Irina Kaldrack, Theo Röhle
Creating Subsets of the Masses
Between the Madness and the Wisdom of Crowds
The (Micro)Politics of Social Choreography
Inge Baxmann (ed.), Timon Beyes (ed.), Claus Pias (ed.)
Social Media—New Masses
"Trying to compete in the economy of attention from the field of contemporary art is a naive goal in the twenty-first century."
J.G. Ballard’s self-declared ‘Immodest Proposal’ for a global war-alliance to exact the destruction of America demonstrates the provocatory zeal of his last fiction plans, as well as their enduring prescience.
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?
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...
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...
After all, the history of modern and contemporary art can be read as the progressive inclusion of a growing part of the formless into apparatuses.
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,...