Schriften 3: Harun Farocki: Meine Nächte mit den Linken

„Meine Nächte mit den Linken“ macht alle Texte Harun Farockis aus den Jahren 1964 bis 1975 zugänglich – viele davon zum ersten Mal seit ihrer Erstveröffentlichung. Das Buch enthält Essays und Buchbesprechungen für das Spandauer Volksblatt, die Farocki mit Anfang zwanzig vor dem Beginn des Filmstudiums schrieb; es dokumentiert seine intensive Auseinandersetzung mit Agitation, Didaktik und Kybernetik um 1970 und lässt erkennen, wie die Zeitschrift Filmkritik zur zentralen Plattform seiner oft polemischen Analyse der filmkulturellen und politischen Landschaft der BRD wurde. Zugleich können die Texte als aufschlussreicher Kommentar zu Farockis Film- und Fernsehproduktionen dieser Jahre gelesen werden. Besonders NICHT LÖSCHBARES FEUER (1969) und DER ÄRGER MIT DEN BILDERN (1973) finden eine Fortsetzung und Erweiterung in ausführlichen Essays. Der Band enthält ein Nachwort des Herausgebers Volker Pantenburg.

Jetzt erschienen:

Harun Farocki: Meine Nächte mit den Linken. Texte 1964–1975, hg. von Volker Pantenburg, Köln: Walther König 2018 [= Harun Farocki: Schriften, Bd. 3] (erhältlich hier)

29.09.2018, Projekte / Publikation

Sara Ahmed on the perfomativity of disgust (from The Cultural Politics of Emotion, 2004): “To name something as disgusting is to transfer the stickiness of the word ‘disgust’ to an object, which henceforth becomes generated as the very thing that is spoken. The relationship between the stickiness of the sign and the stickiness of the object is crucial to the performativity of disgust as well as the apparent resistance of disgust reactions to ‘newness’ in terms of the generation of different kinds of objects. The object that is generated as a disgusting (bad) object through the speech act comes to stick. It becomes sticky and acquires a fetish quality, which then engenders its own effects.”

07.11.2020, Tom

David Graeber (1961-2020) on What Would It Take (from his The Democracy Project. A History, a Crisis, a Movement, 2013, p. 193): „We have little idea what sort of organizations, or for that matter, technologies, would emerge if free people were unfettered to use their imagination to actually solve collective problems rather than to make them worse. But the primary question is: how do we even get there? What would it take to allow our political and economic systems to become a mode of collective problem solving rather than, as they are now, a mode of collective war?“

07.09.2020, Tom

T.J. Demos on why cultural practitioners should never surrender, via  „For artists, writers, and curators, as art historians and teachers, the meaning-production of an artwork is never finished, never fully appropriated and coopted, in my view, and we should never surrender it; the battle over significance is ongoing. We see that battle rise up in relation to racist and colonial monuments these days in the US, the UK, and South Africa. While the destruction of such monuments results from and is enabling of radical politics, it’s still not enough until the larger institutions that support and maintain their existence as well as the continuation of the politics they represent are also torn down. This is urgent as well in the cultural sphere, including the arts institutions, universities, art markets, discursive sphere of magazines and journals, all in thrall to neoliberalism, where we must recognize that it’s ultimately inadequate to simply inject critical or radical content into these frameworks, which we know excel at incorporating those anti-extractivist expressions into further forms of cultural capital and wealth accumulation. What’s required is more of the building of nonprofit and community-based institutions, organizing radical political horizons and solidarity between social formations.“

21.08.2020, Tom
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