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Humanities

A dialogue that doesn’t cover up its traces
A dialogue that doesn’t cover up its traces

David Graeber

Anarchy—In a Manner of Speaking

There’s endless literature on the mob or “the madness of crowds”, and most people do assume that any kind of crowd is necessarily going to be, collectively, stupider than any one of the individuals that make it up. That’s why most people accept the legitimacy of authoritarian leadership. If this were really true, it stands to reason that if you took even any one random person out of the crowd and made that person dictator, the crowd would make better...
  • anarchism
  • resistance
  • anarchy
  • political theory
  • community
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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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From xenolinguistics to cephalo­pods

From xenolinguistics to cephalo­pods

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  • communication media
  • science fiction
  • linguistics
  • utopia
  • communication
  • semiotics and semiology

 

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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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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,...
  • aesthetics
  • discourse analysis
  • artistic research
  • epistemology
  • Think Art
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Humanity is a metahuman concept.

Rolf Bossart, Milo Rau

Humanity is a metahuman concept.

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  • postmodernism
  • transhumanism
  • re-enactment
  • artistic practice
  • realism
  • art theory