05.09.2018

U-Bahn-Station Altes Landgut (U1)
1100 Wien
Österreich

Sergei Eisenstein: The Anthropology of Rhythm

19.09.2017 – 19.01.2018

Nomas Foundation
Viale Somalia 33
01199 Rom
Italien

Pluriversum – Ausstellung zum Werk von Alexander Kluge

15.09.2017 – 07.01.2018

Museum Folkwang
Museumsplatz 1
45128 Essen
Deutschland

Buchvernissage: Performance Chronik Basel (1987–2006)

13.11.2017, 18:00

Kunsthaus KuLe
Auguststrasse 10
10117 Berlin
Deutschland

Straub/Huillet: Sagen Sie's den Steinen

13.09.2017 – 19.11.2017

Akademie der Künste
Hanseatenweg 10
10557 Berlin
Deutschland

»Der zerklüftete Augenblick«:
Reiner-Schürmann-Kolloquium

02.11.2017, 09:00

ESPACE DIAPHANES
Dresdener Str. 118
10999 Berlin
Deutschland

Weitere Themen
  • Autofiktion | Metafiktion

    Autofiktion | Metafiktion

    • Erinnerung
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  • Wissen-Nicht-Wissen

    Wissen-Nicht-Wissen

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    • Potentialität
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Aktuelle Texte
Mama Say Make I Dey Go, She Dey My Back

Jelili Atiku, Damian Christinger

Mama Say Make I Dey Go, She Dey My Back

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  • Ritual
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Aktuelle Texte
“Poetry must be made  by all. Not by one.”

Mário Gomes

“Poetry must be made by all. Not by one.”

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  • Poetik
  • Südamerika
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»The camera is my »exosomatic extension‹.«
»The camera is my »exosomatic extension‹.«

Gertrud Koch, Michael Lüthy, ...

A Walk With Allan Sekula Through His Exhibition

Gertrud Koch: We would like to start by discussing the different narrative forms you have chosen for the titles of your series, like »story«, »fable« or »tale«: how would you differentiate between stories and fables, and what autobiographical narratives are involved here? Is it a kind of metanarrative, is it a composing of different narrative moments?
   Allan Sekula: Very often my titling a particular work has an idiomatic logic: Fish Story has a vernacular resonance, particularly in American English where a...
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  • Fiktion
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The limp, voluptuous decadence of the place
The limp, voluptuous decadence of the place

Bruce Bégout

The Man from Venice

I’m not going to talk about my profession here. That’s of no importance in understanding what happened to me. I could have any job, or even be unemployed. That wouldn’t affect this story in the slightest. On the other hand, it’s crucial to know that I am one of the world’s best-known urban explorers. I’ve been doing urbex for more than 20 years, and my blog is one of the most visited on the web. There I compile my hundreds of...
  • Obsession
  • Short Stories
  • Gegenwartsliteratur
  • Urbanismus
  • Avantgarde
Literatur

Diane Williams

How about some string?

I said “Would you like a rope? You know that haul you have is not secured properly.”
“No,” he said, “but I see you have string!”
“If this comes into motion—” I said, “you should use a rope.”
“Any poison ivy on that? ” he asked me, and I told him my rope had been in the barn peacefully for years.
He took a length of it to the bedside table. He had no concept for what wood could endure.
“Table must have broken when I lashed it onto the truck,” he said.
And, when he was moving the sewing machine, he let the cast iron wheels—bang, bang on the stair.
I had settled down to pack up the flamingo cookie jar, the cutlery, and the cookware, but stopped briefly, for how many times do you catch sudden sight of something heartfelt?
I saw our milk cows in their slow...

ABO DE
Hurrah!
Hurrah!

Jurij Pavlovich Annenkov

A Diary of my Encounters

Evreinov was occupied with the spectacle’s theatrical, dramaturgical side. Due to its immense size, the production was directed collectively: Evreinov was the director-in-chief, followed by Kugel, Petrov, Derzhavin, and myself. I also designed the scenery and the costumes. My stage sets spanned the entire width of Palace Square and reached up to the third floor of the General Staff. They consisted of two huge platforms (a White and a Red one), connected by a steep bridge. There were around 8,000...
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Diskurs

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,...

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Diskurs

Ute Holl

Dream, Clouds, Off, Exile

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  • Karl Marx
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Wissenschaft

Marie-Luise Angerer

Movement, Interval, Plasticity

If sensory perception of the world takes place prior to all consciousness, one might ask, finally, what this “prior to consciousness” means – is it an unconscious or rather a non-conscious? Who is dancing when dancers dance? Who is moving when bodies process stimuli? For Freud, the notion of the drive was a transitional concept bridging the divide between the somatic and the mental. I think that today, for various reasons, it is possible to replace the notion of the drive with that of affect to obtain a similarly transitional concept. But as I explain in my theory of the affective dispositif, this concept is one that no longer follows the movement of desire (for the Other) but which, with a focus on movement, interval, and plasticity, leads to surprising parallels (synchronizations) between the socio-political and the somatic. In this context, the “not-yet-movement” of affect often mentioned here can be understood...

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