In another era, the mish-mash presentation of Africa would have been the focal point of criticism. But this is not the age for facts.
We really need an analysis of algorithmic conditions and their paradoxes and ambiguities that gives them an adequate framework and horizon. But instead we currently seem to be finding an algorithmic solution of the algorithmic, much as digital solutions are being offered for the problems of the digital public sphere, in the way that IT corporations, for example, use exclusively mathematical procedures to evaluate and delete “fake news,” inappropriate portrayals, or the violation of personal rights. This tends to result in a circularity that leaves the drawing of boundaries and raising of barriers solely to programming, instead of restoring them to our ethical conscience and understanding of what the social could mean today. The machine, by contrast, remains alien to any mechanical limitation—just as its inability to decide lies in the impossibility of self-calculation. The nucleus of digital culture should instead be sought where the cultural of culture is located:...
Claudia Blümle (ed.), Anne von der Heiden (ed.)
Blickzähmung und Augentäuschung
Carolin Meister (ed.), Dorothea von Hantelmann (ed.)
Beate Fricke (ed.), Urte Krass (ed.)
The Public in the Picture / Das Publikum im Bild
Werner Busch (ed.), Carolin Meister (ed.)
It was Gilles Deleuze who in various contexts underlined that what we most lacked was “belief in the world.” The odd remark appears, for example, in a conversation in 1990 with the Italian Marxist Antonio Negri about revolutionary emergence and the political force of minorities. In this dialogue Negri examines his interlocutor’s thought in the light of the “problem of the political,” which connects the various stages of the philosopher’s intellectual biography. Deleuze’s remark here is the reprise of a motif that would be familiar to readers of his second book on cinema, which appeared in 1985, in which Deleuze contends that the “power of modern cinema” is based on its ability to “give us back” our lost “belief in the world.”
At the end of the conversation Negri asks his dialogue partner about the possibility of present-day processes of subjectivization. After initially emphasizing the “rebellious spontaneity” of such processes, Deleuze...
Which media practices have made the American credit card an essential part of our digitized media culture?
Late twentieth-century American architecture is so saturated with various forms of irony that it seems suspiciously like the single unifying theme of the age.
The recourse to irony may seem singularly inappropriate to the field of architecture if by architecture one ascribes Durand’s “the art of the necessary.” Building as structure, material, and social program would seem to be the most direct and irony-free cultural phenomenon: structure and materials have a legal responsibility to function properly; and shelter is a basic human imperative. In this sense there is incontrovertible quiddity in the weight, expense, and purpose of architecture. But if one asks, along with Nikolaus Pevsner, if utilitarian structures such as the bicycle shed qualify as architecture, one is forced to recognize that architecture belongs to a discourse that goes far beyond the phenomenal acts of shelter and construction because it is circumscribed by texts and subject to interpretation. With the recognition of the textuality of architecture, the question of irony, a quintessential result of interpretation, becomes a significant effect of architecture, if not...