Click & Glitch Mit Deleuze oder Boulez können wir vom Rhythmus im Sinne einer transversalen Disjunktion oder einer nicht-periodischen geklickten Musik sprechen. Wenn wir ein Stück hören, hören wir immer auch andere Dinge, die Deleuze als Kräfte, Dauer, Empfindung und […]
There was no future, but it wasn’t like anyone expected. 2003. We’re wandering through the industrial spectres and overgrown dereliction of the Lea Valley.It’s like the world has ended.A world has ended here, in fact. But now nonhuman worlds teem
Träume über das Ende der Welt sind vielleicht nicht mehr nur die Früchte von Verzweiflung und Angst. Sie sind auch die Ausgelassenheit der Langeweile. Nicht nur, wenn die Welt böse oder hässlich ist, sondern wenn es keine Rolle mehr spielt,
Semiotik des Endes: Langeweile am Ende der Welt
Like factories, shopping centres today exist only to efface their omnipresence. After “society as a whole takes the appearance of a factory,” (p. 18) as Jean Baudrillard writes in Symbolic Exchange and Death, society itself now takes the form of
Semiotics of the End: Welcome to the Virtual Plaza
Author: Giorgio AgambenTranslated by: Vincenzo Binetti and Cesare CasarinoWith an Introduction by: Gerry Coulter Why does Baudrillard enjoy reading Agamben? One reason is that while there are few direct conceptual overlaps – there are many thematic ones – as each,
Translated by: Dr. Marilyn Lambert-Drache Note: This is the text of a paper given at the Light Onwords / Light Onwards: Living Literacies Conference at York University, Toronto, Canada (November 14-18, 2002). taken from here Foto: Stefan Paulus
Violence of the Virtual and Integral Reality
Translated by Alessandro Sbordoni Until a few decades ago, the nature of the problems addressed by intellectuals was purely gnoseological. Intellectuals were deemed such to the extent that they knew something and were able to reason with intelligence. Various attempts
The Melancholia of Class: Intellectuals and Subcultures in Consumer Society
My argument is that Baudrillard continuously said that “everything is simulation (or virtual)” rather than saying that “there is more and more simulation (or virtuality)” because the diagnosis of simulation, simulacra, virtuality, and hyperreality in contemporary culture is not the
Baudrillard’s Importance for the Future
Quant-Theorie: Zwischen Pataphysik, Quanten-Science und Philosophie Exkurs zum Begriff der Relation Exkurs zu Thomas Nails „Being and Motion“ Laruelle: Adorno und Laruelle: Das Nichtidentische und das Reale Ein philosophischer Dissident Aspekte der Non-Standard-Philosophie Das Ende der dialektischen Konstellation Das Reale
Quant-Theorie: Aufsätze zu Baudrillard, Deleuze/Guattari und Laruelle
Für Baudrillard liegt die Würze des Denkens nicht so sehr in der allzu utopischen Übereinstimmung mit der Wahrheit, als vielmehr in den unermesslichen Abweichungen, die es von der Wahrheit trennen. Wir erreichen auch niemals, ganz im Gegensatz zu den Informationstechnologien,
Baudrillards radikales Denken – eine Paraphrase
The utopia of its correspondence with the world/object as well as its ability to reshape the world according to its image, striven for by classical theory, can only come about due to a difference between it and the world, insofar
Baudrillard’s maximization hypothesis and the flight into uncertainty (1)
Today, the metastasis of musical production, circulation and technology makes music always available and collapses any distinction between background and foreground music. Music simulates a vital activity, is omnipresent and thus hyper-audible. Music is administered as a permanent drone and
Stereo: Ultrablack of Music and Baudrillard