Wir sind in einer Welt der Hightech-Simulakren und der zynischen Ideologie zu Hause. Die Gesetze sind uns bekannt und wir freuen uns, wenn sie gebrochen werden.
Viale Somalia 33
Dresdener Str. 118
Akademie der Künste
Christina Lechtermann (Hg.), Stefan Rieger (Hg.)
Das Wissen der Oberfläche
Monika Dommann (Hg.), Kijan Malte Espahangizi (Hg.), Svenja Goltermann (Hg.)
Nach Feierabend 2015
Cornelius Borck (Hg.), Armin Schäfer (Hg.)
Zeit und Verb
There is no escape from the translatative cycle of concept-representation-realization. At each stage of that cycle choice and judgment—as well as mechanical skill—have to be exercised.
Notoriously, any passage from one stage to another almost inevitably involves a loss of spontaneity—even 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 another—with 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...
Certain kinds of values, such as generosity and forgiveness, may only be possible through a suspension of this mode of ethicality and, indeed, by calling into question the value of ethics itself.
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...
Zugleich Gegenstand und Verfahren, setzt das serielle Denken, wie es sich in diesem Band abzeichnet, mithin eine Reihe von sonst selbstverständlichen Unterscheidungen außer Kraft.
Feelings are operative at every scale of process from the most minimal (atomic processes) to the most maximal (geophysical change).
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...
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...