August 2019: WeltBild – Exposéprosa von HaF

Anfang 1992 verfolgt Farocki gemeinsam mit Hartmut Bitomsky, Studierenden der DFFB und einigen anderen das Projekt einer „Sendefolge zu medienphilosophischen Themen“ für das Fernsehen. „Das Bremer Institut für Film und Fernsehen fördert Vorbereitungen, die zu einer Pilotsendung führen sollen. Es gibt das Interesse eines Senders und es scheint, als könnten Mittel zu einer Werkstatt, die Material zu dieser Sache produziert, beschafft werden“, schreibt er an eine kleine Gruppe von potentiellen Mitarbeitern. Dem Brief beigefügt ist dieses kurze Exposé.

Zwischen Januar und Ende Mai finden mehrere Treffen statt, Christian Petzold erinnert sich auch an einige Ideen, die in Ansätzen verwirklicht wurden (mehr hier). Viel weiter scheint sich das Projekt nicht entwickelt zu haben.

Wolfgang Schmidt, DFFB-Absolvent und Regisseur von CANNAE (1989) und NAVY CUT (1992) war einer der Teilnehmer an den Planungen. In seinen Unterlagen fand sich das Exposé.

31.08.2019, Archiv / Schaufenster

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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