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Essays on Photography by Siegfried Kracauer
Essays on Photography by Siegfried Kracauer

Siegfried Kracauer, Philippe Despoix (ed.), ...

The Past's Threshold

There can be no doubt, however, that in Kracauer’s texts published at the turn of the 1920s and the 1930s from his position as an editor of the cultural pages at the daily newspaper Frankfurter ­Zeitung, then in the 1950s during his American period, he sketches out a theorisation of photography that can be described as groundbreaking. But it is also true that most of his works overlap, in more than one way, with this medium of reproduction or that...
  • History of photography
  • photography
  • Siegfried Kracauer
  • media theory
  • film
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...

 

Topics
  • minima oeconomica

    minima oeconomica

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

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

    Color and meaning

    Who is afraid of Red, Yellow, Blue…?

    • semiotics and semiology
    • chromatics / colour science
    • image and imagery
    • color
    • monochrome
  • Choreographing multitudes

    Choreographing multitudes

    • protest movements
    • swarm model
    • crowd psychology
    • social networks
    • social movements
    • crowd
Current Texts
Humanity is a metahuman concept.

Rolf Bossart, Milo Rau

Humanity is a metahuman concept.

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  • art theory
  • postmodernism
  • realism
  • artistic practice
  • transhumanism
  • re-enactment
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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»The camera is my »exosomatic extension‹.«
»The camera is my »exosomatic extension‹.«

Gertrud Koch, Michael Lüthy, ...

A Walk With Allan Sekula Through His Exhibition

Gertrud Koch: We would like to start by discussing the different narrative forms you have chosen for the titles of your series, like »story«, »fable« or »tale«: how would you differentiate between stories and fables, and what autobiographical narratives are involved here? Is it a kind of metanarrative, is it a composing of different narrative moments?
   Allan Sekula: Very often my titling a particular work has an idiomatic logic: Fish Story has a vernacular resonance, particularly in American English where a...
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  • photography
  • fiction
  • memory
  • exhibition
  • Allan Sekula
Current Texts

Roland Meyer

Crowds in augmented space

He must have had a long night. Now, at a quarter past eight in the morning, the young man is standing in front of the mirror with disheveled hair and a crooked tie and preparing himself for another day at the office. Beyond typical bathroom activity, however, this routine also entails that the man has to turn on his smart phone and switch his public profile from “party mode” to “work mode.” Once this has been done, whoever wants to learn any information about him will not be directed to his Facebook profile or Twitter feed but rather to his business card or to his latest professional presentation. This is a scene from a promotional video made by the Swedish company TAT, which designs user interfaces for smart phones. The concept being promoted is called “Augmented ID,” and TAT advertises the idea with the slogan “Adding a digital layer to...

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  • algorithms
  • Big Data
  • data
  • biopolitics
Current Texts

Gabriele Brandstetter

Xavier Le Roy’s “Le Sacre du printemps”

In Le Roy’s Sacre the audience is not an “audience” in the sense of a closed unity; not an audience as a multitudinous communal body that is positioned opposite the “body” of performers (orchestra/ballet) of a performance of Le Sacre du printemps. The other side, the opposite is inverted the moment Le Roy – back on stage with his back to the audience – turns around to face it and, imitating a conductor’s movements, treats it as an orchestra, as if he were standing face to face with the various groups of musicians to whom he was giving cues. At his moment of turning the unities of the normal performance set-up collapse, and the conventions of representation are shaken. This theatrical “as if” – Le Roy conducting the audience as a fictitious orchestra – points once again to the aesthetic negativity of this process. The gaze – the gaze back, from the stage into the...

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  • reception
  • politics
  • performativity
  • body
  • the public