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One plus one equals other
One plus one equals other

Dieter Mersch

Epistemologies of Aesthetics

We  identified ‘showing’—rather than ‘saying’—as the primary self-manifestation of the aesthetic. By ‘showing’ and ‘manifestation’ we do not mean expression, but exhibition and exposition. Wherever works work only with aisthēta and relevance is drawn from perceptions or things and their materiality—from every nuance of coloring, from the way in which objects are framed or combined, from the position of a detail, from the interval between two notes and their microtonal succession or arrhythmic placement, from any hesitation of physical feeling,...
  • Think Art
  • discourse analysis
  • artistic research
  • aesthetics
  • epistemology
Current Texts

Jean-Luc Nancy

Des zétrangers des zah des zuh

Etrange extraneus du dehors pas du dedans (intraneus) pas de la maison unheimlich pas du heim pas du foyer de l’autre côté des portes – fores, foreigner pas dans le rythme en trop, odd pas régulier pas ordinaire rare singulier seltsam bizarre besherat vaillant élégant fantasque tordu verschroben de travers surprenant extraordinaire étonnant

 

C’est étonnant comme nous sommes riches en mots formes façons pour tourner autour de l’étrange étranger de l’ausländer hors du pays pas « pays avec nous » comme on disait jadis en France « c’est un pays à moi » pour dire quelqu’un de mon village de mon coin ma province mon bled

 

Riches à profusion pour tout ce qui n’est pas proche et propre, approprié, convenant, mitmenschlich ce qui ne fait pas mitdasein

 

Parce qu’on présuppose que mit avec with est consistant, plein, solide et solidaire et ce qui est without avecsans mitohne avec hors ou hors d’avec la proximité

 

Mais avec même proche exige...

Current Texts

Jean-Luc Nancy

Ζένοι και Zah και Zuh

Ξένος extraneus του έξω όχι του μέσα (intraneus) όχι της οικίας unheimlich όχι του heim όχι της εστίας της άλλης πλευράς της πόρτας – fores, foreigner όχι υπερβολικά στον ρυθμό, odd όχι κανονικός όχι συνήθης σπάνιος ιδιάζων seltsam παράξενος besherat γενναίος κομψός απρόβλεπτος στραβός verschroben

λοξός αναπάντεχος εξαιρετικός εκπληκτικός

 

Είναι εκπληκτικό πόσες λέξεις εκφράσεις τρόπους διαφορετικούς έχουμε για να μιλήσουμε για τον παράξενο ξένο τον ausländer τον έξω από τη χώρα και όχι «pays avec nous» όπως λέγαμε κάποτε στη Γαλλία «c’est un pays à moi» για να πούμε κάποιος από το χωριό μου τη γειτονιά μου την περιοχή μου την πατρίδα μου

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Current Texts

Dieter Mersch

Digital disrupture

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:...

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Topics
  • Choreographing multitudes

    Choreographing multitudes

    • social movements
    • crowd
    • swarm model
    • social networks
    • protest movements
    • crowd psychology
  • minima oeconomica

    minima oeconomica

    Analysen und Kritik moderner Ökonomie, deren Wissenschaft und Legitmation im Zeitalter der Finanzialisierung

    • economics
    • discourse history
    • economy
    • financial crisis
    • economization
    • financial markets
  • Color and meaning

    Color and meaning

    Who is afraid of Red, Yellow, Blue…?

    • color
    • monochrome
    • semiotics and semiology
    • chromatics / colour science
    • image and imagery
Current Texts

Maria Filomena Molder

So many egoists call themselves artists…

“So many egoists call themselves artists,” Rimbaud wrote to Paul Demeny on May 15, 1871. Even though that is not always obvious, ‘I’, the first person, is the most unknown person, a mystery that is constantly moving towards the other two, the second and third persons, a series of unfoldings and smatterings that eventually gelled as ‘Je est un autre’. That is why ‘apocryphal’ is a literarily irrelevant concept and ‘pseudo’ a symptom, the very proof that life, writing, is made up of echoes, which means that intrusions and thefts (Borges also discusses them) will always be the daily bread of those who write.

Words from others, words taken out of place and mutilated: here are the alms of time, that squanderer’s sole kindness. And so many others, mostly others who wrote, and many other pages, all of them apocryphal, all of them echoes, reflections. All this flows together into—two centuries...

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Current Texts

Andreas L. Hofbauer

The yoke of being, noteworthy dis-position

It wasn’t nature and its dangers that forced domestication and enabled the economic shrine. Temple and funerary cult, sacrifice and distribution of the meat—for Homer all sacrificial animals were still hieria, holy creatures—and the containment of wildness led to symbolic and socio-cultural change, which became the vector and motor of sedentary, food-producing communities. It wasn’t sheep, goats, or cattle that were domesticated first; it was the zoon logon echon itself that bowed to the self-created yoke of the cult. Why, we don’t know. Beyond this it’s important that unlike plants only very few species of animal can be domesticated, and that this shouldn’t be confused with taming. Economic significance develops as an epiphenomenon. It transforms from possible human sacrifice to animal sacrifice to the distribution of meat in early “Greek” antiquity, then to the obeloi (skewers with varying amounts of meat, as tokens for the priests’ or judges’ portion; even...

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  • money
  • economization
  • ethnology
  • anthropology

 

Only art has the power of a form. Mathematics is an exercise for monks.
Only art has the power of a form. Mathematics is an exercise for monks.

Alain Badiou

Art and Mathematics

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...
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  • art criticism
  • contemporary art
  • aesthetics
  • poetry
  • art
Current Texts

Zoran Terzić

Everything new is a pose in the alcoves of capital

In the late nineteenth century Alfred Jarry created a prototype of the modern wannabe in his pot-bellied Père Ubu, a figure that raises entitlement to a high art. Ubu doesn’t want to be king; others urge him to it. But he is also the others. And when he does become king, CEO, or US president, he doesn’t know what it means, or if it means anything at all. He just states his claim. And so he shimmies from statement to power. And having obtained power, Ubu decerebrates the world, exposing the grounds for groundlessness, to paraphrase Ortega y Gasset. Ubu is a tautomaniac, that is, he can be explained in his own terms and is thus always in the right (being in the right is all he is). He needs no proof, but on the contrary wants “to turn the absurd into the highest power of thought” (Deleuze & Guattari)....

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