Maxim Gorki Theater
Am Festungsgraben 2
Jens Badura (ed.), Selma Dubach (ed.), Anke Haarmann (ed.), Dieter Mersch (ed.), Anton Rey (ed.), Christoph Schenker (ed.), Germán Toro Pérez (ed.)
Künstlerische Forschung. Ein Handbuch
Unbedingte Universitäten (ed.)
Jan Masschelein, Maarten Simons
Jenseits der Exzellenz
Kritik der Kompetenz
The theoretical validity of a global affective language means to cancel out any translation difficulties in the spoken word.
The tendency toward the globalization of the affect code compiled thus far is manifested as much in image atlases and catalogs of affect as in universal grammar and the language of popular images, since this code is precisely intended to be valid irrespective of space and time and thus also attain global reach in the service of a better understanding of facial expressions. If we assume that the above mentioned facial expressions may be traced to innate basic emotions, this neither forecloses the possibility that feelings may be simulated, nor implies that all humans are equally capable of recognizing emotions. Ekman certainly takes into account the potential contained in optical media such as television, which he treats as a training ground for facial recognition and which, therefore, may present a methodological challenge to intercultural studies: “Perhaps everyone learned their ‘universal’ expressions from watching Sesame Street on television!”
As depicted in the movie Elysium, in the near-future scenario of 2124, data will not simply be processed by machines or by brains but rather exchanged across brains by means of machines. Elysium is a self-sustainable, pollution-free space habitat that lives off the underclass work of a derelict planet earth, overpopulated and deranged, with a dying human species. In this scenario, machines cannot think and rather seem to be simply instrumental to human-oriented intentions (exposing a traditional moral puzzle of the battle of good versus evil, which is ultimately ascribed to voluntary decisions). Whilst appearing to be mere channels of governance, machines constitute the computational infrastructure of Elysium, whose operations are precisely neutral: unable to understand the cause of things and thus devoid of will (since the AI probe parole officer cannot interpret Max’s allusive comments and jokes, it says to him: “Do you want to speak to a human?”)....
And is a helpful starting point for identity studies, because it presses us towards openness and suggests identity formations.
As it happens, in relation to questions of fragile identities, I think these are very useful words. One issue that has been confronted in recent discussions of identity has been whether it is singular or plural and if the latter, which is the predominant critical view, what kind of plurality is being evoked by the term? Specifically, are we talking about something that is fragmented or something that is multiple? Is the human subject notionally one, but through exposure to forces of various kinds, ranging from the excessive competing demands of post-modernity through to devastating trauma, it becomes a split subject? Or does the multiplicity of selves and identities (to run the terms together for a moment) reflect the simple reality of life – we are multiple beings, and our task is to do something with this multiplicity, not to wish it gone? It is this position that I would...