Instead of accepting speculative endeavours as reflections of the present in the future, enabling diffractive viewpoints within the world can help us engage into a deeper analysis of how speculations can actually come to be.

Situated Speculations

Repetition is not different to the pathos of a “creative destruction”.

Der Teutoburger Wald enthält auch die Selbstverklärung zum edlen, wilden Germanen und lädt darin zur Selbstexotisierung ein.

To Much Future/To Much Time

Die Welt zu Gast im Teutoburger Wald

Doch die Friedhofsruhe, die jetzt andächtig um Kiefers Werk verbreitet wird, ist aus dem gleichen Stoff, wie die hysterischen Abgrenzungsversuche, weil beides dem Werk äußerlich bleibt und aus deutschen Projektionen besteht.

Die Währung des Wortes

The fetish for glow, the iridescence, and shimmer growing over our bodies like a skin made of light, cannot be detached by references to enhancement, the almost untouchable, the undying dream of artificial.

Shimmery Skin Entangled It Grows

Algorithms still lack notions of ethics and excess, without which transgression is not possible.

Androids, cyborgs, and avatars are new territories beyond the body’s biological condition. However, these territories ought to be also a discursive extension, where new identities, categories, and values can coexist.

(De)generative Art: Rules-transgressing Algorithms

Dance-Mania

In Walter Benjamin’s understanding, the use of allegory is
typical of Baroque Art: Man acknowledges his guilty passion for this world in the moment of its decay.

How can we break the ahistoric informatic screens in the laboratories and camps of this world that take away the eyes and parts of the bodies today as we‘re governed by opaque oceans of data?

It is necessary to promote and ensure the democratic “distribution of the sensible”.

Under post-Fordist conditions, the capitalisation of the immaterial work has managed to be integrated into artistic labour.

The precarious and the immune are no longer only in a relation of opposites in post-Fordist societies, but rather more and more also in a relation of overlapping, tending, in fact, to become indistinguishable.

Problematizing Rubens’ Winter