Schnittstelle

Some basics from the Strike MoMA site: „Campaigns, actions, and letters chip away at the regime’s facade from the outside. Inside, every time workers organize, defy the boss, care for a coworker, disrespect secrecy, or enact other forms of subversion, cracks are created in the core. Cracking and chipping, chipping and cracking. As the walls that artificially separate the museum from the world collapse, we reorient away from the institution and come together to make plans. Let us strike in all the ways possible to exit from the terms of the museum so we can set our own.“

 

via Hyperallergic on the environmental impact of blockchain referring to recent NFT (non-fungible token) art sales: „This is not the first time the art world has come under scrutiny for being on the wrong side of the climate conversation. Artists and activists have protested everything from the carbon footprint of physical art fairs to the fossil fuel money funding major museums. But some say the energy consumption of cryptocurrencies is particularly egregious, and research shows it’s relatively easily quantifiable. A study by Cambridge University, for instance, estimates that bitcoin uses more electricity per year than the entire nation of Argentina. (Ethereum mining consumes a quarter to half of what Bitcoin mining does, but one transaction uses more power than an average US household in a day, according to the Institute of Electrical and Electronics Engineers.)“

 

Nicholas Mirzoeff on “Artificial vision, white space and racial surveillance capitalism”: “Based as it is on ‘epidermalization’ (the assertion of absolute difference based on relative differences in skin color), AI’s racial surveillance deploys an all-too-familiar racialized way of seeing operating at plan-etary scale. It is the plantation future we are now living in. All such operations take place in and via the new imagined white space of technology known as the cloud. In reality, a very material arrangement of servers and cables, the cloud is both an engine of high-return low-employment capitalism and one of the prime drivers of carbon emissions.”

 

Sara Ahmed on the performativity 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.”

15.06.2021

auf Hyperallergic über die Umweltbelastung durch Kryptowährungen aus Anlass jüngster Auktionen von NFT (non-fungible token)-Kunst: „This is not the first time the art world has come under scrutiny for being on the wrong side of the climate conversation. Artists and activists have protested everything from the carbon footprint of physical art fairs to the fossil fuel money funding major museums. But some say the energy consumption of cryptocurrencies is particularly egregious, and research shows it’s relatively easily quantifiable. A study by Cambridge University, for instance, estimates that bitcoin uses more electricity per year than the entire nation of Argentina. (Ethereum mining consumes a quarter to half of what Bitcoin mining does, but one transaction uses more power than an average US household in a day, according to the Institute of Electrical and Electronics Engineers.)“

 

Nicholas Mirzoeff on “Artificial vision, white space and racial surveillance capitalism”: “Based as it is on ‘epidermalization’ (the assertion of absolute difference based on relative differences in skin color), AI’s racial surveillance deploys an all-too-familiar racialized way of seeing operating at plan-etary scale. It is the plantation future we are now living in. All such operations take place in and via the new imagined white space of technology known as the cloud. In reality, a very material arrangement of servers and cables, the cloud is both an engine of high-return low-employment capitalism and one of the prime drivers of carbon emissions.”

 

Sara Ahmed on the performativity 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

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
mehrweniger Kurznews

Schlagwort: Ingemo Engström

HaFI 011: Frieda Grafe: Souvenirs, Ursprünge, Gefundene Fiktion

Eine kleine Auswahl von Texten der außergewöhnlichen Filmkritikerin und Übersetzerin Frieda Grafe; dazu eine Laudatio von Harun Farocki.

22.04.2020 — Projekte / Publikation
HaFI Präsentiert #04: LEAVE ME ALONE, R. Gerhard Theuring (1971 BRD), 3. März, Arsenal Kino

Das Screening ist Teil der Reihe #Forum 50 der Berlinale.

28.02.2020 — Projekte / Veranstaltung
HaFI 009: Ingemo Engström / Gerhard Theuring: Fluchtweg nach Marseille

1977 machen sich Ingemo Engström und Gerhard Theuring auf eine Reise durch Frankreich. Sie folgen der Fluchtbewegung der deutschen Emigration in Frankreich 1940/41.

24.04.2019 — Projekte / Publikation
Dossier zum WDR in den 1970er Jahren

Texte und Dokumente zum Produktionskontext des "Westdeutschen Rundfunk", Köln

06.04.2019 — Projekte / Forschung
Öffentliche Sichtung #09: Transit Levantkade: Rosemarie Blank: 7. September 2018, Arsenal Kino

Der Film, der Spielszenen und historisches Material kombiniert, widmet sich der Geschichte und Gegenwart der Levantkade (...)

27.08.2018 — Projekte / Veranstaltung
Mai 2018: Seminarplan, dffb 1986

Ein Denken und Sprechen, das aus der Anschauung der Filme komme.

31.05.2018 — Archiv / Schaufenster
Essay Film Festival 2017: Thinking Cinema on Television

Für das Londoner „Essay Film Festival“ hat Volker Pantenburg vier Sendungen des WDR sowie zwei Filme Peter Nestlers ausgewählt

10.03.2017 — Projekte / Forschung
Öffentliche Sichtung #01: Ingemo Engström, Dark Spring, 7. Januar 2017, Arsenal

Harun Farocki sah den Film 1971 bei der Hamburger Filmschau. In den darauffolgenden Jahren arbeitete er eng mit Engström zusammen.

07.01.2017 — Projekte / Veranstaltung