This Library is a continually expanding selection of exhibition catalogues, theory, literature and cultural studies publications, as well as works from philosophy, art history and other fields. Together these materials seek to provide an overview of the artists, theories, and discourses that are related to the artistic research project. The online library provides a short entry on each publication explaining why the source is relevant.
“Please turn out the lights.As long as we’re going to talk about films, we might as well do it in the dark.We have all been here before. By the time we are eighteen years old, say the statisticians, we have been here five hundred times.No, not in this very room, but in this generic darkness, the only place left in our culture intended entirely for concentrated exercise of one, or at most two, of our senses.”
The quote above is from Hollis Frampton’s 1968 New York lecture on film and the perception of moving images. The lecture is documented in the publication: On the Camera Arts and Consecutive Matters: The Writings of Hollis Frampton.Frampton’s films deal with the shift of sound and image synchronisation. The resultant dysfunction imbalance links his work to dizziness and disorientation.
A Field Guide to Getting Lost is an investigation into loss, losing and being lost. Taking in subjects as eclectic as memory and mapmaking, Hitchcock movies and Renaissance painting, Rebecca Solnit explores the challenges of living with uncertainty. This book combines memoir, history and philosophy, shedding glittering new light on the way we live now.
This book deals with questions about uncertainty and topography. Being unsure and becoming disorientated play a large role in producing a state of dizziness.
The most startling thing about disasters, according to author Rebecca Solnit, is not merely that so many people rise to the occasion, but that they do so with joy. That joy reveals an ordinarily unmet yearning for community, purposefulness, and meaningful work that disaster often provides. A Paradise Built in Hell is an investigation of the moments of altruism, resourcefulness, and generosity that arise amid disaster's grief and disruption and considers their implications for everyday life. It points to a new vision of what society could become -one that is less authoritarian and fearful, more collaborative and local.
This utopian matters, because almost everyone has experienced some version of it and because it is not the result of a partisan agenda, but rather a broad, unplanned effort to salvage society and take care of the neighbours amid the wreckage. “A map of the world that does not include Utopia is not worth even glancing at, for it leaves out the one country at which humanity is always heading.” wrote Oscar Wilde fifteen years before San Francisco’s great quake.
As part of the Berlin Art Week 2022 three exhibitions have been curated at C/O Berlin under the title Queerness in Photography. In the accompanying newspaper, CN Lester talks about visibility, seeing, and perspectives. They state that queer, especially trans people, “are not visible, but hypervisible—an important distinction frequently pointed out by trans people, particularly trans women. We are not seen, but sighted; illuminating nothing, this invisibility paints a target on the backs of the people it spotlights” (p. 8). Lester comments specifically on one of the exhibitions, the Lifshitz collection, and how it shows not only how queer people want to be seen but how queer people see each other. Thereby, this article is a helpful framework for understanding the possibility of a queer perspective being something active, meaning seeing instead of being sighted.
CN Lester brings in the practice of “letting your gaze grow soft”, relying on the peripheral vision and taking in relations between things in a space, as well as their general presence, instead of specific, sharp focus (p. 10). In the context of gender and trans people, this means not paying attention to gendered markers of appearance, but instead holding “open the possibility of who a person is and might be, and it takes cues from the whole information given—most crucially, the information delivered subtly, brashly, and/or in deep vulnerable ways be the person being seen” (p. 10). This other, queer, passive (“in the queer meaning of the term”, p. 10), soft, non-hierarchical, and sensing way of looking can be a fruitful practice for exploring dizziness, queerness, and mutual care.
Virginia Woolf’s blazing polemic on female creativity, the role of writers and the silent fate of Shakespeare’s imaginary sister remains a powerful reminder of a woman’s need for financial independence and intellectual freedom.
A Room of One's Own, was developed from a lecture Woolf had been invited to on the topic of Women and Fiction. Her now famous essay concludes "a woman must have money and a room of her own if she is to write fiction." Her stream of thought to this conclusion takes the form of a partly-fictionalised narrative. Her ideas and thoughts on creativity, influenced by poverty and sexist beliefs, and on freedom of thinking are inspiring and important to the research, as she asks what kind of resources further creativity. http://gutenberg.net.au/ebooks02/0200791h.html
This book continues the work Deleuze and Guattari began in Anti-Oedipus and has now become established as one of the classic studies of the development of critical theory in the late twentieth century. It occupies an important place at the center of the debate reassessing the works of Freud and Marx, advancing an approach that is neither Freudian nor Marxist but which learns from both to find an entirely new and radical path. It presents an attempt to pioneer a variety of social and psychological analyses free of the philosophical encumbrances criticized by postmodern writers. A Thousand Plateaus is an essential text for feminists, literary theorists, social scientists, philosophers, and others interested in the problems of contemporary Western culture.
In this highly insightful analysis of Western and Chinese concepts of efficacy, François Jullien subtly delves into the metaphysical preconceptions of the two civilizations, to account for their diverging patterns of action in warfare, politics and diplomacy. He shows how Western and Chinese strategies work in several domains (e.g. the battlefield) and analyses two resulting acts of war. The Chinese strategist manipulates his own troops and the enemy to win a battle without waging war and brings about victory effortlessly. Efficacy in China is thus conceived of in terms of transformation (as opposed to action) and manipulation, making it closer to what is understood as efficacy in the West. Jullien's brilliant interpretations of an array of recondite texts are key to understanding our own conceptions of action, time and reality in this foray into the world of Chinese thought.
Several aspects of Jullien’s work are of vital interest to the project. One of them is his concept of ‘strategic time’ and the notion of transformation that he draws from Chinese classical texts. “La ‘prescience’ en cause ne procède donc pas d’un raisonnement hypothétique, ni non plus d’un geste magique, elle se contente d’éclairer ce qui ‘va venir’ en fonction de ce qui ‘vient d’arriver’, ceci impliquant cela sans arrêt.” (François Jullien, Traîté de l’efficacité, Paris: Grasset 1996, 96–97)
The authors investigate technical assistance strategies in supporting the use of research evidence, particularly the contribution of participatory processes. They distinguish five participatory process: informing (providing information), consulting (obtaining feedback), involving (working together to develop alternatives), collaborating (partnering in each aspect of decision making), and co-creating (empowering to make decisions).
Interesting in the context of dizziness and co-creation is the aspect of empowerment, which can be discussed as giving control and the capability to act independently.
Fondateur de la discipline iconologique, créateur du prestigieux institut qui porte son nom, Aby Warburg (1866–1929) a compté parmi ses disciples les plus célèbres historiens de l’art du siècle: Panofsky, Wind, Saxl. Mais ces héritiers ont, pour la plupart, préféré développer une «iconologie restreinte» fondée sur le déchiffrement et l’interprétation des symboles – là où Warburg, nourri de Nietzsche et de Burckhardt, entendait assumer les risques d’une «iconologie critique».Philippe-Alain Michaud prolonge les intuitions de Warburg en introduisant dans son analyse le daguerréotype, les expériences de Marey, le cinéma primitif, la danse de Loïe Fuller, toutes pratiques qui affleurent dans l’interprétation warburgienne des images et qui en éclairent la singularité.
Focussing on Aby Warburg’s art historical work, Philippe-Alain Michaud analyses early cinema, daguerreotype and modern dance. Within his investigation he is particularly interested in dizziness and the physical movements it creates in the subject.
In his comedy Amphitryon, published in 1807 but not first performed until 1899, Heinrich von Kleist takes up a popular theme from Greek mythology: Zeus, the father of the gods (in Kleist's play: Jupiter), attends the absence of the general Amphitryon with his wife Alcmene, with whom he begets the demigod Heracles. The problems of the princely couple are ironically mirrored in the parallel plot about Mercury, the boat of the gods, Amphitryon's servant Sosias and his wife Charis. If in Molière's Amphitryon (1668), Kleist's original ("A comedy based on Molière"), the focus is on the rivalry between lover and husband, in Kleist's play it becomes a struggle for consciousness, identity and alienation.
Stuart Kaufman deduced in Antichaoas and Adaptation, that chaos is part of a complex system of behaviour. He made an important observation that any network or dynamical system, which is finite and oscillatory, will have a finite number of states, and must eventually re-enter a state it has previously encountered. Consequently, it will cycle repeatedly through the same states.
Mathematical discoveries are inviting changes in biologists' thinking about the origins of order in evolution. All living things are highly ordered systems: they have intricate structures that are maintained and even duplicated through a precise ballet of chemical and behavioural activities.
In The Black Swan, Taleb showed us that highly improbable and unpredictable events underlie almost everything in our world. In Antifragile, Taleb stands uncertainty on its head, making it desirable, even necessary, and proposes that things be built in an antifragile manner. The antifragile is beyond the resilient or robust. The resilient resists shocks and stays the same; the antifragile gets better and better.
Nassim Nicholas Taleb, author of The Black Swan, reveals how to thrive in an uncertain world. Just as human bones get stronger when subjected to stress and tension, and rumours or riots intensify when someone tries to repress them, many things in life benefit from stress, disorder, volatility and turmoil. What Taleb has identified and calls “antifragile” is that category of things that not only gain from chaos but that need it in order to survive and flourish.
Kataraina Bonnevier’s PhD dissertation is a “formal experiment in writing” (p. 388) where she explores architecture in its queerness and theatricality. The author looks at architecture as something active and aims to contribute to a shift “towards a built environment which does not simply repeat repressive structures but tries to resist discriminations and dismantle hierarchies” (p. 15). Most parts of the thesis are written in the form of lectures as performances in writing, attempting “both to read and enact building constellations from a queer feminist perspective”. Thereby, Bonnevier aims “not only to explain and critique from a detached perspective but also to create and show architecture enacted” (p. 386).
The thesis is a fruitful ressource for thinking together dizziness and (somatic) architecture. To Bonnevier, how spaces are distributed “has a performative force of authority [... yet] any building [...] yields an excess of possibilities” (p. 369). The author touches upon the materiality of architecture and its influence on and relations with bodies. She advocates for understanding and creating architecture less determined but more supple and transformative. A queer perspective on architecture is an interpretation, not the assumption “that queerness is an essentialist core of some buildings, and not others [...] but the cultural production around us is not as straight as heteronormativity makes it appear” (p. 22). How we understand our built environment is influenced by heteronormativity (p. 370). Bonnevier investigates reflections and reiterations of power relations in architecture, yet focuses on her “search for critically queer architecture” (p. 371). To her, seeing buildings as “queer performative acts, and not static preconditions” helps opening to possibilities of non-normative interpretations and understandings of architecture (p. 22).
Queer, according to Bonnevier, “is an excessive term of performative force” which “implies interchangeabilty and excess; the possibility to move, make several interpretations, slide over, or reposition limits” (p. 372). Following Sedgwick’s Tendencies, queer also is a political force due to “its slipperiness, of performing that which is not embraced by normative pressures” (p. 373).
Being Numerous shatters the mainstream consensus on politics and personhood, offering in its place a bracing analysis of a perilous world and how we should live in it. Beginning with an interrogation of what it means to fight fascism, Natasha Lennard explores the limits of individual rights, the criminalization of political dissent, the myths of radical sex, and the ghosts in our lives. At once politically committed and philosophically capacious, Being Numerous is a revaluation of the idea that the personal is political, and situates as the central question of our time--How can we live a non-fascist life?
Hannah Arendt’s insightful observations of the modern world, based on a profound knowledge of the past, constitute an impassioned contribution to political philosophy. In Between Past and Future Arendt describes the perplexing crises modern society faces as a result of the loss of meaning of the traditional key words of politics: justice, reason, responsibility, virtue, and glory. Through a series of eight exercises, she shows how we can redistill the vital essence of these concepts and use them to regain a frame of reference for the future. To participate in these exercises is to associate, in action, with one of the most original and fruitful minds of the twentieth century.
Black Skin, White Masks (Peau noire, masques blancs) is a 1952  book by Frantz Fanon, a psychiatrist and intellectual from Martiniqu. The book is written in the style of autoethnography, in which Fanon shares his own experiences while presenting a historical critique of the effects of racism and dehumanization, inherent in situations of colonial domination, on the human psyche.There is a double process that is economic and internalized through the epidermalization of inferiority.
The violent overtones in Fanon can be broken down into two categories: The violence of the colonizer through annihilation of body, psyche, culture, along with the demarcation of space. And secondly the violence of the colonized as an attempt to retrieve dignity, sense of self, and history through anti-colonial struggle.
Emerging from the confluence of theory and practice, Blue Sky Body combines full-length critical essays with a kaleidoscopic selection of fragments from journal entries, performance texts, and other unpublished materials to offer a series of entry points organized by seven keywords: city, song, movement, theater, sex, document, politics. Brimming with thoughtful and sometimes provocative takes on embodiment, technology, decoloniality, the university, and the politics of knowledge, the work shared here models the integration of artistic and embodied research with critical thought, opening new avenues for transformative action and experimentation.
Groundless is, at the same time, Vilém Flusser’s autobiography and a singular title in the author’s literary production as a thinker. Written in 1973, one year after his return to Europe, when the author was only fifty-three years old, this work addresses a variety of themes, beyond the experiences of the one who reports them. Through an experimental structure, Vilém Flusser presents to the readers a series of philosophical dialogues that he maintained with the people who marked him during his life in Brazil. Among them, Alex Bloch, Haroldo de Campos, João Guimarães Rosa, Milton Vargas, Dora Ferreira da Silva, Vicente Ferreira da Silva, Miguel Reale, Samson Flexor, and Mira Schendel. In a letter to Milton Vargas of 1973, Flusser writes: "To write a biography at 53 means 'to make biography', in the sense in which Hegel says that to write the history of philosophy means to make history and philosophy. ... to write a biography is not contemplation, but action ..." With this intention in mind, Vilém Flusser wrote a book where he explores how his past experiences, especially the experiences within the Brazilian reality, influenced him in the formation of his philosophical project. The particularity with which he describes this process in Portuguese makes it a work of great value in the field of philosophy and communication and deserves to be published in English translated from its original version in Portuguese. This edition differs from the posthumous German edition of 1993 in that it restores the structure of the text to the author’s original manuscript. Groundless is a key text for the study and understanding of Vilém Flusser’s work as a philosopher.
Body and Mature Behavior is a study of human development that is concerned with the relationships between movement, emotional maturity, and behaviour patterns. Moshe Feldenkrais was superbly aware of the muscular responses, tensions, and rigidity that lead to both physical and emotional problems. He delves straight to the heart of his case: a condensed description of the conditions of our existence, touching upon topics like neurology, prehistory, child development, individual-societal relationships, and more. A fascinating discussion of gravitation and the anti-gravity mechanism is followed by a discussion of the effects of emotion on posture and on personal patterns of movement. Feldenkrais speaks to the importance of acknowledging the inseparability of body and mind.
Robin Wall Kimmerer pledges for a wider ecological consciousness that involves acknowledging the human reciprocal relationship with other beings in this world. Especially the introduction, as well as the first chapter, Skywoman Falling, offer points of relation to queerness and dizziness. The author writes about the importance of the collective and lived reciprocity, of plants and forest teaching us about the destructive and constructive elements of change, about the possibilities of standing at the brink, and of those of falling.
Guattari's final book is a succinct summary of his socio-philosophical outlook. It includes critical reflections on Lacanian psychoanalysis, structuralism, information theory, postmodernism, and the thought of Heidegger, Bakhtin, Barthes and others.
Among the fogs and miasmas which obscure our fin de millenaire, the question of subjectivity is now returning as a leitmotiv… all the disciplines will have to combine their creativity to ward off the ordeals of barbarism, the mental implosion and chaosmic spasms looming on the horizon.
This text is a conversation between the collective MYCKET (Mariana Alves Silva, Katarina Bonnevier, Thérèse Kristiansson) and Alexandra Falagara and Brita Lindvall Leitmann, graphic designers of the magazine Bang and founders of the design studio Bastion Agency Studio Lab. They explore the possibilities of resistance in a spatial framework that involves patriarchal structures and ask: “How can the rooms we create be part of a feminist method for change?” (p. 30). Space is seen as a social enactor, and queer ethics and queer aesthetics of space are being addressed. The authors challenge ideas around purity, cleanliness, and neutrality within spaces, and draw connections to racist beliefs and power structures.
The text itself is not only written but designed and gets more colorful, playful, maximalist, and messy as it evolves. Thereby the authors challenge norms within layout and typography. This punctuates statements like: “[W]hy not just go with fur on the walls, the floors, the ceilings, just cover everything in fur! Let the boundaries between the surfaces of the room be evened out buy fuzz!” (p. 32).
This resource offers a fruitful ground for thinking together dizziness and messiness within queer aesthetics. It also shows the potential of a queer perspective on spatial conditions as a framework for dizzy bodies within space.
The community isn’t a mode of being, much less a ‘making’ of the individual subject. It isn’t the subject’s expansion or multiplication but its exposure to what interrupts the closing and turns it inside out: a dizziness, a syncope, a spasm in the continuity of the subject. (Esposito)http://on-dizziness.com/communitas/
For Esposito, community should not be conceived as a possession or a belonging but on the contrary as something that is removed from oneself, as a lack. In order to ground his new conceptualisation, Esposito uses the latin word communitascomposed from the latin words cum (with) and munus (a burden or a task): `the munus that the communitas shares isn’t a property or a possession ... but on the contrary, is a debt, a pledge, a gift ... a lack ... an obligation’cf: http://marxandphilosophy.org.uk/reviewofbooks/reviews/2010/216
Henri Michaux (1899–1984) was a highly idiosyncratic Belgian-born poet, writer and painter who wrote in French and who later took French citizenship. Michaux is best known for his esoteric books written in a highly accessible style and for a body of work that includes poetry, travelogues and art criticism. Michaux travelled widely, tried his hand at several careers and experimented with drugs.
The ‘path’, presented by Michaux, dares to look into the abyss of human self-assuredness. This is done, he suggests, either by means of travelling and exposing the self to the unfamiliar and the unknown, or by means of drug induced trips, thus exposing body and mind to an equally unfamiliar and unknown inner self. We could follow this path in order to find a stratagem for arguing the importance of dizziness as a precondition for new visions, ideas and understanding.
The most famous and influential work of distinguished French philosopher Henri Bergson (1859–1941), Creative Evolution features the fullest expression of the philosopher's ideas about the problem of existence, propounding a theory of evolution completely distinct from these of earlier thinkers and scientists.In discussing the meaning of life, Bergson considers the order of nature and the form of intelligence, including the geometrical tendency of the intellect, and examines mechanisms of thought and illusion. In addition, he presents a critique of the idea of immutability and the concept of nothingness, from Plato and Aristotle through the evolutionism of his contemporaries.
This study of the creative process is about capturing those moments that make life worth living. Legendary psychologist Mihaly Csikszentmihalyi reveals what leads to these moments—be it the excitement of the artist at the easel or the scientist in the lab—so that this knowledge can be used to enrich people's lives. Drawing on nearly one hundred interviews with exceptional people, from biologists and physicists, to politicians and business leaders, to poets and artists, as well as his thirty years of research on the subject, Csikszentmihalyi uses his famous flow theory to explore the creative process. He discusses such ideas as why creative individuals are often seen as selfish and arrogant, and why the ‘tortured genius’ is largely a myth. Most important, he explains why creativity needs to be cultivated and is necessary for the future of our country, if not the world.
Natalie Oswin makes the simple statement that space is being actively produced as heterosexualized. The author shows how queer geographies have started criticizing how geographical theorizing often has an implicit heterosexual bias. Oswin argues for a queer approach in geography that does not “only” focus on queer lives like gay, lesbian, bisexual or transgender people, but deeply challenges and deconstructs heteropatriarchal structures and intersectional constellations of power. This means including postcolonial, feminist, materialist, and race theories.
Crowds and Power is a revolutionary work in which Elias Canetti finds a new way of looking at human history and psychology. Breathtaking in its range and erudition, it explores Shiite festivals and the English Civil war, the finger exercises of monkeys and the effects of inflation in Weimar Germany. In this study of the interplay of crowds, Canetti offers one of the most profound and startling portraits of the human condition.
Writers and artists are always asked about their process, including the crucial question, “How do you do meaningful creative work while also earning a living?” Currey set out to amass as much information as he could find about the routines “brilliant and successful” creators adopted and followed, and the result is a zestful survey of the working habits of “some of the greatest minds of the last four hundred years.” This zealous and judicious volume brims with quotes and fascinating disclosures about the vagaries of the creative life. Currey outs the habits of nearly 200 choreographers, comedians, composers, caricaturists, filmmakers, philosophers, playwrights, painters, poets, scientists, sculptors, and writers in a dizzying array that includes Benjamin Franklin, Henri Matisse, Nikola Tesla, Stephen King, Twyla Tharp, Federico Fellini, Ann Beattie, Gustav Mahler, and Toni Morrison. Here are early birds and night owls, the phenomenally rigorous and the nearly dysfunctional. George Balanchine thought things out while ironing. Maya Angelou writes sequestered in a “tiny, mean” hotel room. Marilynne Robinson confesses, “I really am incapable of discipline.” Currey’s compendium is elucidating and delectable. —Donna Seaman
For the survey and art competition “Living in a Dizzying World” this book helped us to specify the online questionnaire and daily questions on the app.
In beiden Texten unternimmt es der Autor, einen bestimmten „Gegenstand“ – im „Notizbuch“ ein bestimmter Kiefernwald, im anderen Fall der Himmel der Provence an einem bestimmten Ort zu einer bestimmten Zeit – mit poetischen Mitteln zu erforschen, ihn in einem Poem zu „erobern“, ohne dass das Objekt in seiner Gesetzmäßigkeit zugunsten einer vorgegebenen poetischen Formel verschwindet. Ponges Ziel ist es, die Objekte in der Sprache (v)erstehen zu lassen. Das Resultat dieser Bemühungen kann nicht mehr ein für sich stehendes, von seiner Entstehung losgelöstes Gedicht sein, sondern nur die Gesamtheit des Prozesses, in dem der Autor den Gegenstand in Worten, die für ihn und nur für ihn zutreffen, nachkonstruiert und die Nachkonstruktion dann durch das Objekt korrigieren lässt.
Francis Ponge tries to seek new poetic forms for what he sees. How to re-present (visual) phenomena is crucial for the project Dizziness-A Resource.
According to the poet and philosopher Lucretius, ‘clinamen’, is the unpredictable tendency for atoms to swerve. This indeterminacy provides the free will which living things throughout the world have. In his poem ‘On the Nature of Things’ he states:
“When atoms move straight down through the void by their own weight, they deflect a bit in space at a quite uncertain time and in uncertain places, just enough that you could say that their motion has changed. But if they were not in the habit of swerving, they would all fall straight down through the depths of the void, like drops of rain, and no collision would occur, nor would any blow be produced among the atoms. In that case, nature would never have produced anything.”
This collection shows how Deleuze's philosophy is shaking up research in the humanities and social sciences. Deleuzian thinking is having a significant impact on research practices in the Social Sciences not least because one of its key implications is the demand to break down the false divide between theory and practice. This book brings together international academics from a range of Social Science and Humanities disciplines to reflect on how Deleuze's philosophy is opening up and shaping methodologies and practices of empirical research.
Denken/Ordnen von Georges Perec ist ein Buch über das Schreiben. Denn was ist Schreiben, wenn nicht fortlaufendes Denken und Ordnen – Anordnen, Umordnen, Aussortieren, Einsortieren? Für Perec jedenfalls muss hier das Rätsel und die Faszination des Schreibens liegen. Schreiben (und das Leben selbst) hat er immer wieder mit einem Puzzle-Spiel verglichen.
This short book is about thinking, collecting, and ordering as the basic principle of artistic work.
Marginalized by the scientific age with its metaphysical and philosophical systems, the lessons of the senses have been overtaken by the dominance of language and the information revolution.
Exploring the deleterious effects of the systematic downgrading of the senses in Western philosophy, Michel Serres - a member of the Académie Française and one of France's leading philosophers - traces a topology of human perception. Writing against the Cartesian tradition and in praise of empiricism, he demonstrates repeatedly, and lyrically, the sterility of systems of knowledge divorced from bodily experience.
The fragile empirical world, long resistant to our attempts to contain and catalog it, is disappearing beneath the relentless accumulations of late capitalist society and information technology. Data has replaced sensory pleasure, we are less interested in the taste of a fine wine than in the description on the bottle's label. What are we, and what do we really know, when we have forgotten that our senses can describe a taste more accurately than language ever could?
Dread: The Dizziness of Freedom reflects on possible re-articulations of the concept of dread in our times. Associated with the “dizziness of freedom” by Søren Kierkegaard, and with “the ecstasy of nihilism” by China Miéville, the experience of dread is a defining characteristic of the contemporary human condition, and -according to the contributors to this volume -an essential and potentially productive emotion. However dark and fatalistic its connotations, through its dialectical coupling of caution and transgression, of paralysis and overdrive, dread allows us to imagine the world differently. Through conversations with and essays by some of today’s foremost cultural commentators, this book explores the creative agency of dread -an agency that is created by the very forces wishing to suppress or even destroy it -as well as its politics and related conceptions of fear and anxiety.
Working as a DJ, Juha van’t Zelfde investigates the relationship between the audience and the artist. For our project it is inspiring to see how Juha van’t Zelfde links different domains and schools of thought in his artistic research on dread. Edited by Juha van ’t Zelfde. Text by Timo Arnall, James Bridle, Simon Critchley, Adam Greenfield, Johan Grimonprez, Vinay Gupta, Ben Hammersley, Thomas Hirschhorn, Xander Karskens, Metahaven, China Miéville, Kevin Slavin and Superflux.
adrienne maree brown views change as something constant in the world we live in. The author invites readers to not block this change but rather live and learn with(in) it. brown describes emergent strategy as a “strategy for building complex patterns and systems of change through relatively small interactions” (p. 6). For brown, emergence is a way of grasping the “connective tissue of all that exists” and “our inheritance as a part of this universe; it is how we change” (p. 7). brown formulates the goal of the book as strengthening the intelligence our whole bodies have. It is addressed towards those who are “co-creating the future” and aims to generate “more options for working with each other and embodying the things we fight for” (p. 10). The author argues for intentionally changing “in ways that grow out capacity to embody the just and liberated worlds we long for” (p. 20).
brown offers ways of engaging with change and chaos, amongst others by collectively imagining beyond fears. This makes it an interesting resource in the context of dizziness as a concept that also involves change and chaos.
The authors state that there is a lack of answers to the question of “how to collaborate?” and propose a framework on transdisciplinary collaboration processes, based on challenges they retrieved from literature as well as from practical experience. They argue for applying co-creation methods and introduce four stages grounded in those methods: Stakeholder mapping (collaboration initiation, identifying stakeholders and their relation), scope definition (co-creating a common vision), strategic impact mapping (co-creating a map of the strategy needed to realize the vision), and roadmap definition (co-creating a map of concrete necessary steps).
The authors point out the dynamic nature of transdisciplinary collaboration, and the inherent need for both theoretical and practical reflection and iteration. With their four-steps framework they offer a concrete tool for collaborative processes, which can thereby be a tool for reducing dizziness within those processes.
The edition of Film Culture number 65–66 is devoted to the writings and works of Paul Sharits. Other authors include Annette Michelson, Rosalind Krauss and Linda Cathcart.
Paul Sharits is an artist who can reflect on and evoke both the feeling of being mentally dizzy and the physical manifestation in a single work, namely his film installation Epileptic Seizure Comparision. In his text "A Cinematics Model for Film Studies in Higher Education" he quotes the following poem by Robert Graves:
In Broken Images
He is quick, thinking in clear images;
I am slow, thinking in broken images.
He becomes dull, trusting to his clear images;
I become sharp, mistrusting my broken images.
Trusting his images, he assumes their relevance;
Mistrusting my images, I question their relevance.
Assuming their relevance, he assumes the fact;
Questioning their relevance, I question the fact.
When the fact fails him, he questions his senses;
When the fact fails me, I approve my senses.
He continues quick and dull in his clear images;
I continue slow and sharp in my broken images.
He in a new confusion of his understanding;
I in a new understanding of my confusion.
From the golden age of art movies and underground cinema to X-rated porn, splatter films, and midnight movies, this breathtaking thriller is a tour de force of cinematic fact and fantasy, full of metaphysical mysteries that will haunt the dreams of every moviegoer. Jonathan Gates could not have anticipated that his student studies would lead him to uncover the secret history of the movies—a tale of intrigue, deception, and death that stretches back to the 14th century. But he succumbs to what will be a lifelong obsession with the mysterious Max Castle, a nearly forgotten genius of the silent screen who later became the greatest director of horror films, only to vanish in the 1940s, at the height of his talent. Now, 20 years later, as Jonathan seeks the truth behind Castle's disappearance, the innocent entertainments of his youth—the sexy sirens, the screwball comedies, the high romance—take on a sinister appearance. His tortured quest takes him from Hollywood's Skid Row into the shadowy lore of ancient religious heresies. He encounters a cast of exotic characters, including Orson Welles and John Huston, who teach him that there's more to film than meets the eye, and journeys through the dark side of nostalgia, where the Three Stooges and Shirley Temple join company with an alien god whose purposes are anything but entertainment.
Pleasurable to read and rich in subtext and background, the book’s description of film tricks and technical devices to brainwash the audience involves dizzying elements and an increasing amount of mystery, combining the art of cinema with metaphysics.
Gilles Deleuze had several paintings by Francis Bacon hanging in his Paris apartment, and the painter’s method and style, as well as his motifs of seriality, difference, and repetition influenced Deleuze’s work. In considering Bacon, Deleuze offers implicit and explicit insights into the origins and development of his own philosophical and aesthetic ideas, ideas that represent a turning point in his intellectual trajectory. First published in French in 1981, Francis Bacon has come to be recognised as one of Deleuze’s most significant texts in aesthetics. Anticipating his work on cinema, the baroque, and literary criticism, the book can be read not only as a study of Bacon’s paintings but also as a crucial text within Deleuze’s broader philosophy of art.
Geburtsakt der PhilosophieErschrocken schaut der Heide Schaf mich an,
als säh’s in mir den ersten Menschenmann.
Sein Blick steckt an; wir stehen wie im Schlaf;
mir ist, ich säh zum ersten Mal ein Schaf.
Birth of PhilosophyThe heath sheep glares at me with frightened awe
as though I were the first of men it saw.
Contagious glare! We stand as though asleep;
it seems the first time that I see a sheep.
In the context of bringing together queerness and dizziness, the definition of queering by Anna Light is specifically relevant, since it points out the dizzying effect queerness and queering can have. According to the author, “to ‘queer’ something, taking the Greek root of the word, is to treat it obliquely, to cross it, to go in an adverse or opposite direction. In other words, ‘queering’ is problematizing apparently structural and foundational relationships with critical intent, and, within this, clowning is as legitimate a way of problematizing as more solemn means of turning the world upside down.” (p. 3–4)
Humans have always sought life-changing visions, and for thousands of years have used hallucinogenic compounds to achieve them. As a young doctor in California in the 1960s, Oliver Sacks had both a personal and a professional interest in psychedelics. These, along with his early migraine experiences, launched a lifelong investigation into the varieties of hallucinatory experience.Here, with his usual elegance, curiosity and compassion, Dr. Sacks weaves together stories of his patients and of his own mind-altering experiences to illuminate what hallucinations tell us about the organisation and structure of the brain. It also looks at how hallucinogens have influenced every culture’s folklore and art, and why the potential for hallucination is present in us all and a vital part of the human condition.
Hallucinations don’t belong wholly to the insane. Much more commonly, they are linked to sensory deprivation, intoxication, illness or injury.
What could it mean to live the life of an artist, and how can it be done? Is it a form of sleepwalking or a sullen selfassertion? How is it possible to unite literary, scientific or philosophical deliberations with art? The artist duo Ruth Anderwald + Leonhard Grond uses film as a tool to visually discuss the present with all its contradictions, following the realisation that to record images always correlates with a form of modeling reality. In their book, Ruth Anderwald + Leonhard Grond combine a comprehensive collection of their collaborative filmic work (1999 – 2013) with texts by authors who have accompanied them along the way.
Olivier Vallerand argues to consider the self-identification and context (e.g. experiences) of an individual when talking about (queer) space. Furthermore, the author pledges to go beyond limits of gay- and lesbian-oriented architecture, to completely rethink the design, use, and analysis of our environment. To Vallerand, taking the perspective of queer theory on architecture is located at the intersections of the social and aesthetics, and therefore has a queer utopian potential.
Martin Buber's I and Thou has long been acclaimed as a classic. Many prominent writers have acknowledged its influence on their work; students of intellectual history consider it a landmark; and the generation born after World War II considers Buber one of its prophets. Buber's main proposition is that we may address existence in two ways: (1) that of the "I" toward an "It," toward an object that is separate in itself, which we either use or experience; (2) that of the "I" toward "Thou," in which we move into existence in a relationship without bounds. One of the major themes of the book is that human life finds its meaningfulness in relationships. All of our relationships, Buber contends, bring us ultimately into relationship with God, who is the Eternal Thou.
Nineteenth-century chemists were faced with a particular problem; how to depict the atoms and molecules that are beyond the direct reach of our bodily senses. In visualising this microworld, these scientists were the first to move beyond high-level philosophical speculations regarding the unseen. In Image and Reality, Alan Rocke focuses on the community of organic chemists in Germany to provide the basis for a fuller understanding of the nature of scientific creativity. Rocke uses a variety of sources, including private correspondence, diagrams and illustrations, scientific papers, and public statements, to investigate their ability to not only imagine the invisibly tiny atoms and molecules upon which they operated daily, but to build detailed and empirically based pictures of how all of the atoms in complicated molecules were interconnected.
In this book, Rocke explores the importance of visual imagination and provides insight into the field of chemistry via portrayals of “chemical structures”. Arguing that visual mental images regularly assisted many scientists in thinking through old problems and new possibilities, the author also suggests that imagistic thinking is often at the heart of creative thinking in all fields.
Christopher Reeds sees queer space as a space that is in the active process of taking place and claiming territory. He proposes to work with the term imminent (lat. imminere, to loom over or to threaten), ready to take place, including the threatening character of queerness. According to Reed, queer space is collectively created by queer people. Even if the creators of the space depart, they leave traces behind, to the delight or discomfort of those who find them. The author also addresses the visual character of queer, describing it as “in your face” (p.64), implying a visual confrontation and being the opposite of in the closet.
In this book, Responsible Research and Innovation (RRI) is introduced as a framework that “seeks a new relation between society, research and innovation, to better align both the process and its outcomes with the values, needs and expectations of society” (xi). In the book both drivers and barriers to the institutional implementation of RRI are being discussed, in each case focusing on structure, culture, and interchangeability.
RRI is a response to challenges within research and innovation, like public mistrust in science or research misconduct. Thereby, it can both be discussed if RRI can be a tool in navigating dizziness, as well as what aspects of dizziness occur within RRI (drivers and barriers).
This ground-breaking work of philosophy, anthropology, aesthetics, and sinology is certain to bring the audience to think and experience what may at first seem impossible: the richness of a bland sound, a bland meaning, a bland painting, a bland poem. In presenting the value of blandness through as many concrete examples and original texts as possible, Jullien allows the undifferentiated foundation of all things—blandness itself—to appear. After completing this book, readers will re-evaluate those familiar Western lines of thought where blandness is associated with a lack—the undesirable absence of particular, defining qualities. Jullien traces the elusive appearance and crucial value of blandness from its beginnings in the Taoist and Confucian traditions to its integration into literary and visual aesthetics in the late-medieval period and beyond.
Gradually developing into a positive quality in Chinese aesthetic and ethical traditions, the bland comprises the harmonious and unnameable union of all potential values, embodying a reality whose very essence is change and providing an infinite opening into the breadth of human expression and taste. More than just a cultural history, In Praise of Blandness invites those both familiar and unfamiliar with Chinese culture to explore the resonances of the bland in literary, philosophical, and religious texts and to witness how all currents of Chinese thought—Confucianism, Daoism, Buddhism—converge in harmonious accord.
This book is addressed to everyone who is struggling and experimenting today, to everyone who is a true contemporary of what Stengers dares to call "the intrusion of Gaia," this "nature" that has left behind its traditional role and now has the power to question us all. In Catastrophic Times is neither a book of prophecy nor a survival guide. Here, Stengers reminds us that it falls to us to experiment with the apparatuses that make us capable of surviving without sinking into barbarism, to create what nourishes trust where panicked impotence threatens.
These 130 short texts—aphoristic, interlacing, and sometimes perplexing—target a perennial philosophical problem: Our consciousness and our experience of reality are inconsistent, fragmentary, and unstable; God is dead, and our identity as subjects discordant. How can we establish a new mode of thought that does not cling to new gods or the false security of rationality? Marcus Steinweg, as he did in his earlier book The Terror of Evidence, constructs a philosophical position from fragments, maxims, meditations, and notes, formulating a philosophy of thought that expresses and enacts the inconsistency of our reality. Steinweg considers, among other topics, life as a game (“To think is to play because no thought is firmly grounded”); sexuality (“wasteful, contradictory, and contingent”); desire (”Desire has a thousand names; It's earned none of them”); reality (“overdetermined and excessively complex”); and world (“a nonconcept”). He disposes of philosophy in one sentence (“Philosophy is a continual process of its own redefinition.”) but spends multiple pages on “A Tear in Immanence,” invoking Nietzsche, Heidegger, Sartre, and others. He describes “Wandering with Foucault” (“Thought entails wandering as well as straying into madness”) and brings together Derrida and Debord. He poses a question: “Why should a cat be more mysterious than a dog?” and later answers one: “Beauty is truth because truth is beauty.” By the end, we have accompanied Steinweg on converging trains of thought. “Thinking means continuing to think,” he writes, adding “But thinking can only pose questions by answering others.” The question of inconsistency? Asked and answered, and asked.
In recent years, the idea of art as an act of research has gained increasing currency, greatly enlarging the parameters of art itself. Intellectual Birdhouse gathers a broad range of interpretations of this paradigm shift through writings by authors from a range of disciplines. Tom Holert offers "Scattered Thoughts on 'Artistic Research' and 'Social Responsibility'"; Hito Steyerl assesses research as an "Aesthetic of Resistance"; Hannes Rickli discusses art and biology; Michael Schwab interviews Henk Borgdorff; Sabine Flach looks at Kandinsky's merging of art and science; Penelope Haralambidou writes on "Allegory, Architecture and Figural Theory"; Florian Hecker and Sonia Matos discuss psychoactive acoustic experiences; and Renee Green writes on "Paradoxes Experienced by Artist-Thinkers." Other contributors include Jan Svenungsson, Henk Slager, Sarat Maharaj and Francisco Varela, Hans-Jorg Rheinberger, Raqs Media Collective, Marcus Steinweg, Bracha L. Ettinger, Jonathan Miles, Paul Carter, Gina Badger and Alise Upitis.
Claude Levis-Strauss approaches Mauss by combining anthropology and structural linguistics to assess his achievements and intentions arguing that Mauss - who at the time represented the mainstream of French anthropology - was in fact structuralist mangue. He then goes on to formulate the central tenets of structuralist thought: the belief in societies being organised on immutable and unconscious laws.
There is a fundamental opposition, in the history of the human mind, between symbolism, which is characteristically discontinuous, and knowledge, characterized by continuity. The signifier and the signified were constituted simultaneously and interdependently, as complementary units; whereas knowledge, that is, the intellectual process which enables us to identify certain aspects of the signifier with certain aspects of the signified...
Starting in the mid-1990s, Joachim Koester developed an oeuvre that could be described as a complex web, in which journalistic and historical research fuses with personal and fictive narratives. Walking a fine line between documentary and fiction, Koester’s films, photos, and installations re-examine and activate forgotten histories, failed utopias and the obsolete. In his work, bygone counter-cultural movements re-emerge in the same way that geographical and spiritual journeys are retraced.Joachim Koester: ‘Of Spirits and Empty Spaces’ is published to accompany five independent, complementary exhibitions of the work of Joachim Koester, at Institut d’Art Contemporain, Villeurbanne; List Visual Arts Center, Cambridge, Massachusetts; Kunsthal Charlottenborg, Copenhagen; S.M.A.K., Ghent; and Centre d’Art Contemporain, Genève.
Joachim Koester’s works refer to geographical and spiritual journeys and originate from his examinations on dizziness. ‘Of Spirits and Empty Spaces’ contains texts by Thomas Caron, Philippe-Alain Michaud, Christopher Pinney, Clara Schulmann, Catherine Wood, and Joachim Koester. Koester’s film works play a part in the research of the project and are included in related screenings.
Der Band bearbeitet die Kultur des Jahrmarkts und dessen modernen Verwandten, des Themenparks als einen Ort, an dem sich das Vergnügen manifestiert. Die Frage nach der Faszination solcher Orte streift die Geschichte des Salzburger Dult, der Luxemburger Schueberfouer, des Hamburger Hugo Haase Parks oder des Wiener Praters. Die Beiträge zeichnen die Geschichte des Karussells, des Jahrmarktkinos, der Geisterbahn, der Achterbahn oder der fast vergessenen Jahrmarktsorgel nach, arbeiten eine Sozialgeschichte der Schaustellerei heraus, analysieren die Motivationen, Jahrmärkte und Vergnügungsparks zu besuchen und zeigen, wie das Phänomen in der Literatur, im Film und in der bildenden Kunst aufgegriffen und thematisiert wird.
In this book various articles and interviews examine funfairs, amusement parks, carousels and fairground rides as settings for a culture of amusement. Distraction, euphoria and dizziness are all inextricably linked to fairground attractions.
This book begins in the tiny Greenwich Village café where Smith goes every morning for black coffee, ruminates on the world as it is and the world as it was, and writes in her notebook. Through prose that shifts fluidly between dreams and reality, past and present, and across a landscape of creative aspirations and inspirations, we travel to Frida Kahlo’s Casa Azul in Mexico; to a meeting of an Arctic explorer’s society in Berlin; to a ramshackle seaside bungalow in New York’s Far Rockaway that Smith acquires just before Hurricane Sandy hits; and to the graves of Genet, Plath, Rimbaud, and Mishima.
This article helps understanding why “home”, while often assumed to be a safe place, can be rather the opposite for LGBTQIA+ people. In the search for new safe spaces, LGBTQIA+ people often enter queer spaces that are risky, public, or temporary. The text offers a start for thinking about the apparent binaries of private and public, safe and unsafe.
Der Band untersucht die Bedeutung von Mimesis für Kultur, Gesellschaft und Kunst. Gegenwärtig als Grundkonzept der Anthropologie entworfen, erschließt sich dem Menschen die Welt über mimetische Zugänge. Mimetische Prozesse lassen sich vom körperlichen Handeln bis zu ästhetischen Produktionen verfolgen, vom Konkreten bis zum Fiktiven. Der Band beschreibt ihre Wirkungsweisen zuerst auf der Ebene der sozialen Praxis, dann auf der von Ritualen und Spielen, schließlich auf jener des Ästhetischen.
In this book the relevance of mimetic processes for aesthetic and social processes are highlighted.
What sort of hallway was it? I haven’t the slight idea even now, and it ought to be that way. Everything should. Everything should take place slowly and incorrectly so that man doesn’t get a chance to start feeling proud, so that man is sad and perplexed.
Eerofeev’s Moscow-Petishki is considered to be a pseudo-autobiographical postmodernist prose poem following the journey of the intellectual alcoholic Venya, or Venitchka, on his journey from Moscow to visit his beautiful lover and his little son in Petushki, a town that is delineated in chimerical terms. "In Petushki the jasmine never stops blooming and the birds always sing."Venya, the first-person narrator, swirls between maudlin self-pity and an almost Herculean compulsion to make sense of the world.
This anthology examines the rising phenomenon of moving image practice in recent art and theory, tracing its genealogies in experimental cinema and video, body art, performance, site-specific art and installation from the 1960s onwards. Contextualizing new developments made possible by advances in digital and networked technology, it locates contemporary art centred on the moving image within a global framework.
Nachbilder sind optische Phänomene, mit denen das ¬Sehen sich selbst in den Blick nimmt. Seit der Empirismus im 18. Jahrhundert die Subjektivität der Wahrnehmung erschloss, traktierten Wissenschaftler, Künstler und Philosophen ihre Augen, um sie nicht als Empfänger, sondern als Erzeuger von Licht- und Farbphänomenen zu erfahren. Der Band stellt u. a. die Frage, welche Bildkonzepte mit der Entdeckung der visionären Möglichkeiten des Sehens auftauchen und versammelt Beiträge, die die physiologische Frage nach dem Sehen mit der produktionsästhetischen Frage nach dem Bild verknüpfen.
An ‘afterimage’ refers to an image continuing to appear in one’s vision after the exposure to the original image has ceased. This is an optical phenomena that makes us question how vision functions. Indeed, with further understanding of the subjectivity of perception, various experiments by scientists, artists and philosophers have examined the eye not only as a receiver, but as a producer of light and colour phenomena. This volume gathers articles that combine physiological questions of vision and how the ‘afterimage’ is produced and visualised.
"Notes From the Future of Art" is the first English language publication by Jerzy Ludwinski (1930-2000), the Polish art historian, critic, curator, founder of the Mona Lisa Gallery in Wroclaw, founder and mentor of the "structural art" pioneers Grupa Zamek, editor of the group's magazine "Struktury" and professor at the Polish Academy of Fine Arts. Ludwinski dissolved the compartmentalization of all these vocations in the course of his career, operating on the periphery of the state system as an informal éminence grise to Poland's avant-garde during the 50s and 60s. Ludwinski argued that "art" was no longer an appropriate designation for what was done in its name: "It is quite possible...that today we do not practice art any longer, simply because we have missed the moment when it transformed into something quite different, which we are unable to name. It is certain, however, that what we practice today presents greater possibilities.
Object-Oriented Philosophy is a blog by Graham Harman, professor at the American University in Cairo and full-time resident of Ankara, Turkey. Harman is a contemporary philosopher of metaphysics, who attempts to reverse the linguistic turn of Western philosophy. He terms his ideas ‘object-oriented ontology’.
Harman’s blog Object-Oriented Philosophy provides daily notes on the topic as well as freely available articles and books.
As part of the Berlin Art Week 2022 three exhibitions have been curated at C/O Berlin under the title Queerness in Photography. In the accompanying newspaper, Karin Köppert discusses visible queer pain in photographs as something that is perceived as uncomfortable or “indigestible” (p. 29). The author describes this “indigestibility as a productive queering force that does not seek to be recognised but to disrupt normative ways of being and perceiving” (p. 29). This is specifically relevant when discussing the dizzying effect of queerness in a disturbing, disruptive sense.
According to Köppert, queer “means nothing other than a critique of power” (p. 29). Queerness has an active character, that can’t simply be exhibited, since, “[i]deally, queerness causes something—to structures and institutions, perceptions and imaginations. This requires (not only, but also) this disturbance, this indigestibility” (p. 31).
The multiple must be made, not always by adding another dimension, rather in the simplest way, by dint of sobriety... A rhizome as subterranean stem is absolutely different from roots and radices. Bulbs and tubers are rhizomes... Even some animals are, in their pack forms. Rats are rhizomes. Burrows are too, in all their function of shelter, supply, movement, evasion and breakout... The rhizome includes the best and the worst: potato and couch grass.
Lines of flight, thinking motion and change by means of the horizontal rhizome instead of the vertical tree: “Rhizome” substitutes pragmatic, “couch grass”, free-floating logic to the binary, oppositional and exclusive model of the tree.
Oskar Hansen’s (1922–2005) theoretical concept of “open form” was developed in the context of international debates around late-modern architecture in the 1950s. Open form assumed that no artistic expression is complete until it has been appropriated by its users or beholders. In the following decades, the concept became a key principle of performance and film art, and led to the development of process-oriented and interdisciplinary artistic techniques. Hansen’s concept revolutionised the traditional means of artistic communication.
This publication examines the impact of Hansen’s ideas within contemporary visual culture and the redefined role of the viewer since the 1960s. The book includes in-depth interviews with some of the most important protagonists of experimental art in Poland, who investigate the historical impact of the open form. Other contributions comment on the theory’s influence on a younger generation of artists. Visual material by Hansen and other artists complete this extensive volume.
This is the first critical biography of the painter and experimental filmmaker Oskar Fischinger. Active in avant-garde art circles in Germany between the two world wars, Fischinger and his family would emigrate to Los Angeles just ahead of the Nazis' denunciation of degenerate art. Fischinger's pioneering experiments in Visual Music and the melding of graphic arts, abstract design, and sound were instrumental in shaping animation into an art and cinematic form and inspiring animators to pursue its aesthetic potential. An accomplished representational animator who eventually worked uneasily under contract for Paramount, MGM, and Disney, Fischinger produced numerous abstract animated films over his lifetime, invented machines such as the "Wax Machine" and the "Lumigraph" for creating images, and became an accomplished and influential abstract painter. A labor of love for author William Moritz and the product of decades of research, Optical Poetry also includes an extensive filmography and testimonials from those who knew or were influenced by Fischinger.
Sarah Ahmed describes orientations as an influence in how we reside in space, what directions we take, and also what gets in reach by doing so. From this perspectives she looks at sexual orientation and asks: “What does it mean for sexuality to be lived as oriented?” (p. 543). To Ahmed, orientations are not only directed towards the present but also the future, since they offer the possibility of changing directions. This is relevant in the context of queering and dizziness, since this change involves uncertainty about where we will end up, “risking departure from the straight and narrow [path] makes new futures possible, which might involve going astray, getting lost, or even becoming queer.” (p. 554).
Moving on diverging paths and lines (Ahmed discusses this on the example of lesbian desires that move us sideways) can feel like opening up a whole new world, since objects put other objects in reach. This can be connected to the potential of queering and dizziness, if viewed as something that rouses and puts us off balance or pushes us off a certain path: Space for action can emerge.
The author states that bodies orient themselves towards objects that are in reach, and queer objects are often not near enough. Following Merleau-Ponty, Ahmed describes how queer objects are fleeting, which means that an orientation toward what slips is included in a queer phenomenology. Queer phenomenology becomes a disorientation device, and queer a way to approach what is retreating. Ahmed concludes these thoughts: “Queer would become a matter of how one approaches the object that slips away, a way to inhabit the world at the point at which things fleet.” (p. 566). Considering this might be helpful in thinking queering and dizziness together, approaching queer as a possibility to navigate within the state of dizziness, where things might seem to slip away.
Ahmed addresses the duality in the term queer, being both used for non-straight sexualities (this could be broadened e.g. by non-cis genders) and for being oblique, off-line, or deviant. According to the author both meanings need to be included when talking about queer. This is a helpful approach when thinking about queering as well: It is important to differ between queer as a self-identification and queer as a feminist and political term, but it is also not possible to completely isolate them from each other, especially when considering queer bodies and the (both intended and unintended) queering effect they can have. Concerning this (un)intended effect, it is also important to point out, which Ahmed does in her text as well, that disorientation is not an obligation or responsibility for people who identify as queer, it “is not up to queers to disorient straights” (p. 569), even though queers can queer simply by existing. This always needs to be remembered when considering the potential of queering and its dizzying effect.
Finnish philosopher Juha Varto offers ten meditations on a theme inspired by Harri Laakso, who suggested that we “stop talking about the different types of knowing and admit … that in art we are dealing with something that is ‘otherwise-than-knowing’”. Although art is seen as the ability to change the world by transforming our sensory perception of reality, it also results in a change in ideas, understanding and insight. Art is seen as the ability to change the world by orientation: by radically transforming the “sensible”, or sensory through the reality of what one sees, hears, tastes, touches and smells, which unavoidably results in a change in ideas, understanding and insight. It may be about distancing, it may be about getting closer; sometimes it is ironic or camp, sometimes it is a serious attempt to find illuminating concepts and their verbalisations, and sometimes it is the need to create new myths or just tell stories.
“As the symbolic form of representation has spread, it has marginalised those forms of representation that people could use to communicate subjective experiences, actions and interventions to others.”
Phenomenology of Perception stands in the phenomenological tradition of Husserl, Heidegger and Sartre. However, Merleau-Ponty’s contribution is decisive, as he brings this tradition and other philosophical predecessors, particularly Descartes and Kant, to confront a neglected dimension of our experience: the lived body and the phenomenal world. Charting a bold course between the reductionism of science on the one hand and ‘intellectualism’ on the other, Merleau-Ponty argues that we should regard the body not as a mere biological or physical unit, but as the body which structures one’s situation and experience within the world.
Merleau-Ponty revealed the phenomenological structure of perception in his 1945 book Phenomenology of Perception. His work reflects on his thesis by considering the impact of perception and examining the way that dizziness is experienced.The complete book is freely available via archive.orgarchive.org.
„Zum Denken gehört Selbstbeschleunigung und Präzision. Das gilt für jedes Denken: das Risiko einzugehen, ebenso präzise wie kopflos zu sein. Es gibt keine Wissenschaft, keinen Tanz, keine Politik, keine Kunst, keine Musik, keine Ökonomie – um nur sechs Denkformen zu nennen – jenseits des Wagnisses, übertrieben und exakt zu sein! Die Wissenschaft übertreibt sich auf die Grenze des Wißbaren. Im Tanz skandiert das Subjekt seinen Kontakt zum Boden, der brüchiger Grund seines Weltaufenthalts bleibt. Um mehr als entpolitisierte Administration zu sein, muss die Politik Ideen riskieren, die sie an die Grenze ihrer Handlungsfähigkeit führen. Kunst öffnet sich der Dimension der Nicht-Kunst, um Kunst statt Ästhetik zu sein. In der Musik rührt das Subjekt an die jeden Laut durchziehende Stille. Die Wahrheit der Ökonomie ist ihre Tendenz ins Anökonomische. In allen Fällen geht es darum, die Kompossibilität von Präzision und Exzess zu artikulieren.“
Marcus Steinweg’s Philosophie der Überstürzung states his concept of philosophy as a philosophy of precipitation. Connected to a helter-skelter dynamic and the act of self-acceleration, he discusses the possibilities of orientation within disorientation.
Konkordanzen – Notiz zum Körper – Die Schönheit Antigones – Was ist Kritik? – Notiz zur Blindheit – Subjekt der Geste – Wittgensteins Tier – Infinitesimalphilosophie – Was ist ein Diagramm? – Museum als Exzess – Was ist ein Objekt? – Das maritime Subjekt – Notiz zur Bühne – Was ist Spekulation?
Irene Molina writes this prologue for “Feminist Futures of Spatial Practice” which aims at (re-)thinking architecture and the arts within socio-spatial struggles. In her introductory words, Molina mentions the political potential of intersectionality to challenge power structures and argues for including time and space in an intersectional perspective, since they are essential for understanding power relations.
“In the fields of observation chance favours only the prepared mind.”
Louis Pasteur (Moser, p. 95)
This book gives an account of Albert Hofmann’s incidental and hazardous discovery of LSD and its implications for scientific narratives, relating to neuroscience as well as philosophical epistemology. The well-known basis of the LSD-narrative is Hofmann’s bicycle ride after having tested the hallucinogenic ergotamines:
„Der Eintrag im Laborjournal beginnt mit Herstellung, Zusammensetzung und Menge der eingenommenen Substanz, sowie Datums- und Zeitangabe. Es folgt: ,17:00 Beginnender Schwindel, Angstgefühl. Sehstörungen, Lähmungen. Lachreiz.‘ Dann brechen die Aufzeichnungen ab. Zwei Tage später ergänzt Hofmann: ,Mit Velo nach Hause. Von 18 bis ca. 20 Uhr schwerste Krise.‘ In Klammern: ,Siehe Spezialbericht.‘ Die Substanz entfaltet ihre Wirkung im Körper, genauer noch: in der Psyche, oder in Hofmanns Worten: am ‚eigenen Geist‘. Das Experiment verändert den Experimentator.“
(p. 104, emphasis added)
This text has been distributed by queers at pride march in New York in 1990. When engaging with the term queer, the manifesto and its narrative are important references that can’t be left out. It is, partly or in its full version, still distributed or cited today. It is written as an activist piece by and for queer people as an encouragement to be out, loud, proud, to form a community, being other, and embrace rage, otherness, and anger: “Queers are being attacked on all fronts and I’m afraid it’s okay with us. [...] Feel some rage. If rage doesn’t empower you, try fear. If that doesn’t work, try panic.”
The mere act of being alive and queer is communicated as a “rebellious act”, and the readers are encouraged to fight for their rights, since rights “are not given [... but] taken, by force if necessary”. Straight people are referred to as “your enemy”. Queer art is referred to as “quite simply a threat to the world” and “the last safe place for lesbians and gay men to thrive”. There are some well-known references in the text, like “Every time we fuck, we win”—explained by queers coming out despite being rejected by society “just to love each other”. The term queer is being connected to trouble, strange, eccentric, and mysterious.
The otherness and possibility of being queer is pointed out in different parts: “Being queer means leading a different sort of life.” or “Everyone of us is a world of infinite possibility.”. The otherness is described as the reason for either being paralyzed or politicized, again together with pointing out the need for activism and not hiding queerness from oneself or others.
Adam Nathaniel Furman works with queer spaces and queer aesthetics within architecture. They state that it is crucial to separate queer aesthetics from clichés around LGBTQIA+ people like rainbows and glitter. Furman defines queer aesthetics as a way of creating “novelty and difference” (p. 21), being related to mainstream ideas of good taste but transforming them from an outside position with some connection to the inside – a position often taken by queer individuals and communities. Furman uses queer aesthetics “as an oxymoron because it’s not a fixed set of looks or things, it’s actually about a relationship with the mainstream at any given point in time” (p. 22). Furman brings in the concept of cuteness and describes it as something subversive that challenges norms and disrupts deadlocked categories. Cuteness questions what is intellectual and has the potential of making things fun and accessible, and “it really messes up our sense of hierarchy” (p. 22). Including Furman’s understanding of queer aesthetics and cuteness can be fruitful in the discussion of dizziness and queering due to their disruptive and transforming character.
Ece Canlı looks at queering design processes, thereby also at queer aesthetics and queer methodologies. The author defines queer as something that “aims to trigger a broader social critique about not only sexuality and gender, but also other social-political issues in the way of posing new strategies against patronizing normalizations in society” (p. 2). Canlı talks about queering (not queer) design, and queered (not queer) aesthetics, pointing out the active character of the term. According to Canlı, queer is hard to define, since it is “a shaky grounded site for struggle and resistance” (p. 3)—which offers a fruitful parallel between queerness and dizziness.
This is a detailed report of the research project “Queering Public Space” that has been carried out in collaboration between the service firm Arup and the University of Westminster. It explores the relationship between queer people and public spaces, mainly by presenting findings from literature and archival research, interviews, and analyzation of public spaces. It offers a rich resource on the importance, context, history, and feasibility of queering public spaces.
The author looks at ways of organizing collectives, and asks how those can be produced without reproducing “capitalist or neoliberal designs, but [...] use our differences to build communities” instead (p. 936). In their text, Chloé Vitry refers to Ahmed’s “Queer Phenomenlogy” and describes organizing as the production of spaces that orient bodies (p. 939). They discuss queer organizing as a practice of resistance, of bodies not aligning to certain spaces (p. 936). Vitry intends to explore “the shape that spaces can take when they are ‘queered’ by bodies thrown out of line (or place), and what potential field of actions might open up to organize queerly” (p. 940).
Vitry uses the term queering space both in the sense of an adjective (the space queers bodies that are not aligned) as well as a noun (the queering of the space) and, following Ahmed, explains that capitalist and normative spaces queer bodies. To the author, queering space means resisting capitalist spaces and their straightening effect by disorienting them “by stepping out of line” (p. 947). Following Ahmed again, Vitry describes how collectives emerge from having a shared direction, and how queer collectives can emerge by turning away: “If queering space is turning away from the straightening effects of certain lines [...], then queering organizing could be allowing bodies to turn energy, time, and resources freely to other directions” (p. 945). The disorienting effect of queering space as well as the freedom of taking various directions can fruitfully be explored from the perspective of dizziness.
This article is relevant for dizziness in the context of (somatic) architecture, knowledge production, and queerness—specifically when thinking about how heteronormativity constitutes our built environment. Hartmann and Manka state that our built environment is not objective or free of power relations. According to them, buildings must reflect the lived experiences of the average and show the inhomogeneity of the users. The authors bring up Katharina Bonnevier and the work of the Swedish collective MYCKET that works with architecture as actual, materialized proposals for social change, to avoid getting stuck in fighting. MYCKET has “touching architecture” as a methodology of doing artistic research, thinking about touching and getting touched by architecture, and what possibilities touch offers. Finally, Hartmann and Manka talk about knowledge production and argue that shared and situated knowledge does not only produce knowledge, but also trust.
Thrills and funfairs. Attractions at fairs and amusement parks. A sociological cultural history
Roller coaster, carousel or Ferris wheel: this exciting sociological cultural history of fairs and amusement parks presents the amusement facilities there and explores the question of what exactly makes such popular amusements so appealing. And it shows: These technical attractions generate transcendent experiences that are demanded and retrieved by the recipients as a reflex to a differentiated modernity.
Friederike Mayröcker is one of Europe’s most exciting avant-garde poets. In a career spanning more than sixty years, this “dadaelian artificer”, as she has been described by Christopher Middleton, has pushed back the limits of convention to reveal the “deep structure” of existence – its elation and its abysses.
This work offers a new philosophy of movement challenging the idea that movement is simple displacement in space, knowable only in terms of the actual. Exploring the relation between sensation and thought through the prisms of dance, cinema, art, and new media, Manning argues for the intensity of movement. From this idea of intensity—the incipiency at the heart of movement—Manning develops the concept of preacceleration, which makes palpable how movement creates relational intervals out of which displacements take form. Discussing her theory of incipient movement in terms of dance and relational movement, Manning describes choreographic practices that work to develop with a body in movement rather than simply stabilizing that body into patterns of displacement. She examines the movement-images of Leni Riefenstahl, Étienne-Jules Marey, and Norman McLaren (drawing on Bergson's idea of duration), and explores the dot-paintings of contemporary Australian Aboriginal artists.
Turning to language, Manning proposes a theory of prearticulation claiming that language's affective force depends on a concept of thought in motion. Relationscapes takes a ‘Whiteheadian perspective’, recognizing Whitehead's importance and his influence on process philosophers of the late twentieth century—Deleuze and Guattari in particular. It will be of special interest to scholars in new media, philosophy, dance studies, film theory, and art history.
What does it mean to live dangerously? This is not just a philosophical question or an ethical call to reflect upon our own individual recklessness. It is a deeply political issue, fundamental to the new doctrine of ‘resilience’ that is becoming a key term of art for governing planetary life in the 21st Century. No longer should we think in terms of evading the possibility of traumatic experiences. Catastrophic events, we are told, are not just inevitable but learning experiences from which we have to grow and prosper, collectively and individually. Vulnerability to threat, injury and loss has to be accepted as a reality of human existence.
In this original and compelling text, Brad Evans and Julian Reid explore the political and philosophical stakes of the resilience turn in security and governmental thinking. Resilience, they argue, is a neo-liberal deceit that works by disempowering endangered populations of autonomous agency. Its consequences represent a profound assault on the human subject whose meaning and sole purpose is reduced to survivability. Not only does this reveal the nihilistic qualities of a liberal project that is coming to terms with its political demise. All life now enters into lasting crises that are catastrophic unto the end.
Arguing for the poem. In her collection of essays, Monika Rinck argues for the relevance of the poem and asks about the friendlier possibilities of the incomprehensible and the idiotic, the silly and the overwrought. Poet, Reader and Idiot set out to answer the most burning poetological questions of recent years. And because it is about the poem, it is always also about the world we live in, about our present: Why are we unhappy? What is wrong with our society? And what actually happened to the diva?
Schwindel zählt zu den häufigsten Symptomen mit denen HNO-Ärzte konfrontiert sind. Die adäquate Diagnostik und Therapie der verschiedenen Schwindelformen ist komplex. Im aktuellen Band aus der Reihe HNO Praxis heute teilt ein interdisziplinäres Expertenteam sein Wissen.
Schwindel is a medical book written by ear, nose and throat (ENT) specialists. It focuses on the symptoms of dizziness, the different forms of dizziness as well as diagnostics and therapy.
Orientierung ist eine Frage der Perspektive. Im Sinne der historischen Epistemologie entwickelt Rebekka Ladewig diese Perspektive in theoretischen und experimentellen Szenen des Schwindels. Diese umfassen die philosophischen Gedankenexperimente des 17. und 18. Jahrhunderts sowie die sinnesphysiologische Experimentalisierung des Schwindels zwischen 1800 und 1900 bis hin zu den technischen Milieus des frühen 20. Jahrhunderts mit ihren apparativen Techniken und der materiellen Kultur der Schwindelerzeugung. Michael Polanyis Konzept des impliziten Wissens ist theoretischer Einsatz- und Endpunkt dieser Analyse. Sie verschiebt das Augenmerk von der Theorie der Wissenschaft auf deren Randzonen, auf die personengebundene, lokale und praktische Verfasstheit des Wissensprozesses, die sich dem Fokus der traditionellen Wissenschaftsforschung systematisch entzieht.
The book Schwindel brings together questions of orientation and perspective in relation to vertigo, turbulences and vortexes.
Kaum eine Erfahrung dürfte ein bündigeres Resümee der Befindlichkeiten der Gegenwartskultur, ihrer Verunsicherungen und Verlockungen, ihrer Erwartungen und Zweifel geben als jene des Schwindels, in der Angst und Lust nah beieinander liegen und Taumel und Täuschung zweideutig ineinander spielen. Folgt man dem Schwindel als einem Leitsymptom der kulturhistorischen Diagnose, so stößt man in den ästhetischen und wissenschaftlichen Diskursen, in denen Schwindelerfahrungen zumal in den letzten zwei Jahrhunderten thematisiert und inszeniert wurden, auf jene irritierenden Herausforderungen an den Gleichgewichtssinn moderner Subjekte, die den Weg der Modernisierung von ihren emphatischen Anfängen bis zur Enttäuschung in der Posthistoire begleitet haben.
This omnibus edition discusses various phenomenons of dizziness. Both positive and negative aspects are described: from joyful dizziness and ‘whirls of excitement’, to disorientation and being ‘swindled’. Articles vary from medical texts, analysis in film and literature studies and the field of cultural history.
Openness to experience is characterized by flexible and inclusive cognition. Here we investigated whether this extends to basic visual perception, such that open people combine information more flexibly, even at low-levels of perceptual processing. We used binocular rivalry, where the brain alternates between perceptual solutions and times where neither solution is fully suppressed, mixed percept. Study 1 showed that openness is positively associated with duration of mixed percept and ruled out the possibility of response bias. Study 2 showed that mixed percept increased following a positive mood induction particularly for open people. Overall, the results showed that openness is linked to differences in low-level visual perceptual experience. Further studies should investigate whether common neural processes may drive this.
These extraordinary letters give the fullest and most poignant record we have of John Keats’s aspirations as a poet, his life as a literary man about town, his close relationship with his siblings, and, later, his passionate, jealous, and frustrated love for Fanny Brawne.
Events are always passing; to experience an event is to experience the passing. But how do we perceive an experience that encompasses the just-was and the is-about-to-be as much as what is actually present? In Semblance and Event, Brian Massumi, drawing on the work of William James, Alfred North Whitehead, Gilles Deleuze, and others, develops the concept of "semblance" as a way to approach this question.
It is, he argues, a question of abstraction, not as the opposite of the concrete but as a dimension of it: ‘lived abstraction’. A semblance is a lived abstraction. Massumi uses the category of the semblance to investigate practices of art that are relational and event-oriented -- variously known as interactive art, ephemeral art, performance art, art intervention -- which he refers to collectively as the ‘occurrent arts’. Each art practice invents its own kinds of relational events of lived abstraction, to produce a signature species of semblance. The artwork's relational engagement, Massumi continues, gives it a political valence just as necessary and immediate as the aesthetic dimension.
Written between 1945 and 1947, the essays in Sense and Non-Sense provide an excellent introduction to Merleau-Ponty's thought. They summarize his previous insights and exhibit their widest range of application-in aesthetics, ethics, politics, and the sciences of man. Each essay opens new perspectives to man's search for reason.
The first part of Sense and Non-Sense, ‘Arts’, is concerned with Merleau-Ponty's concepts of perception, which were advanced in his major philosophical treatise, Phenomenology of Perception. Here the analysis is focused and enriched in descriptions of the perceptual world of Cezanne, the encounter with the Other as expressed in the novels of Simone de Beauvoir and Sartre, and the gestalt quality of experience brought out in the film art form. In the second part, ‘Ideas’, Merleau-Ponty shows how the categories of the phenomenology of perception can be understood as an outgrowth of the behavioral sciences and how a model of existence based on perception sensitizes us to the insights and limitations of previous philosophies and suggests constructive criticisms of contemporary philosophy. The third part, ‘Politics’, clarifies the political dilemmas facing intellectuals in post-war France.
A la fois dispositif technique et spectacle, manière de penser les images et système de représentations, le cinéma est une détermination instable. Selon une démarche qui trouve son origine dans la méthode d’analyse développée par Aby Warburg au cours des années 1920, ce recueil montre les échanges et les transferts qui se produisent entre histoire de l’art et cinéma, des recherches d’Étienne-Jules Marey et des films Lumière au cinéma expérimental (Jack Smith, Anthony McCall...), de l’art des tapis et des spectacles pyrotechniques à la bande dessinée et au dessin animé (George Herriman, Walt Disney). Le cinéma est envisagé depuis ses bords, c’est-à-dire depuis ses origines et ses marges - expérimentales, underground et populaires -, là où ses propriétés rencontrent celles de la peinture, de la sculpture, du dessin, voire de la musique, esquissant une histoire ouverte où les registres, les médiums et les techniques ne sont pas entièrement fixés.
In his book, Philippe-Alain Michaud draws a line between the practice of filmmaking and the act of weaving a carpet. He argues that the movement and flow of the film reel compare with that of the looms of material used in carpet weaving. Further to this he describes how dizziness is associated with the movement taking place in both practices.
Our contemporary societies place more and more emphasis on the singular and the unique. The industrial societies of the early 20th century produced standardized products, cities, subjects and organizations which tended to look the same, but in our late-modern societies, we value the exceptional - unique objects, experiences, places, individuals, events and communities which are beyond the ordinary and which claim a certain authenticity. Industrial society’s logic of the general has been replaced by late modernity’s logic of the particular.
In this major new book, Andreas Reckwitz examines the causes, structures and consequences of the society of singularities in which we now live. The transformation from industrial to cultural capitalism, the rise of digital technologies and their ‘culture machine’ and the emergence of an educated, urban new middle class form a powerful engine for the singularization of the social. In late modernity, what is singular is valorized and stirs the emotions, while what is general has to remain in the background, and this has profound social consequences. The society of singularities systematically produces devaluation and inequality: winner-takes-all markets, job polarization, the neglect of rural regions and the alienation of the traditional middle class. The emergence of populism and the rise of aggressive forms of nationalism which emphasize the cultural authenticity of one’s own people thus turn out to be the other side of singularization.
This prize-winning book offers a new perspective on how modern societies have changed in recent decades and it will be of great value to anyone interested in the forces that are shaping our world today.
Years of remodelling the welfare state, the rise of technology, and the growing power of neoliberal government apparatuses have established a society of the precarious. In this new reality, productivity is no longer just a matter of labour, but affects the formation of the self, blurring the division between personal and professional lives. Encouraged to believe that we ourselves are flexible and autonomous, we experience a creeping isolation that has both social and political impacts, and serves the purposes of capital accumulation and social control.
In State of Insecurity, Isabell Lorey explores the possibilities for organisation and resistance under the contemporary status quo, and anticipates the emergence of a new and disobedient self-government of the precarious.
In the midst of spiraling ecological devastation, multispecies feminist theorist Donna J. Haraway offers provocative new ways to reconfigure our relations to the earth and all its inhabitants. She eschews referring to our current epoch as the Anthropocene, preferring to conceptualize it as what she calls the Chthulucene, as it more aptly and fully describes our epoch as one in which the human and nonhuman are inextricably linked in tentacular practices. The Chthulucene, Haraway explains, requires sym-poiesis, or making-with, rather than auto-poiesis, or self-making. Learning to stay with the trouble of living and dying together on a damaged earth will prove more conducive to the kind of thinking that would provide the means to building more livable futures. Theoretically and methodologically driven by the signifier SF—string figures, science fact, science fiction, speculative feminism, speculative fabulation, so far—Staying with the Trouble further cements Haraway's reputation as one of the most daring and original thinkers of our time.
This is a guidebook to a free-form utopia. Through examples from history, philosophy, short essays, and poetic historical analysis, Bey suggests the best way to create a non-hierarchical society: namely by living in the present and releasing the mind from the controlling influences that surround us.
Tendencies is a collection of essays by Eve Sedgwick. In the introduction, Sedgwick first talks about the term queer: “[S]omething about queer is indistinguishable. Queer is a continuing moment, movement, motive–recurrent, eddying, troublant. The word ‘queer’ itself means across–it comes from the Indo-European root -twerkw, which also yields the German quer (transverse), Latin torquere (to twist), English athwart. [...] The immemorial current that queer represents is antiseparatist as it is antiassimilationist. Keenly, it is relational, and strange.” (p. xii) Sedgwick continues discussing the term queer in the essay Queer and Now: Queer can refer to “the open mesh of possibilities, gaps, overlaps, dissonances and resonances, lapses and excesses of meaning when the constituent elements of anyone’s gender, of anyone’s sexuality aren’t made (or can’t be made) to signify monolithically.” (p. 8) However, queer goes beyond sexuality and gender, since it moves “along dimensions that can’t be subsumed under gender and sexuality at all: the ways that race, ethnicity, postcolonial nationality criss-cross with these and other identity-constituting, identity-fracturing discourses, for example.” (p. 9)
These aspects of queer, amongst others being in motion, writhing against subsumption in one, having a transitional and relational character, or its inherent intersectionality, offer a fruitful ground for discussing relations between the terms queer/-ing/-ness and dizzy/-ing/-ness.
The challenges to humanity posed by the digital future, the first detailed examination of the unprecedented form of power called "surveillance capitalism," and the quest by powerful corporations to predict and control us.
The heady optimism of the Internet's early days is gone. Technologies that were meant to liberate us have deepened inequality and stoked divisions. Tech companies gather our information online and sell it to the highest bidder, whether government or retailer. Profits now depend not only on predicting our behaviour but modifying it too. How will this fusion of capitalism and the digital shape our values and define our future?
Shoshana Zuboff shows that we are at a crossroads. We still have the power to decide what kind of world we want to live in, and what we decide now will shape the rest of the century. Our choices: allow technology to enrich the few and impoverish the many, or harness it and distribute its benefits.
The Age of Surveillance Capitalism is a deeply-reasoned examination of the threat of unprecedented power free from democratic oversight. As it explores this new capitalism's impact on society, politics, business, and technology, it exposes the struggles that will decide both the next chapter of capitalism and the meaning of information civilization. Most critically, it shows how we can protect ourselves and our communities and ensure we are the masters of the digital rather than its slaves.
The novel The Attack pictures the reality of terrorism and its incalculable spiritual costs. Intense and humane, devoid of political bias, hatred and polemics, it probes deep inside the Muslim world and gives readers a profound understanding of what seems impossible to understand.
The first chapter describes the impact of a rocket. This artfully written passage recounts a moment of being lost, confused, confounded and exposed. This scene is continued in the last chapter when Dr. Jaafari is killed, the space between these scenes reveal a life in turmoil.
Italo Calvino’s The Baron in the Trees is the story of an Italian boy who leaves his aristocratic childhood home to lead a new life. He finds this in the adjoining expanse of trees covering the nearby town and countryside. Cosimo Piovasco di Rondo, the protagonist, applies his ingenious and free-thinking perspective to life. He finds unusual ways of continuing to learn and the innovations he makes are for both the betterment of his own lifestyle and for those people who live underneath his treetop home. Cultivating a one-of-a-kind passion-filled love of life he lives at once removed from, but also intimately bonded with his family and fellow townspeople. He dies as creatively and note-worthily as he lived, leaving his friends and family inspired by his story.
A black swan is a highly improbable event with three principal characteristics: It is unpredictable; it carries a massive impact; and, after the fact, we concoct an explanation that makes it appear less random, and more predictable, than it was. The astonishing success of Google was a black swan; so was 9/11.
For Nassim Nicholas Taleb, black swans underlie almost everything about our world, from the rise of religions to events in our own personal lives. Why do we not acknowledge the phenomenon of black swans until after they occur? Part of the answer, according to Taleb, is that humans are hardwired to learn specifics when they should be focused on generalities. We concentrate on things we already know and time and time again fail to take into consideration what we don’t know. We are, therefore, unable to truly estimate opportunities, too vulnerable to the impulse to simplify, narrate, and categorise, and not open enough to rewarding those who can imagine the ‘impossible’.
Nassim Nicholas Taleb is speaking about a space between philosophical thought and ‘disorderly reality’, a place from where ‘dizziness’ can arise.
This book is an extraordinary ethnography of an ordinary disease. Drawing on fieldwork in a Dutch university hospital, Annemarie Mol looks at the day-to-day diagnosis and treatment of atherosclerosis. A patient information leaflet might describe atherosclerosis as the gradual obstruction of the arteries, but in hospital practice this one medical condition appears to be many other things. From one moment, place, apparatus, specialty, or treatment, to the next, a slightly different “atherosclerosis” is being discussed, measured, observed, or stripped away. This multiplicity does not imply fragmentation; instead, the disease is made to cohere through a range of tactics including transporting forms and files, making images, holding case conferences, and conducting doctor-patient conversations.
This book is a beautiful example of how different text sorts can be brought together on a single book page to make research accessible for the reader.
“The Carrier Bag Theory of Fiction” by Ursula Le Guin is an essay pubslished in the book “Dancing at the Edge of the World”. She presents the new theory that the first tool was a carrier bag for food rather than a weapon. The “carrier bag theory” lends weight to women being the earliest creators of tools. Le Guin draws a connection between the story of origins to the writing of fiction. Contrary to the old stories of a hero going off to battle, Le Guin posits the novel as an ultimately feminine form, mainly because it refuses the notion of a “hero”. Le Guin maintains that, “the natural, proper, fitting shape of the novel might be that of a sack, a bag. A book holds words. . . A novel is a medicine bundle, holding things in particular, powerful relation to one another and to us.”
Mental imagery has always been a controversial topic in psychology. The major problem has been the inherently private nature of mental images, which has traditionally prevented objective assessment of their structure and function. Between researchers in cognitive psychology and computer-science, a debate, now commonly called ‘the imagery debate’ arose about what exactly constitutes a mental image. Although the imagery researchers in cognitive psychology assumed that mental images were in fact images, and hence often compared them to pictures, the computer-science researchers relied on language-like internal representations that are easy to implement in programming languages. In this volume, Stephen Kosslyn revisits the debate some 30 years later, when it has evolved to bear on a much more general concern: the relation between mental phenomena and underlying natural substrates.
Located within the field of creativity research this book examines how mental imagery operates. Further, it states the importance of visual imagery from a cognitive science perspective.
In The Concept of Anxiety, Kierkegaard describes the nature and forms of anxiety, placing the domain of anxiety within the mental-emotional states of human existence that precede the qualitative leap of faith to the spiritual state of Christianity. It is through anxiety that the self becomes aware of its dialectical relation between the finite and the infinite, the temporal and the eternal.
Anxiety may be compared with dizziness. He whose eye happens to look down the yawning abyss becomes dizzy. But what is the reason for this? It is just as much in his own eye as in the abyss, for suppose he had not looked down. Hence, anxiety is the dizziness of freedom, which emerges when the spirit wants to posit the synthesis and freedom looks down into its own possibility, laying hold of finiteness to support itself. Freedom succumbs to dizziness. Further than this, psychology cannot and will not go. In that very moment everything is changed, and freedom, when it again rises, sees that it is guilty. Between these two moments lies the leap, which no science has explained and which no science can explain. He who becomes guilty in anxiety becomes as ambiguously guilty as it is possible to become.
Emotions work to define who we are as well as shape what we do and this is no more powerfully at play than in the world of politics. Ahmed considers how emotions keep us invested in relationships of power, and also shows how this use of emotion could be crucial to areas such as feminist and queer politics. Debates on international terrorism, asylum and migration, as well as reconciliation and reparation, are explored through topical case studies. In this book the difficult issues are confronted head on. The Cultural Politics of Emotion is in dialogue with recent literature on emotions within gender studies, cultural studies, sociology, psychology and philosophy. Throughout the book, Ahmed develops a theory of how emotions work, and the effects they have on our day-to-day lives.
Exhausted is a whole lot more than tired. "It's not just tiredness, I'm not just tired, in spite of the climb." The tired no longer prepares for any possibility (subjective): he therefore cannot realize the smallest possibility (objective). But possibility remains, because you never realize all of the possible, you even bring it into being as you realise some of it. The tired has only exhausted realisation, while the exhausted exhausts all of the possible.
Deleuze’s philosophy of life in terms of pure immanence is inseparable from his radical rethinking of the subject. Having identified the situatedness as the subject’s form and syntactical link with the world that prevents it from engaging in the universal communication of events, he envisions a de-situated subject who is exhausted, and who exhausts itself by depotentialising space as already situated, defined by an a priori scheme. Deleuze’s reading of literature from this perspective thus gestures towards a social epiphenomenology, whereby to attain to the affirmation of disjunctive syntheses beyond logical contradictions as well as alogical incompatibilities.
A labyrinth is an ancient device that compresses a journey into a small space, winds up a path like thread on a spool. It contains beginning, confusion, perseverance, arrival and return. There at last the metaphysical journey of your life and your actual movements are one and the same. You may wander, may learn that in order to get to your destination you must turn away from it, become lost, spin about, and then only after the way has become overwhelming and absorbing, arrive, having gone the great journey without having gone far on the ground.
In The Faraway Nearby, Rebecca Solnit is asking us to pause, to consider the stories we tell ourselves about our lives, and to rethink the unstated assumption of our own epic narratives. Solnit explores states of dizziness through her own story. This book is an essay on travel, storytelling, illness and empathy.
In premodern China, elite painters used imagery not to mirror the world around them, but to evoke unfathomable experiences. Considering their art alongside the philosophical traditions that inform it, The Great Image Has No Form explores the “non-object”—a notion exemplified by paintings that do not seek to represent observable surroundings.
François Jullien argues that this non-objectifying approach stems from the painters’ deeply held belief in a continuum of existence, in which art is not distinct from reality. Contrasting this perspective with the Western notion of art as separate from the world it represents, Jullien investigates the theoretical conditions that allow us to apprehend, isolate and abstract objects. His comparative method lays bare the assumptions of Chinese and European thought, revitalising the questions of what painting is, where it comes from, and what it does. Provocative and intellectually vigorous, this sweeping inquiry introduces new ways of thinking about the relationship of art to the ideas in which it is rooted.http://press.uchicago.edu/ucp/books/book/chicago/G/bo6853060.html
In this work, François Jullien argues that this nonobjectifying approach stems from the painters’ deeply held belief in a continuum of existence, in which art is not distinct from reality. Contrasting this perspective with the Western notion of art as separate from the world it represents, Jullien investigates the theoretical conditions that allow us to apprehend, isolate, and abstract objects. His comparative method lays bare the assumptions of Chinese and European thought, revitalizing the questions of what painting is, where it comes from, and what it does. Provocative and intellectually vigorous, this sweeping inquiry introduces new ways of thinking about the relationship of art to the ideas in which it is rooted.
This in-depth survey of salutogenesis shows the breadth and strengths of this innovative perspective on health promotion, health care, and wellness. Background and historical chapters trace the development of the salutogenic model of health, and flesh out the central concepts, most notably generalized resistance resources and the sense of coherence, that differentiate it from pathogenesis. From there, experts describe a range of real-world applications within and outside health contexts, from positive psychology to geriatrics, from small towns to corrections facilities, and from school and workplace to professional training. Perspectives from scholars publishing in languages other than English show the global relevance of the field.
Open Access: The Handbook of Salutgenesis
Should we assign logical priority to creative persons, creative processes or creative products? How do forms of creativity relate to different domains of human activity? How does our knowledge of the circumstances of creativity effect our appreciation of its products? Can a recipient of a creative work also be a creator of it? The Idea of Creativity discusses these questions and the conditions of creativity within the field of the arts, philosophy and natural science. With texts by Margaret Boden, Larry Briskman, John M. Carvalho, David Davies, Berys Gaut, Rom Harré, Carl R. Hausman, Albert Hofstadter, Arthur Koestler, Michael Krausz, Peter Lamarque, Thomas Leddy, Paisley Livingston, Michael Polany, Dean Keith Simonton and Francis Sparshott.
In this volume seventeen philosophers, scientists and artists reflect on the role that skill plays in creativity and the relationship between creativity and self-transformation. The book considers questions about the very notion of creativity, the criteria of what constitutes creativity in general and reflects on different aspects of creative work. The articles examine the ‘mysterious aspect’ which is sometimes ascribed to creativity, and discusses whether creativity is inspirational or rationalistic.
“Cornelius Castoriadis (1922–1997) was an important intellectual figure in France for many decades, beginning in the mid-1940s. Trained in philosophy, Castoriadis also worked as a practicing economist and psychologist while authoring over twenty major works and numerous articles that span many of the traditional philosophical subjects, including politics, economics, psychology, anthropology and ontology. While his works exhibit a vast range of specialised expertise, his work can be understood broadly as a reflection on the concept of creativity, especially on the opposition of traditional ontology to what he would call the fact of radically creative humanity, and perhaps most importantly, on the dangerous political and ethical consequences of a contemporary world that has lost sight of autonomy, a world that ignores the urgency to give limits or laws to itself.”
(Internet Encyclopedia of Philosophy)
„Das Rad, das sich um eine Achse dreht, ist eine absolute ontologische Schöpfung; es hat ontologisch mehr Gewicht als eine Galaxie, die vielleicht morgen abend zwischen Milchstraße und Andromeda aus dem Nichts auftaucht. Denn es gibt schon Milliarden Galaxien – während der Erfinder des Rades oder eines Schriftzeichens nichts nachahmt und nichts wiederholt.“
(Cornelius Castoriadis, Gesellschaft als imaginäre Institution, Frankfurt/Main: Suhrkamp 1984, p. 335)
See also: mitpress.mit.edu/books/imaginary-institution-society
Oliver Sacks considers in this book fundamental questions: How do we see? How do we think? How important is internal imagery–or vision, for that matter? In The Mind’s Eye, Oliver Sacks tells the stories of people who are able to navigate the world and communicate with others despite losing indispensable senses and abilities such as the power of speech, the capacity to recognise faces, the sense of three-dimensional space, the ability to read and the sense of sight. For all of these people the challenge is to adapt to a radically new way of being in the world. Dr. Sacks also tells the story of his own eye cancer and the bizarre and disconcerting effects of losing his vision on one side.
The Mind’s Eye is a testament to the complex nature of vision and the brain and to the power of creativity and adaptation. It also provides a whole new perspective on the power of language and communication, as we try to imagine what it is to see with another person’s eyes, or another person’s mind.
Matsutake is the most valuable mushroom in the world--and a weed that grows in human-disturbed forests across the northern hemisphere. Through its ability to nurture trees, matsutake helps forests to grow in daunting places. It is also an edible delicacy in Japan, where it sometimes commands astronomical prices. In all its contradictions, matsutake offers insights into areas far beyond just mushrooms and addresses a crucial question: what manages to live in the ruins we have made?
A tale of diversity within our damaged landscapes, The Mushroom at the End of the World follows one of the strangest commodity chains of our times to explore the unexpected corners of capitalism. Here, we witness the varied and peculiar worlds of matsutake commerce: the worlds of Japanese gourmets, capitalist traders, Hmong jungle fighters, industrial forests, Yi Chinese goat herders, Finnish nature guides, and more. These companions also lead us into fungal ecologies and forest histories to better understand the promise of cohabitation in a time of massive human destruction.
By investigating one of the world's most sought-after fungi, The Mushroom at the End of the World presents an original examination into the relation between capitalist destruction and collaborative survival within multispecies landscapes, the prerequisite for continuing life on earth.
Written in third person, but in the manner of stream of consciousness, the novel begins in 1937 with composer Dimitri Dimitrievich Shastakovich in a state of dizziness. Oscillating between memories and bouts of anxiety that drag him back to the here and now, he awaits been taken to his demise by the police in front of the lift of his apartment building. His remembering seems to stabilize him, to give him strength. The narration follows the appearing and fading of memories, at times fleeting impressions, at times longer narrative streaks. Eventually the imminent danger abates only to increase again in a different manner. “The worst time was not at the same time the most dangerous time. Because the most dangerous time was not the time when you were most in danger.This was something he hadn’t understood before.”
“He admired those who stood up and spoke truth to Power. He admired their bravery and their moral integrity. And sometimes he envied them; but it was complicated, because part of what he envied them was their death, their being put out of the agony of living. As he had stood waiting for the lift door to open on the fifth floor of Bolshaya Pushkarskaya Street, terror was mixed with the pulsing desire to be taken away. He too had felt the vanity of transitory courage.But these heroes, these martyrs, whose death often gave a double satisfaction – to the tyrant who ordered it, and to the watching nations who wished to sympathise and yet feel superior – they did not die alone. Many around them would be destroyed as a result of their heroism. And therefore it was not simple, even when it was clear.And of course, the intransigent logic ran the opposite direction as well. If you saved yourself, you might also save those around you, those you loved. And since you would do anything in the world to save those you loved, you did anything in the world to save yourself. And because there was no choice, equally there was no possibility of avoiding moral corruption.”
According to Anna T., languages are produced in the context of secrecy, the proverbial closet. The author explores “the closet as a production of heteronormativity that is inscribed in social space” and focuses on “the construction of the closet as a language generator”. Language forms like slangs, dialects, or “sociolects” can produce “safer spaces of communication and contact between members of marginalized minoritarian groups”. They allow for being shielded from aggressors and thereby provide a certain invisibility—the content stays somewhat hidden and parts of it remain untranslatable. Yet by making a group distinction possible they also produce visibility as members of a certain group. Anna T. is interested in the “opaqueness” that comes from this “position between visibility and invisibility”.
Within this framework Anna T. talks about queer languages that “operate under cover of opacity and empower marginalized, giving them space for existence, expression, and safety”. They can have an inherent form of pleasure by not being understood by and mocking oppressors and authorities, producing proximity between speakers, and including humor and joy. Queer languages can passively disrupt by having a “somewhat sealed and opaque” content, their mere existence challenges and affects norms. They “are forms of resistance [... ,] refuse to be assimilated and ‘normalized’, choosing instead to produce an alternative that provides a safer space of expression [...] which [...] also has the potential to mock and subvert the norm”. Thereby, the author calls them an opaque and creative way of resistance, creating “a rift in the homogenous fabric”.
Anna T.’s remarks on queer languages can help understand one of many dizzying effects queerness in general has due to its opacity and fluidity. While providing multiple points of relation, queer writhes against being understood and put in a box, which can have a dizzying effect when engaging with the term.
Expressionist illustrator Kubin wrote this fascinating curio, his only literary work in 1908. A town named Pearl, assembled and presided over by the aptly named Patera, is the setting for his hallucinatory vision of a society founded on instinct over reason. Culminating apocalyptically - plagues of insects, mountains of corpses and orgies in the street - it is worth reading for its dizzying surrealism alone. Though ostensibly a gothic macabre fantasy, it is tempting to read The Other Side as a satire on the reactionary, idealist utopianism evident in German thought in the early twentieth century, highly prescient in its gloom, given later developments. The language often suggests Nietsche. The inevitable collapse of Patera's creation is lent added horror by hindsight. Kubin's depiction of absurd bureaucracy is strongly reminiscent of Kafka's The Trial, and his flawed utopia, situated next to a settlement of supposed savages, brings to mind Huxley's Brave New World; it precedes both novels, and this superb new translation could demonstrate its influence on subsequent modern literature.
Since its initial publication in 1958, this book has been a muse to philosophers, architects, writers, psychologists, critics, and readers alike. A rare work of irresistibly inviting philosophy, Bachelard’s seminal work brims with quiet revelations and stirring, mysterious imagery. This lyrical journey takes as its premise the emergence of the poetic image and finds an ideal metaphor in the intimate spaces of our homes. Guiding us through a stream of meditations on poetry, art, and the blooming of consciousness itself, Bachelard examines the domestic places that shape and hold our dreams and memories.
Bachelard applies the method of to architecture, basing his analysis not on purported origins but on lived experience in architectural places and their contexts in nature. He focuses especially on the personal, emotional response to buildings both in life and in literary works, both in prose and in poetry. He is thus led to consider spatial types such as the attic, the cellar, drawers and the like. Bachelard implicitly urges architects to base their work on the experiences it will engender rather than on abstract rationales that may or may not affect viewers and users of architecture.
Bachelard also discusses psychoanalysis and the work of the psychiatrist Carl Jung. Comparing the psychoanalytic and phenomenological approaches to his subject matter, he sees merit in both, but finds the phenomenological approach preferable.
Populist right-wing politics is moving centre-stage, with some parties reaching the very top of the electoral ladder: but do we know why, and why now? In this book Ruth Wodak traces the trajectories of such parties from the margins of the political landscape to its centre, to understand and explain how they are transforming from fringe voices to persuasive political actors who set the agenda and frame media debates. Laying bare the normalization of nationalistic, xenophobic, racist and antisemitic rhetoric, she builds a new framework for this ‘politics of fear’ that is entrenching new social divides of nation, gender and body.
The result reveals the micro-politics of right-wing populism: how discourses, genres, images and texts are performed and manipulated in both formal and also everyday contexts with profound consequences. This book is a must-read for scholars and students of linguistics, media and politics wishing to understand these dynamics that are re-shaping our political space.
Lion Feuchtwanger (1884–1958) was a celebrated German-Jewish novelist and outspoken enemy of the Nazis. He began his literary career as a theater critic and turned his talent to writing plays in the 1910s and 1920s. He first became internationally known for his historical novel ‘Jud Süss’ published in 1925 and was a close friend and mentor to Berthold Brecht. In 1933, he went into exile in Southern France, where he wrote his book ‘The Pretender’ (Der falsche Nero), in which based on historical facts he tells the story of a political scheme by Roman ex-Senator Varro to bring the Roman upstart and potter Terence to power by claiming him to be Nero. A scathing comparision with Hitler’s ascent to power ‘The Pretender’ is about a con pitched on a truly heroic scale, the story of Nero's double who, by his startling resemblance to the dead emperor, was able for a time to infect the Roman world with political, spiritual and emotional dizziness.In 1941 Feuchtwanger emigrated to the United States. Feuchtwanger passed away in 1958. He died stateless as he was never returned his German citizenship and was denied American citizenship during the McCarthy era.
“Can you remember, Acte...how much easier our belief in Nero made life for us in the old days? And can you remember the paralysis, the numbness that seized the whole world when Nero died? Didn't you feel as if the world had grown bare and colorless all of a sudden? Those people on the Palatine have tried to steal our Nero from us, from you and me. Isn't splendid to think that we can show them they haven't succeeded? They have smashed his statues into splinters, erased his name from all the inscriptions, they even replaced his head on that huge statue in Rome with the peasant head of old Vespasian. Isn't it fine to teach them that all that hasn't been of the slightest use? Granted that they have been successful for a few years. For a few years, they have actually managed to banish all imagination from the world, all enthusiasm, extravagance, everything that makes life worth living. But now, with our Nero, all these things are back again.”
This text is based on interviews with around 120 different people on how to design public spaces more inclusive for LGBTQIA+ people. Especially relevant for Queering as a practice is the discussion of how spaces need to be visibly more inclusive, meaning representing marginalized people and communities, or making history visible (even if it is only temporary). Within this discussion the power of symbols is mentioned to have the potential of helping in signaling inclusion, even stereotypical symbols like rainbows.
This essay presents aspects of the philosophy of nature by Nishida Kitarō (1870–1945) (Kyoto School) and its relation to the physics of his day. Which aspects of Einstein’s Theory of Relativity are treated in Nishida’s Logic of Field? Through explanations of the fundamental differences between physics and philosophy, this essay aims to clarify the construction of logic in philosophy and physics while considering interdisciplinary aspects.http://jcc.icc.org.ro/wp-content/uploads/2013/06/Hisaki_Hashi_5_28.pdf
To grow up is to grow old. With time, great love can turn into indifference. And even the most earnest revolution can imperceptibly become its own system of privilege and corruption - just as global warming has slowly modified the climate by degrees. These are examples of the kind of quiet, unseen changes that François Jullien examines in The Silent Transformations, in which he compares Western and Eastern - specifically Chinese - ways of thinking about time and processes of change.Jullien argues that our failure to notice the effects of cumulative changes over time is due to Western thought’s foundations in classical Greek philosophies of being, which encourage thinking in terms of determined forms and neglect the indeterminable nature of the transition taking place. In contrast, Chinese thought, having a greater sense of the fluidity of life, offers a more flexible way of understanding everyday transformations and provides insightful perspectives from which to consider our relation to history and nature. In particular, a Chinese approach, argues Jullien, allows us to discover that there may be occasions when it is more efficacious to yield to situations than to confront them head-on.(http://press.uchicago.edu/ucp/books/book/distributed/S/bo11454188.html)
Jullien’s work uses alienation and estrangement as a research tool for his philosophy, as he alienates himself purposely from European and Western philosophy to cast new light on the things and thoughts one apparently knows too well. There is the thing that I think but also the thing that I use as the source of my thinking, which I therefore cannot think at the same moment.
Through the story of an ordinary man unwittingly drawn into a senseless murder on an Algerian beach, Camus explored what he termed “the nakedness of man faced with the absurd.” Written in 1946, Camus’s compelling and troubling tale of a disaffected, apparently amoral young man has earned a durable popularity in part because it reveals so vividly the anxieties of its time. Alienation, the fear of anonymity and spiritual doubt show a subject spiralling out of control.
The Terror of Evidence offers meditations, maxims, aphorisms, notes, and comments—191 texts ranging in length from three words to three pages—the deceptive simplicity of which challenges the reader to think. "Thinking means getting lost again and again," Steinweg observes. Reality is the ever-broken promise of consistency; "the terror of evidence" arises from the inconsistency before our eyes. Thinking is a means of coping with that inconsistency.
The subjects of these short texts vary widely. ("The table of contents is in itself excessive and ambitious," writes Hirschhorn.) They include pathos, passivity, genius, resentment, love, horror, catastrophe, and racism. And club sandwiches (specifically, Foucault's love for this American specialty), blow jobs, and dance. Also: "Two Kinds of Obscurantism," "Putting Words in Spinoza's Mouth," "Note on Rorty," and "Doubting Doubt." The Terror of Evidence can be considered a guidebook to thinking: the daily journey of exploration, the incessant questioning of reality that Steinweg sees as the task of philosophy.
Since the book's first publication, interest in the role of the body and the senses has been emerging in both architectural philosophy and teaching. This new, revised and extended edition of this seminal work will not only inspire architects and students to design more holistic architecture, but will enrich the general reader's perception of the world around them.
The Eyes of the Skin has become a classic of architectural theory and consists of two extended essays. The first surveys the historical development of the ocular-centric paradigm in western culture since the Greeks, and its impact on the experience of the world and the nature of architecture. The second examines the role of the other senses in authentic architectural experiences, and points the way towards a multi-sensory architecture which facilitates a sense of belonging and integration.
This book provides a richly rewarding vision of the burgeoning interdisciplinary field of somaesthetics. Composed of fourteen wide-ranging but finely integrated essays by Richard Shusterman, the originator of the field, Thinking through the Body explains the philosophical foundations of somaesthetics and applies its insights to central issues in ethics, education, cultural politics, consciousness studies, sexuality and the arts. Integrating Western philosophy, cognitive science and somatic methodologies with classical Asian theories of body, mind and action, these essays probe the nature of somatic existence and the role of body consciousness in knowledge, memory and behavior. Deploying somaesthetic perspectives to analyze key aesthetic concepts (such as style and the sublime), he offers detailed studies of embodiment in drama, dance, architecture and photography. The volume also includes somaesthetic exercises for the classroom and explores the ars erotica as an art of living.
Combining philosophy and aesthetics, this book is a unique exploration of creative practice as a form of thinking. Challenging the common opposition between the conceptual and the aesthetic, Erin Manning and Brian Massumi “think through” a wide range of creative practices in the process of their making, revealing how thinking and artfulness are intimately, creatively, and inseparably intertwined. They rediscover this intertwining at the heart of everyday perception and investigate its potential for new forms of activism at the crossroads of politics and art.
Emerging from active collaborations, the book analyzes the experiential work of the architects and conceptual artists Arakawa and Gins, the improvisational choreographic techniques of William Forsythe, the recent painting practice of Bracha Ettinger, as well as autistic writers’ self-descriptions of their perceptual world and the experimental event making of the SenseLab collective. Drawing from the idiosyncratic vocabularies of each creative practice, and building on the vocabulary of process philosophy, the book reactivates rather than merely describes the artistic processes it examines. The result is a thinking-with and a writing-in-collaboration-with these processes and a demonstration of how philosophy co-composes with the act in the making. Thought in the Act enacts a collaborative mode of thinking in the act at the intersection of art, philosophy, and politics.
Living with people who differ—racially, ethnically, religiously, or economically—is the most urgent challenge facing civil society today. We tend socially to avoid engaging with people unlike ourselves, and modern politics encourages the politics of the tribe rather than of the city. In this thought-provoking book, Richard Sennett discusses why this has happened and what might be done about it.
Sennett contends that cooperation is a craft, and the foundations for skilful cooperation lie in learning to listen well and discuss rather than debate. In Together he explores how people can cooperate online, on street corners, in schools, at work, and in local politics. He traces the evolution of cooperative rituals from medieval times to today, and in situations as diverse as slave communities, socialist groups in Paris, and workers on Wall Street. Divided into three parts, the book addresses the nature of cooperation, why it has become weak, and how it could be strengthened. The author warns that we must learn the craft of cooperation if we are to make our complex society prosper, yet he reassures us that we can do this, for the capacity for cooperation is embedded in human nature.
Tom Sawyer Abroad is a novel by Mark Twain published in 1894. It features Tom Sawyer and Huckleberry Finn in a parody of adventure stories like those of Jules Verne. In the story, Tom, Huck, and Jim set sail to Africa in a futuristic hot air balloon, where they survive encounters with lions, robbers, and fleas to see some of the world's greatest wonders, including the Pyramids and the Sphinx.
In her lecture ‘Personalities of Boundary Crossers’ Maya Shmailow looks for personality traits of so-called boundary crossers and finds some in the literary figure of Tom Sawyer.
This article investigates the institutionalization of reflexive understandings of societal responsibility within big research universities. It is stated that current established research often has limitations regarding disciplinarity, scalability, and social responsibility. This leads to a lack in the ability to react to societal challenges.
This is relevant for the intersections of dizziness and co-creation insofar, as it could be discussed as dizziness by tradition within research.
The Mary Nardini Gang offers a helpful understanding of the term queer, pointing out its meaning beyond LGBTQIA+ people as something active, norm-challenging, resisting, or deviating:
"Some will read 'queer' as synonymous with 'gay and lesbian' or 'LGBT'. This reading falls short. While those who would fit within the constructions of 'L', 'G', 'B' or 'T' could fall within the discursive limits of queer, queer is not a stable area to inhabit. Queer is not merely another identity that can be tacked onto a list of neat social categories, nor the quantitative sum of our identities. Rather, it is the qualitative position of opposition to presentations of stability - an identity that problematizes the manageable limits of identity. Queer is a territory of tension, defined against the dominant narrative of white-hetero-monogamous-patriarchy, but also by an affinity with all who are marginalized, otherized and oppressed. Queer is the abnormal, the strange, the dangerous. Queer involves our sexuality and our gender, but so much more. It is our desire and fantasies and more still. Queer is the cohesion of everything in conflict with the heterosexual capitalist world. Queer is a total rejection of the regime of the Normal."
This book features many of Britain's finest writers and poets reflecting on the meaning of 're-enchantment', in reference to an actual, particular place or region as they see it.
The classical trickster figures are most at home on the road or at the twilight edge of town. They are the consummate boundary-crossers, slipping through keyholes, breaching walls, subverting defense systems. Always out to satisfy their inordinate appetites, lying, cheating, and stealing, tricksters are a great bother to have around, but paradoxically they are also indispensable heroes of culture. In North America, Coyote taught the race how to catch salmon, sing, and shoot arrows. In West Africa, Eshu introduced the art of divination so that suffering humans might know the purposes of heaven. In Greece, Hermes the Thief invented the art of sacrifice, the trick of making fire, and even language itself.
The old myths say that the trickster made the world as we actually find it. Other gods set out to create a world more perfect and ideal, but this world––with its complexity and ambiguity, its beauty and its dirt––was trickster's creation, and the work is not yet finished.
Markus Herz definierte den Schwindel, im Einklang mit dem Selbstverständnis der Erfahrungsseelenkunde, als eine Krankheit der Seele, als „Zustand der Verwirrung, in welchem die Seele wegen der zu schnellen Vorstellungen der Empfindungen sich befindet“. Mit dieser Bestimmung rückt der Schwindel in die Nähe des Begriffs der Überwältigung des „vernünftigen Subjekts“, und damit zu zeitgenössischen Definitionen des „Wahnsinns“.
Dr. Markus Herz’s medical book about dizziness and vertigo was written in 1786, as an attempt to deal with vertigo attacks. The digitised version is online via Göttinger Digitalzentrum.
Saying no is the formula of protest. In a world that gives rise to protests, it does not seem superfluous to examine this formula.
In her book Verteilte Aufmerksamkeit: Eine Mediengeschichte der Zerstreuung. (Distributed Attention: A Media History of Distraction) Petra Löffler discusses distributed attention. Löffler develops a media history of distraction in relation to media theory and the theory of modernity. She also considers the role and impact of modern mass entertainment facilities such as moving panoramas and cinema. Further, she examines the epistemology of distraction in various discources, media technologies and cultural practices.
In modern life sciences, distraction is no longer considered a disability in strict opposition to the mental faculty of attention. According to Immanuel Kant, distraction has become a necessity, even an art of living, and it is important for what Michel Foucault has called “taking care of oneself’’.As early as the 1800s distraction was seen as distributed attention and thought of as a perceptual skill. The distribution of attention across many things is also considered a self-technique utilised in anticipation of something. This publication examines distraction as this important perceptual skill, as well as as a tool of recreation and recovery in relation to media history and modernity.
Vulnerability and resistance have often been seen as opposites, with the assumption that vulnerability requires protection and the strengthening of paternalistic power at the expense of collective resistance. Focusing on political movements and cultural practices in different global locations, including Turkey, Palestine, France, and the former Yugoslavia, the contributors to Vulnerability in Resistance articulate an understanding of the role of vulnerability in practices of resistance. They consider how vulnerability is constructed, invoked, and mobilized within neoliberal discourse, the politics of war, and resistance to authoritarian and securitarian power, in LGBTQI struggles, and in the resistance to occupation and colonial violence. The essays offer a feminist account of political agency by exploring occupy movements and street politics, informal groups at checkpoints and barricades, practices of self-defense, hunger strikes, transgressive enactments of solidarity and mourning, infrastructural mobilizations, and aesthetic and erotic interventions into public space that mobilize memory and expose forms of power. Pointing to possible strategies for a feminist politics of transversal engagements and suggesting a politics of bodily resistance that does not disavow forms of vulnerability, the contributors develop a new conception of embodiment and sociality within fields of contemporary power.
Hannah Arendt war ein "Genie für die Freundschaft" (Hans Jonas) und besaß eine Begabung für die Liebe. In ihren Briefen lernen wir nicht nur diese private Seite der großen Denkerin kennen, sondern auch die inspirierende Kraft der Freundschaft. Selten hat sich ein Mensch solch ein Universum der Freundschaft erschlossen wie Hannah Arendt. Darin findet die vor den Nationalsozialisten Geflohene Halt, davon erzählen ihre Briefe: Botschaften der Liebe an ihren Mann Heinrich Blücher und an Martin Heidegger, philosophische Gespräche mit ihrem Lehrer Karl Jaspers und ihrem wichtigsten jüdischen Freund Kurt Blumenfeld, Bekenntnisse zur Literatur an den jungen Schriftsteller Uwe Johnson. Mit ihrer Freundin Mary McCarthy tauscht sie sich nicht nur über Philosophie und Politik aus, sondern auch über die "uralten" Probleme zwischen Mann und Frau. "Wahrheit", schreibt Arendt an Blücher, "gibt es nur zu zweien". Wie viele Facetten das Gespräch unter vier Augen für sie hat, zeigt diese Auswahl ihrer Briefe.
Hannah Arendt travelled throughout Europe, the U.S., and Israel during which she always wrote letters to friends and colleagues. This book is about wandering, the passing of time, and friendships.
Evan Pavka uses space both in the sense of a material place, as well as a metaphor. In both understandings, space can be a place of refuge, as well as of violence and erasure. The author talks about how normative ideas are echoed in architecture. Pavka ascribes queerness and queer spaces an active and performative character: Queerness becomes a way of thinking beyond binaries in buildings and a “strategy of interrogating place”; queer spaces and queer architecture a “performative strategy to challenge the behaviours, rules, expectations and situations framed by the built environment”. The author concludes by stating that queer space is not so much about a material space, but more about thinking about spaces that are put to queer uses. By that, they offer looking into the past and present, as well as glimpsing into the future.
Helena Leino and Eeva Puumala describe co-creation as a concept that has the potential to break down hierarchies within society. Instead of being a linear process the authors describe it as multi-directional. This way of problem solving can create new possibilities but also has some limitations, due to factors like unequal opportunities of heterogen citizens to participate in co-creative processes. Due to its multidirectional character, co-creation has a “multifaceted relationship to knowledge” (796) that includes production, transfer, and use of knowledge.
According to the authors, co-creation can lead to discomfort, since knowledge created in these processes “challenges existing ways of working, structures, and policies” (795). This can lead to difficulties in implementing this knowledge. Due to its character of challenging norms, inducing a mentality shift, and leading to discomfort or insecurities, interesting parallels to the concept of dizziness can be drawn.
In this work, Deleuze and Guattari differentiate between philosophy, science, and the arts, seeing as means of confronting chaos, and challenge the common view that philosophy is an extension of logic. The authors also discuss the similarities and distinctions between creative and philosophical writing. Fresh anecdotes from the history of philosophy illuminate the book, along with engaging discussions of composers, painters, writers, and architects.
In their research project The Club Scene the collective MYCKET (Mariana Alves Silva, Katarina Bonnevier, Thérèse Kristiansson) created, tested, and co-experienced different spatial constellation that form the basis for this architectural history of the queer night club architecture. By guiding the readers through room after room, MYCKET aims to explain how to create inclusive environments, meaning spaces that make one feel safe and at home, that offer space for reconciliation, repair, discussions, dreams, or utopias. They state that “the collective struggle is the only possible approach” (p.19), and, following Sara Ahmed, argue for moving on paths following our desires, troubling societal norms, and creating new paths for others to follow.
This text offers several impulses for thoughts relevant for research on dizziness, like considering the orienting character of desire, the collective struggle, or the importance of spaces where one feels safe or at home – possibly as a tool to navigate dizziness.
Gerade darin liegt auch die Aktualität dieses ca. 3000 Jahre alten Werks: das Nicht-Meßbare und das Un-Nütze als Garanten wahren Lebens ins Bewußtsein zu rücken. Wieder und wieder betont Zhuangzi, daß ein Bewußtsein, das alles von vorne bis hinten durchplant, absurd erscheint – weil es gegen die Gesetze des Lebens verstößt. Der Kerngedanke ist: das Leben so anzunehmen, wie es ist, „dem zu folgen, was ist“. (Henrik)
The Zhuangzi is comprised of a large collection of anecdotes, allegories, parables and fables, often humorous or irreverent in nature. Its main themes are of spontaneity in action, and of freedom from the human world and its conventions. The fables and anecdotes in the text attempt to illustrate the falseness of human distinctions between good and bad, large and small, life and death, and human and nature.
ilinx (griech.: Wirbel) steht für eine selbstreflexive Form interdisziplinären Denkens, in der das erforschte Material und die verwendeten Theorien gleichberechtigt aufeinander treffen. Die Ausgabe beschäftigt sich mit Metaphoriken, die Wirbel und Strudel begleiten: Sie wirbeln Staub auf, schlagen Wellen, trüben ein und klären auf; mobilisieren, destabilisieren, erzeugen Sogwirkungen, Kraftfelder, Unterströmungen, Stromschnellen, Untiefen, Rauschen; sie reißen mit, hin, fort und weg. Mit dem inhaltlichen Schwerpunkt Wirbel, Ströme, Turbulenzen werden Konfigurationen der Destabilisierung, der Unterbrechung, der Störung, des Rausches und des Schwindels als prägende Momente von Kultur in den Blick genommen. Dabei wird nach den epistemologischen, wissensgeschichtlichen, kulturtechnischen und lebensweltlichen Dimensionen von Wirbeln, Strömen und Turbulenzen gefragt.
The issue Wirbel, Ströme, Turbulenzen of Berlin based scientific journal ilinx, considers the phenomenon of vortexes, currents and turbulences from the perspective of cultural studies.
Wie sind Nähe und Ferne miteinander verstrickt? Wie leibliche Erfahrungen, meine immer schon eingebundenen, unbeständigen, auch maskierten Konstitutionen mit der malträtierten Erde als Orientierungsgröße verschmolzen? Die planetarische Perspektive und die unmittelbare, ihr Abstand erscheint schimärenhaft, wenn ich mich durch die Sprache bewege. So ragen in den hier versammelten Texten erdbezogene Fragen aus Ich-Details, unumwunden; Sprachverläufe
bilden Amorphes, fädeln sich auf in Sequenzen, springen von Artifiziellem zu Erinnerungen und überpersönlichen Verlusten, sind wechselhaft. Dabei gleiten sie auch in Sagenhaftes und unbewusste Regionen, in denen die Suche nicht mehr trägt. "Großer Ausholversuch fällt zurück in einen Körper." Dieser Körper verwandelt sich zur Pflanze; hält sich schlecht, landet im Matsch. Dort könnte es weitergehen.
Ilya and Emilia Kabakov created the genre of ‘total’ installation, a special atmosphere created by the interaction of images, text, objects and sounds. In these alternative environments, time appears for the viewers to stand still.
This book contains the lectures delivered by Ilya Kabakov on the theory of ‘total’ installation as well as documents, photographs, plans, drawings and sketches of some of the Kabakov’s ‘total’ installations around the world.
Theory and research in both personality psychology and creativity share an essential commonality: emphasis on the uniqueness of the individual. Both disciplines also share an emphasis on temporal consistency and have a 50-year history, and yet no quantitative review of the literature on the creative personality has been conducted. The 3 major goals of this article are to present the results of the first meta-analytic review of the literature on personality and creative achievement, to present a conceptual integration of underlying potential psychological mechanisms that personality and creativity have in common, and to show how the topic of creativity has been important to personality psychologists and can be to social psychologists. A common system of personality description was obtained by classifying trait terms or scales onto one of the Five-Factor Model (or Big Five) dimensions: neuroticism, extraversion, openness, agreeableness, and conscientiousness. Effect size was measured using Cohen's d (Cohen, 1988). Comparisons on personality traits were made on 3 sets of samples: scientists versus nonscientists, more creative versus less creative scientists, and artists versus nonartists. In general, creative people are more open to new experiences, less conventional and less conscientious, more self-confident, self-accepting, driven, ambitious, dominant, hostile, and impulsive. Out of these, the largest effect sizes were on openness, conscientiousness, self-acceptance, hostility, and impulsivity. Further, there appears to be temporal stability of these distinguishing personality dimensions of creative people. Dispositions important to creative behavior are parsed into social, cognitive, motivational, and affective dimensions. Creativity like most complex behaviors requires an intra- as well as interdisciplinary view and thereby mitigates the historically disciplinocentric attitudes of personality and social psychologists.
Empirical approaches to cognitive ability claim that divergent thinking represents a useful estimate for the potential of creative thought. According to associative approaches, the ability to fluently retrieve and combine remote associations was suggested to facilitate creative solutions. Taken together, these approaches suggest a close relationship of associative processes and divergent thinking, which so far, however, has not been properly tested. Therefore, the present study examines the validity of associative abilities with respect to divergent thinking, and also, on a more general level, with respect to creativity and intelligence. Four different word-association tasks were employed to assess associative fluency, associative flexibility, dissociative ability, and the ability of associative combination. The sample comprised 150 students from studies with varying amount of creativity-related demands. Associative abilities were found to explain about half of the variance of divergent thinking ability. Latent variable modelling confirmed the significance of dissociation and associative combination for creativity, but also substantiates the relevance of basic associative retrieval processes for intelligence. It is concluded that associative abilities represent valid elementary cognitive abilities underlying creativity.
A recent special issue of the Journal of Anxiety Disorders reviewed the experimental and clinical findings related to comorbidity of balance disorders and anxiety [J. Anxiety Disord. 15 (2001) 1.]. The studies mentioned in that issue were based mostly on adult subjects but prevalence of balance disorders in childhood anxiety is yet to be established. We have tested a small sample of children diagnosed for general or separation anxiety disorder and a control group of normal children. Extensive neurological examination revealed no clinically relevant vestibular impairment. Nevertheless, detailed questionnaires and balance tests confirmed an excessive sensitivity of anxiety disordered children to balance-challenging situations. Moreover, balance-challenging tasks triggered more balance mistakes and slower performance in anxiety versus control children. These findings support the notion of subclinical balance disorder in childhood anxiety. Results are discussed in terms of the two-stage theory of learning, which predicts that anxiety disorder may be an offshoot of lasting balance dysfunction.
Performers improvising together describe special moments of ‘being in the zone’ – periods of high performance, synchrony, and enhanced sense of togetherness. Existing evidence suggests a possible route for attaining togetherness – interpersonal synchrony, the fine-grained sensory-motor coordination that promotes social connectedness. Here, we investigated the physiological characteristics of togetherness using a practice from theatre and dance, the mirror game. Pairs of expert improvisers jointly improvised synchronized linear motion, while their motion tracks and cardiovascular activity were continuously monitored. Players also provided dynamic ratings of togetherness while watching video recordings of their games. We identified periods of togetherness using kinematic and subjective markers and assessed their physiological characteristics.
The kinematic and the subjective measures of togetherness showed some agreement, with more extensive game periods being marked by the subjective than the kinematic one. Game rounds with high rates of togetherness were characterized by increased players’ cardiovascular activity, increased correlation of players’ heart rates (HRs), and increased motion intensity. By comparing motion segments with similar motion intensity, we showed that moments of togetherness in the mirror game were marked by increased players’ HRs, regardless of motion intensity. This pattern was robust for the subjectively defined periods of togetherness, while showing a marginal effect for the kinematically defined togetherness. Building upon similar findings in flow research we suggest that the observed increase of players’ HRs during togetherness periods in the mirror game might indicate the enhanced engagement and enjoyment reported by performers going into ‘the zone.’ The suggested approach, combining temporal measurements of kinematic, physiological and subjective responses, demonstrates how the dynamics of spontaneously emerging dyadic states can be studied empirically.
The power of the unaided individual mind is highly overrated. Although society often thinks of creative individuals as working in isolation, intelligence and creativity result in large part from interaction and collaboration with other individuals. Much human creativity is social, arising from activities that take place in a context in which interaction with other people and the artifacts that embody collective knowledge are essential contributors. This paper examines: (1) how individual and social creativity can be integrated by means of proper collaboration models and tools supporting distributed cognition; (2) how the creation of shareable externalizations ("boundary objects") and the adoption of evolutionary process models in the construction of meta-design environments can enhance creativity and support spontaneous design activities ("unselfconscious cultures of design"); and (3) how a new design competence is emerging one that requires passage from individual creative actions to synergetic activities, from the reflective practitioner to reflective communities and from given tasks to personally meaningful activities. The paper offers examples in the context of collaborative design and art practice, including urban planning, interactive art and open source. In the effort to draw a viable path "beyond binary choices", the paper points out some major challenges for the next generation of socio-technical environments to further increase the integration of individual and social creativity.
Bringing together an international and interdisciplinary group of scholars, Intermedialities: Philosophy, Arts, Politics is a comprehensive collection devoted to the new field of research called 'intermedialities.' The concept of intermedialities stresses the necessity of situating philosophical and political debates on social relations in the divergent contexts of media theories, avant-garde artistic practices, continental philosophy, feminism, and political theory. The 'intermedial' approach to social relations does not focus on the shared identity but instead on the epistemological, ethical, and political status of inter (being-in-between). At stake here are the political analyses of new modes of being in common that transcend national boundaries, the critique of the new forms of domination that accompany them, and the search for new emancipatory possibilities. Opening a new approach to social relations, intermedialities investigates not only engagements between already constituted positions but even more the interval, antagonism, and differences that form and decenter these positions. Consequently, in opposition to the resurgence of cultural and ethnic particularisms and to the leveling of difference produced by globalization, the political and ethical analysis of the 'in-between' enables a conception of community based on difference, exposure, and interaction with others rather than on identification with a shared identity.
Investigations of 'in-betweenness,' both as medium specific and between heterogeneous 'sites' of inquiry, range here from philosophical conceptuality to artistic practices, from the political circulation of money and power to the operation of new technologies. They inevitably invoke the crucial role of embodiment in creative thought and collective acting.
Leibniz's well-known thesis that the actual world is just one among many possible worlds relies on the claim that some possibles are incompossible, meaning that they cannot belong to the same world. Notwithstanding its central role in Leibniz's philosophy, commentators have disagreed about how to understand the compossibility relation. We examine several influential interpretations and demonstrate their shortcomings. We then sketch a new reading, the cosmological interpretation, and argue that it accommodates two key conditions that any successful interpretation must satisfy.
Intercorrelations among ratings on 35 personality traits, selected as representative of the personality domain, were obtained for eight samples. These samples differed in length of acquaintanceship from 3 days to more than a year; in kind of acquaintanceship from assessment programs in a military training course to a fraternity house situation; in type of subject from airmen with only a high-school education to male and female undergraduate students to first-year graduate students; and in type of rater from very naive persons to clinical psychologists and psychiatrists with years of experience in the evaluation of personality. Centroid or multiple-group factors were extracted and rotated orthogonally to simple structure. For one study, an independent solution was obtained in which analytic rotations were accomplished on an IBM 650 computer using Kaiser's normal varimax criterion. Five fairly strong and recurrent factors emerged from each analysis, labeled as (a) Surgency, (b) Agreeableness, (c) Dependability, (d) Emotional Stability, and (e) Culture.
This article is relevant for dizziness in the context of (somatic) architecture, knowledge production, and queerness—specifically when thinking about how heteronormativity constitutes our built environment. Edler asks how feminist architecture, planning, and research can become productive matters of cause. She argues for questioning the production of knowledge, for formulating it new, and for practicing it inclusively. To her, architecture is shaping society—thereby those who shape architecture should actually represent society in its diversity. Gender competency within architecture must be fostered, and training in that area understood not as a punishment but as an implicit way of quality assurance.
Bachelard’s concept of lived space makes a significant contribution to an understanding of the connections between emotion and space. This essay argues that it provides a relational alternative to the common understanding of space as Euclidean, as an empty, inert distance that gains life only through the projections of human subjects. Bachelard gives primacy to a living space that is simultaneously inside and outside, insisting that the life of this space is in a non- locatable relation. In doing so, Bachelard also gives primacy to deep or archetypal emotions that come not from the subject but from living space.
In this philosophical as well as autobiographical book, Kofman deconstructs the function and meaning of the ancient Greek notion of aporia within Platon’s philosophy. The genealogical reading of aporia gives an account of the philosophical Eros, whose mythological parents were Poros and Penia, meaning strategy and distress in ancient Greek. Poros’ mother was Metis, meaning cunning intelligence in ancient Greek, and whose first child was Athena, the goddess of wisdom. These genealogical relations are needed when it comes to face and understand aporia, the emotional and intellectual situation of not finding any “way out”.
Dizziness is linked to these questions because both situations – having no choice anymore and having too many choices – can make one dizzy.
„Ich bin entbunden oder eingesperrt, atmend oder erstickend, verbrennend vom Feuer drinnen oder zerrieben vom scharfen Nordwind, tot oder lebendig. Ich versinke oder ich existiere. Es gibt einen Ort, gleich einem Punkt, von dem der gesamte Körper in der räumlichen Erfahrung der Passage kündet. Global springt das Ich auf die Seite dieses lokalen Punktes, entschlossen geht es von einer Hälfte in die andere über in dem Augenblick, wo dieser Punkt die Scheidewand von der Innenseite zur Außenseite passiert. Seit meinem Beinahe-Schiffbruch pflege ich diesen Ort Seele zu nennen.“
In his essay, philosopher Michel Serres describes his near death experience and how he almost became shipwrecked. He recalls trying to leave a burning ship through a tiny porthole, the physical experience of the enclosed space, where he faced on one side the freezing wind and the other the raging fire. In light of this unique experience he reflects on the complex relationship between the body and the soul.
In this context experimental film is defined as a practice that uses specific procedures to extend the possibilities of fine art in cinematography. Lowder analyses the contribution of fine art in film and the potential and limitations of the use of formal systems in filmic practices. Lowder also explores neurological aspects of visual perception in relation to the succession of film frames. Her work includes the use of brain imaging and film reels. Further to this she exposes subjects to rapid successions of images in order to examine spatiotemporal organisation within the brain.
Lowder examines film as an instrument for visual research. She looks at practices, relations, similarities and differences. Further, she considers the part aesthetics play in an exploratory approach, theoretical development concerning the subject and problems and perspectives for research in cinema in general.
Münsterberg, a philosopher and psychologist, set up an experimental laboratory at Harvard University in the 1890s. It was there that he linked image technology to representational apparatuses. He conducted scientific research on mental processes and the expression of affects and also raised questions regarding the art and film industry. Münsterberg coined the term “psychotechnology”, for he was interested in the flow of new technology as a psychic instrument. For Münsterberg, cinema works as an actual “projection” of the mind and film is represented as a psychic projection, picturing the mind moving like a motion picture.
In her article, Giuliana Bruno examines the importance of Hugo Münsterberg’s laboratory of moving images, considering it to be a site of cultural importance for the whole of film studies. She also discusses the construction of the laboratory itself.
This interview is relevant for dizziness in the context of (somatic) architecture, knowledge production, and queerness—specifically when thinking about how heteronormativity constitutes our built environment. Schalk and Lange talk about gender equality in architecture, focusing on women. In the context of the male-dominated history of architecture they argue for not only making underrepresented actors visible in the sense of an accumulation of knowledge, but actually establishing new forms of telling architectural history.
They address the rooms in which knowledge transfer happens, since the design of rooms is part of architecture. According to Schalk, architectural schools are often terrible places. She brings the positive alternative of the format of salons, following Katarina Bonnevier. Salons are places at the intersection of private and public. They offer the possibility for communicating otherwise within them, including a more caring way, and thereby also changing perspectives.
What nature teaches us is the streaming of the endless flow, the atomiccascade and its turbulences – waterspouts and whirlwinds, the celestial wheel endlessly spinning, the conic spiral that generates things. The soul, like the body, like bodies, is made up of hot atoms, airborne and windswept, unnamed; that is to say, it is made up of the principles of heat, of fluidity in general, and of weight; it is the seat of turbulences. It burns, it is disturbed, it loses its balance, like the sea, like a volcano, like thunder. The same space and the same substance produce the same phenomena according to the same laws. Disturbances that we give names to out of our fear of the gods, or of the anguish of death. The soul is tied in knots, just like the world. And like the world, it is unstable, in a state of disequilibrium. (Serres)And thus Serres is correct: the question is reversed. It is no longer necessary to ask where the clinamen comes from or how one might justify the disturbing of laws. All laminar flows can become unstable past a certain threshold of velocity, and that was known just as the productive nature of organized forms, of bifurcating evolution, of what we call dissipative structures, was known. One must ask how an abstraction of this knowledge could have been made to describe the world in order, subject to a universal law. We already know one answer given by Serres. Classical science is a science of engineers who knew, of course, that their flows were never perfectly laminar, but who made the theory of laminar flow perfectly controllable and directable, the only flow for which knowing is controlling. (Prigogine/Stengers)
Dizziness connects to this intention of the French philosopher Michel Serres, as it means losing control in order to gain equilibrium again, like it happens by the means of equilibrioception.
This conversation is relevant for dizziness in the context of (somatic) architecture, knowledge production, and queerness—specifically when thinking about how heteronormativity constitutes our built environment. Hartmann and Reisinger argue for going beyond talking about gender equality within architecture focusing on men and women, since they do not reflect our capitalistic and complex world. Instead, they pledge for formulating intersectional questions within research, to enable even starting to think about and find a language for a feminist and anti-capitalist perspective within architecture. They express the need for an intersectional feminism that is aware of its academic and institutional context, and that resists hegemonic structures.
The article “To create or to recall? Neural mechanisms underlying the generation of creative new ideas” shows the results of a study on general creative idea generation. The study is by creativity researchers Mathias Benedek, Emanuel Jauk, Andreas Fink, Karl Koschutnig and Aljoscha C. Neubauer, and radiologist scientists Gernot Reishofer and Franz Ebner. The team investigated brain activation during creative idea generation (i.e. divergent thinking) using a novel approach allowing spontaneous self-paced generation and expression of ideas. Specifically, they addressed the fundamental question of what brain processes are relevant for the generation of genuinely new creative ideas, in contrast to the mere recollection of old ideas from memory.
Social scientist and management philosopher Harald Katzmaier examines the areas of networks and resilience. In this article, Katzmaier comments on ‘limits’, and the need to deconstruct and transform them in order to flee disorientation and gain a new perspective on development. The article can be downloaded via FASresearch. „Würde die Raupe nicht zum Schmetterling, würde sie nicht das bestehende System sprengen und ein vollkommen neues Regime von Grenzen etablieren, die Raupe würde erstarren und zugrunde gehen.“
In 1995 Harald Katzmaier founded the FASresearch, a social network analytics and strategies firm. Its aims are to provide visionary solutions to empower organisations and their leaders, to take robust and resilient decisions and to navigate through the increasing complexities of a world in transformation.
The Moving Image Archive is a continually expanding selection of videos, films and artworks. Together this collection seeks to provide an overview of artworks that are related to ‘Dizziness–A Resource’. The online archive provides a hyperlink on each artwork where further information can be found. This archive develops in cooperation with Vivian Ostrovsky and Ruth Gadish.
A podcast exploring the concept of building a new society where queer people can feel safe and free to live truthfully.
Buildings from the fantastical city of Capreesh, being revealed and made purchasable one at a time. Will be opened to visit in the Metaverse.
Project on the loss of LGBTQIA+ venues in London, imagining utopian queer (city) futures, experimenting with identity and space, and using queer practice and architectural storytelling as investigation tools.
Take a look at 15:11 to 17:42
A walking tour through pleasure gardens in Manhattan that were established by Black folks for them to gather. No photographs exist of the gardens, and the tour invites to explore the stories connected to the spaces. The tour is accompanied with audio files and was organized for Juneteenth 2021.
Recording joys and struggles of queerness and celebrating the spaces they produce.
A platform providing space for collaboratively mapping queer life worldwide.
take a look at 1:25
The collective MYCKET addresses norms, hierarchies, and power structures of the space of a city, by organizing and documenting a carnival that is imaginative, maximalist, fantastic… It highlights queer night clubs in Göteborg, based on a mapping of that scene.
A documentary film and portrait of the nightclub Silver Platter in LA, that was frequented by the Latin/LGBTQIA+ communities in the 1960s. In the film the bar is the main character narrating the story.
A platform providing space for collaboratively mapping queer life worldwide.
Recording joys and struggles of queerness and celebrating the spaces they produce.
Project on the loss of LGBTQIA+ venues in London, imagining utopian queer (city) futures, experimenting with identity and space, and using queer practice and architectural storytelling as investigation tools.
Buildings from the fantastical city of Capreesh, being revealed and made purchasable one at a time. Will be opened to visit in the Metaverse.
A podcast exploring the concept of building a new society where queer people can feel safe and free to live truthfully.
Take a look at 15:11 to 17:42
take a look at 1:25
The collective MYCKET addresses norms, hierarchies, and power structures of the space of a city, by organizing and documenting a carnival that is imaginative, maximalist, fantastic… It highlights queer night clubs in Göteborg, based on a mapping of that scene.
A walking tour through pleasure gardens in Manhattan that were established by Black folks for them to gather. No photographs exist of the gardens, and the tour invites to explore the stories connected to the spaces. The tour is accompanied with audio files and was organized for Juneteenth 2021.
A documentary film and portrait of the nightclub Silver Platter in LA, that was frequented by the Latin/LGBTQIA+ communities in the 1960s. In the film the bar is the main character narrating the story.