(A project which is a few years old, but have been meaning to return to) The project embarked upon by Michel Foucault in The History of Madness was an archeological understanding of the transition/translocation of the ‘madman,’ from the Classical […]
The adventure of modern art is over. Contemporary art is contemporary only with itself. It no longer knows any transcendence either towards past or future; its only reality is that of its operation in real time and its confusion with
Contemporary Art: ‘Art Contemporary with Itself ‘
Andrzej Steinbach, Achim Szepanski Ultrablack of Music: Feindliche Übernahme published by spectorbooks pdf hereDokument0
Ultrablackness of Music/Feindliche Übernahme/Leseprobe
Echo Bücher, Berlin here Ultrablackness of Music: Feindliche Übernahme Andrzej Steinbach & Achim Szepanski Buchpräsentation / Installation DJ Bleed Mittwoch 29. März, 19:00 Uhr In einem parcours de force durchschreitet Achim Szepanski in dem kurzen Text “Ultrablackness in der Musik.
Buchpräsentation Ultrablackness of Music: Feindliche Übernahme
Achim Szepanski has been one of the “heroes” of the ‘90s thanks to the creation and the visionary promotion of his Mille Plateaux (1994-2004), the famous record label based in Frankfurt. Due to his peculiar philosophical theory applied to the
Technodeleuze and Mille Plateaux. Achim Szepanski’s Interview (1994-1996)
In many respects, it would make sense to read Andrzej Steinbach’s series “Ordinary Stones” in continuity with his last work, “Figur I, Figur II”1. The works bear similarities, perhaps even obvious ones, but approaching this work via analogy would mean
Human Clay, Hardened Clay, Ordinary Stones english/german
The aim of this essay is to interrogate the relationship between Deleuze’s concepts of Idea, creativity, and control societies, alongside its interpretation by Paul Patton and Godard’s efficacy at giving these concepts their proper audio-visual form in cinema. By means of
… Il primo motivo dell’importanza dell’azione di Szepanski, dunque, è legato al movimento verso l’esterno della filosofia deleuziana – un pensiero-rostro che uncina l’ electro , la ciberne- tica, così già predisposto nella sua stessa essenza astratta. Ne-gli anni novanta, infatti,
Technodeleuze e Mille Plateaux
From ‘Photo of Lamprey’ to ‘Photo-Fictional Lamprey’ ‘The lamprey’ is the name given to any fish of the order Petromyzontiformes. It is most commonly known as a parasitic, jawless fish that latches its fanged mouth onto other fish in order
Processing/Lampreys —Photo-Fiction as Digital Parasite Aesthetics
Version 1 Black Dada antwortet mit Grausamkeit. Entwickelt einen Geschmack für die Destruktion. Geschmack an der Destruktion einer Welt, die im Nanosekundenbereich heißgelaufen ist. Einer Welt, die mal wieder ihre Kriege hat. Manche Städte werden von Kampfflugzeugen bombardiert, andere von
Blackness in Zeiten, in denen jeder das Ende der Welt in der Hand haben will.
In the early 1990s François Laruelle wrote an essay on James Turrell, the American artist known for his use of light and space.1 While it briefly mentions Turrell’s Roden Crater and is cognizant of his other work, the essay focuses
#ermanoise 1 Vogelzwitschern 2 Hinterhof 3 cordon sanitaire (Stop beeing creative) 4 This is the Sound of Depression 5 This is the Sound of Negativism 6 Stadthonigbienenetat 7 Multiklasse, gestört 8 ASMRec.fieldburnout 9 Rumination 10 Die Waffen der Stille 11