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Materialist Variations on Spinoza:Theoretical Alliances and Political Strategies
Get PDFCommon assertions suppose an incompatibility between critical-dialectical philosophies and Spinozist political ontologies, and allow for an Adornian critique of Spinoza’s Ethics: to live in accordance with one’s own being is a form of compliance to dominant values. By mapping contemporary Spinozism I show that within its tensions there is a place for dialectics, one which can be read in dialogue with the Adornian gesture denouncing the purported identity between particular and universal
Are there One or Two Aleatory Materialisms?
Get PDFThe chapter will consider the continuity of Althusser’s thought and revise my previous interpretation backdating aleatory materialism to the sixties. I will analyse the context in which the concept of ‘encounter’ emerged in the sixties and show in a second moment that it is possible to identify this concept in the texts of the eighties, but only in one of the two tendencies which traverses this group of texts, the one I would call a materialist tendency. This tendency is intertwined with another tendency, an eschatological one — which emerged in the late seventies
How to Have Sex in a Pandemic
No full textQueer-theoretical accounts of intimacy in particular have been decisively shaped by readings of art and literature and psychoanalytic reflection. In this context, Tim Dean’s 2009 Unlimited Intimacy: Reflections on the Subculture of Barebacking has presented a crucial intervention. For Dean, the practice of condom-less sex and ‘breeding’ becomes a place to reinvent community and ethics. For the past ten years, Dean’s thinking has evolved around questions of infection, pharmaceutical regimes, and the forms of the self and the social that come with them. His talk ‘How to Have Sex in a Pandemic’ echoes the title of Douglas Crimp’s seminal 1987 essay about AIDS ‘How to Have Promiscuity in an Epidemic?’ This lecture series takes queer theory’s conversation about intimacy as a starting point to discuss some of its cultural possibilities, mediated forms, and philosophical trajectories in the context of Corona
KARLA
No full textKARLA (HD video, 34:45 min, Omer Fast 2020) Followed by a discussion with the artist Omer Fast moderated by Cristina Baldacci and Claudia Peppel KARLA is based on a conversation with a content moderator for the world’s largest online video sharing platform. The content moderator wished to remain anonymous and so his/her words were memorized by an actress, whose performance was then recorded using facial-capture technology. As the actress speaks, both her face and voice gradually shift into different characters, refusing to coalesce into a single identity, while delving deeper and deeper into one person’s nightmare of working with images in the gig economy. There are two parts to this work: A holographic projection and a small flatscreen monitor. In this preview file, the two parts of the work have been edited onto the same screen. KARLA was commissioned by the Staatliche Graphische Sammlung / Freunde der Pinakothek der Moderne for an exhibition in 2020. Credits: Based on an interview with a person who wishes to remain anonymous Idea and edit: Omer Fast Performer: Genia Maria Karasek HD Camera and sound: Frieder Schlaich Sound Post-Production: Jochen Jezussek Production/Translation: Anna Bitter Full 3D Production: Mimic Productions, Berlin Hermione Mitford, David Bennett Production Coordinator: Alexandria Frances Petrus Motion Capture Director: Alexandre Donciu-Julin Render Artist and Technician: Johannes Mittig Animator: Yeji Min Animator: Matilde Hansen-Walmsness Animator: Angus McDonald Holographic Technician: Robert Gabriel AV Technician: Radek Pate
Reparative Reenactments:Ming Wongs <i>Lerne deutsch mit Petra von Kant</i> (2007) und Cana Bilir-Meiers <i>This Makes Me Want to Predict the Past</i> (2019)
Get PDFIm Anschluss an eine queer-theoretische reparative Perspektive betrachte ich lustvolle Strategien des Überlebens in zwei Film- bzw. Videoarbeiten. Ming Wongs Lerne deutsch mit Petra von Kant (2007) und Cana Bilir-Meiers This Makes Me Want to Predict the Past (2019) erzeugen unvorhergesehene, lebenserhaltende und »transhistorische Beziehungen«. Beide respektieren dabei die mediale Lücke im Zugriff auf die Vergangenheit