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Wissenschaft

Eine Form für den Gesellschaftskörper
Eine Form für den Gesellschaftskörper

Igor Chubarov

Das Kollektivsubjekt oder die Masse als Subjekt

Im Grunde wurde das revolutionäre Ereignis in Evreinovs Performance auf der Ebene des theatralen Gestus und der therapeutischen Gestalt erst gestärkt und entwickelt. Auch Sergej Ejzenštejn hat sich, wenn auch später und wenn er dies auch abgestritten hat, in seinem Oktober wahrscheinlich auf Evreinovs in Fotografien und Chroniken dokumentierte Inszenierung gestützt. Anhand ebendieser Chroniken haben spätere Generationen von Sowjetbürgern die Revolution erinnert und wahrgenommen. Evreinov hat mit seiner Performance die Perspektivlosigkeit des naturalistischen Theaters bewiesen, welches einfach nur versucht, die...
ABO
  • Kommunismus
  • Massenpsychologie
  • Revolution
  • Ästhetik
  • Russland
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Es gibt kein absolutes Besonderes.

Rolf Bossart, Milo Rau

Es gibt kein absolutes Besonderes.

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Sergei Eisenstein: The Anthropology of Rhythm

19.09.2017 – 19.01.2018

Nomas Foundation
Viale Somalia 33
01199 Rom
Italien

»Der zerklüftete Augenblick«:
Reiner-Schürmann-Kolloquium

02.11.2017, 09:00

ESPACE DIAPHANES
Dresdener Str. 118
10999 Berlin
Deutschland

Straub/Huillet: Sagen Sie's den Steinen

13.09.2017 – 19.11.2017

Akademie der Künste
Hanseatenweg 10
10557 Berlin
Deutschland

Sturm auf den Winterpalast: Geschichte als Theater

23.09.2017 – 25.10.2017

Gessnerallee Zürich
Gessnerallee 8
8001 Zürich
Schweiz

 

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Joseph Rykwert

The Final Step: From the model to »the thing proper«

Notoriously, any passage from one stage to another almost inevitably involves a loss of spontaneityeven of authenticity. Spontaneity has been valued more highly by recent critics than the monumental scale or full accomplishment and smooth finish of the final work, the higher and grander res ipsa. In that way, the passage of the work of art through the various stages from conception to completion is analogous to the filtering that a concept incarnate in the sounds and shapes of one language undergoes in its passage to the forms and feel of another one. Although this analogy is recognized for sculpture and painting, architecture is rarely mentioned in this context.


Yet it represents an even more elaborate passage or translation from one “language” to anotherwith all its inevitable forfeitures and contaminations. At the beginning of the first treatise on architecture of modern times, Leon Battista Alberti found it necessary to define the...

ABO
  • Handwerk
  • Entwurfsprozesse
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  • Modell
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Judith Butler

Ethical Ambivalence

I do not have much to say about why there is a return to ethics, if there is one, in recent years, except to say that I have for the most part resisted this return, and that what I have to offer is something like a map of this resistance and its partial overcoming which I hope will be useful for more than biographical purposes. I’ve worried that the return to ethics has constituted an escape from politics, and I’ve also worried that it has meant a certain heightening of moralism and this has made me cry out, as Nietzsche cried out about Hegel, “Bad air! Bad air!” I suppose that looking for a space in which to breathe is not the highest ethical aspiration, but it is there, etymologically embedded in aspiration itself, and does seem to constitute something of a precondition for any viable, that is, livable, ethical...

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Zu einer Poetik des Seriellen
Zu einer Poetik des Seriellen

Elisabeth Bronfen (Hg.), Christiane Frey (Hg.), ...

Noch einmal anders

In seinem Essay »Circles« schreibt Ralph Waldo Emerson: »Our life is an apprenticeship to the truth, that around every circle another can be drawn; that there is no end in nature, but every end is a beginning; that there is always another dawn risen on mid-noon, and under every deep a lower deep opens.« Ein Ende als den neuen Anfang eines weiteren Zirkels zu verstehen, selbst mitten am Tag einen Morgen zu erahnen, folgt einer für die in diesem Band...
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Mark B. N. Hansen

Affectivity as Environmental Force

In contemporary developments in biomedia and digital computing, technicity opens the domain of the superempirical to experimentation and in this respect can be seen to contribute directly to the genesis of affectivity well beyond the affect-body-emotion complex. In the age of biotechnical convergence, the key issue is not “what bodies can be made to do,” as Clough puts it, but rather what matter is. Here we come upon the true significance of Clough’s insistence on the technicity of affect and its centrality for extending affect to the “dynamism of matter generally”: far from being a merely instrumental mediation that operates to produce affect or to give access to affect produced in something else, technicity operates within material fluxes themselves. It is an internal element in material processes that are themselves affective. What is needed then, to expand affectivity beyond bodily matter and bodily agency, is an account of technicity that...

ABO
  • Affekte
  • Epistemologie
  • Gender
  • Alfred North Whitehead
  • Emotionen
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Wolfgang Ernst

The Techno-Traumatic Affect

Whereas the cinematic and TV image is always perceived as framed and thus contained (as a kind of quote / quotation mark of reality), the acoustic signal is never minimized but cuts directly, even aggressively into the ear. The radio voice is not perceived as representation of the “real” (physically present) voice but as identical with the human voice itself. […]

To convince the audience of the sonic fidelity of phonographic reproduction of music, the Edison Company staged an experimental setting in New York’s Carnegie Hall in 1916, placing a mahogany phonograph alone on the vast stage. In the midst of the initial silence a white-gloved man emerged from behind the draperies, solemnly placed a record into the machine, wound it up and vanished. Then an opera singer stepped forward and while leaning one arm affectionately on the phonograph began to sing an air from Verdi’s Tosca. The phonograph also began...

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  • Medien
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