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About ‘how we treat the others’
About ‘how we treat the others’

Artur Żmijewski

Conversation on “Glimpse”

Glimpse shows us scenes filmed in various places. How long did you stay at these places? Was it already known that Calais would be cleared when you started the project?   We spent more than one month filming in Berlin, Calais, Grande-Synthe (the suburb of Dunkirk), and Paris. Yes, it was announced that the French administration was going to “clear” the Jungle in Calais. It was also quite obvious that refugees would be removed from the streets of Paris. Such places, like...
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Ein Roadtrip ohne Road

Mário Gomes

Ein Roadtrip ohne Road

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Yves Netzhammer: Buchvernissage und Artist’s Talk

22.08.2017, 18:30

ETH Zürich Graphische Sammlung
Rämistrasse 101
8092 Zürich
Schweiz

Exhibition: On Series, Scenes and Sequences – FEATURE Yves Netzhammer

16.08.2017 – 03.09.2017

ETH Zürich Graphische Sammlung
Rämistrasse 101
8092 Zürich
Schweiz

Neuerscheinungen
Simon Critchley: Gedächtnistheater
Kerstin Stakemeier (Hg.), Susanne Witzgall (Hg.): The Present of the Future
Isabelle Graw: Die Liebe zur Malerei
Rolf Bossart, Milo Rau: Wiederholung und Ekstase
Inke Arns (Hg.), Sylvia Sasse (Hg.), ...: Nikolaj Evreinov: »The Storming of the Winter Palace«

 

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Eric Baudelaire

A for Anomie

A for Anomie

The idea that terrorism and other forms of political violence are directly related to strains caused by strongly held grievances has been one of the most common explanations to date and can be traced to a diverse set of theoretical concepts including relative deprivation, social disorganization, breakdown, tension, and anomie. Merton (1938) identifies anomie as a cultural condition of frustration, in which values regarding goals and how to achieve them conflict with limitations on the means of achievement.

Gary LaFree and Laura Dugan, “Research on Terrorism and Countering Terrorism”, Crime and Justice, Vol. 38, No. 1, 2009.

 

B for Block or Blocked

If terrorism in each of its expressions can be considered an indicator of the existence of a political block (of an impossibility of reacting if one wishes to react differently), this influences its real ability to modify the situation. Terrorism has been historically more successful when it was not...

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We need more planetary dimensions!
We need more planetary dimensions!

Rosi Braidotti

Nomadic Subjects

My life-long engagement in the project of nomadic subjectivity rests on a specific cartography of our globalised times, marked by large-scale and technologically-mediated transformations of our social, economic and political universes. I start from the assumption that, as a result of these upheavals, traditional forms of self-representation, familiar cultural points of reference and age-old habits of thought are being re-composed, albeit in contradictory ways. Our historical context is marked by the schizoid structure of technology-driven advanced capitalism, as Deleuze and Guattari...
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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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