Suchergebnisse

The study takes as its starting point the incorporation of the socio-cultural factor into the cognitive schemes of politics as a key trend in changing the interpretive logic of political ontology. The depletion of conventional epistemological instruments for interpreting modern world socio-political constructions prompts inquiry into new cognitive perspectives. Migration is one factor that concentrates the spectrum of ongoing transformations within the conceptual and discursive spaces built around it. The article examines the contradictions between the generalisation of Western experience and forms of collective identity, the evolving understanding of the border, and the diversifi cation of political actors that have arisen due to migration fl ows. The reimagining of migration in the context of security is a theoretical, political, and instrumental force in shaping contemporary society. It alters the customary fi elds of politics, value hierarchies, dominant cognitive frameworks, and global order. The reimagining of migration in the context of security is a theoretical, political, and instrumental force in shaping contemporary society. The reimagining of migration in the context of security is a theoretical, political, and instrumental force in shaping contemporary society. Drawing on various narratives, this article shows that the securitization of migration in public consciousness and political practice perpetuates a fear of a total security vacuum and perceived threats.

In this paper I argue that the new coronavirus pandemic has brought to light some of the contradictions and paradoxes of our time, namely the contrast between human fragility and the technological hubris linked to the fourth industrial revolution (artificial intelligence); and the contrast between the TINA ideology (there is no alternative) and the sudden and extreme changes in our everyday life caused by the virus, thus suggesting that there are indeed alternatives. I then analyse the main metaphors that have been used in public discourse concerning our relations with the virus: the virus as an enemy; the virus as a messenger; the virus as pedagogue. I prefer the last one and explain why, and in what sense the virus is our contemporary.

"Pursuing historical analogies between nineteenth-century theories and the current practices captivated by digital reproducibility, this book offers a critical take on architecture's contemporaneity through four essays: tectonics, materiality, cladding, and labor. Fundamental to this proposition is the historicity of Gottfried Semper's theorization of architecture amidst the outpouring of new materials and construction techniques during the 1850s. Starting with Semper's differentiation between theatricalization and the tectonic of theatricality, this book closely examines thematic essential to architecture's self-representation. Even though the title of this book recalls the Semperian four elements of architecture, its argument encapsulates a unique historico-theoretical project probing the tectonic of theatricality beyond Semper. The invisible tie between technique and labor is the cord running through the four subjects covered in this book. In exploring these subjects from the theoretical standpoint of Marxian dialectics, this book's contribution is focused on, but not limited to, the topicality of labor today when its relationship with capital has been further obscured by the prevailing digitalization of commodity exchange value, starting roughly in the 1990s. Each essay examines Semper's theorization of architecture in contradistinction to the ways in which technology's mediation has dominated architecture's representation. Burrowing through the invisible tie between technique and work, asymptomatic of architecture's predicament in global capitalism, this book advances the scope of architectural criticism beyond the exhausted formalism and architecture's turn to philosophy circa the 1980s and the present tendencies for presentism. It will therefore be of interest to researchers and students of architectural history and theory"--

This essay analyses two texts by Polish art historian Piotr Piotrowski (1952-2015) that articulate theoretical stances towards art museography, the one devoted to issues of trauma management, contemporaneity and identity, and the other presenting a methodological tactic to deflect the power of the art-historical museum piece in critical and democratic ways. Reflecting on how they deal with psychological as well as openly political issues, I interpret and assess their joint contribution to the broader interdisciplinary field of (critical) museography. The texts are "New Museums in New Europe" and "Making the National Museum Critical". The first text discusses four new or newly re-furbished museums in a culture in Eastern Europe since 1989 characterized as "post-traumatic". These museums are contextualized both in relation to the Western museum boom of the same years, and to the new museums' recent history, where sometimes the very architecture and site of these institutions renders trauma tangible. The second text is a case-study based on experience and inside knowledge, from the short period when the author directed and together with Katarzyna Murawska-Muthesius oversaw the Warsaw National Museum of Art (2009-2010). Together they developed Piotrowski's concept of "the critical museum" as a way of dealing with the challenges of running an old national art museum based on masterpieces while also striving to engage with pressing contemporary issues. I contend that the latter concept, in particular, is promising, given that it is possible to maintain a difference within the museum institution as a prerequisite for critical intervention.

The word crisis comes from Ancient Greek κρίσις which can be translated as 'power of distinguishing' and is related to modern κρίνω which means "to pick out'. This is apt, because the pandemic of 2020 has exposed the limitation of approaches to social governance premised on calculation. The – some would argue false – choice between either saving lives or the economy, is the highest profile example of the necessity to 'pick' between different qualitative options. This has brought into relief something suppressed by the calculation approach, namely the need to adjudicate between multiple and competing value orientations in public life. With this, an alternative way of decision making in the public domain is needed, one that does not revert back to mere politics and subjective decisions. This article turns to the writings of John Dewey to look for alternatives. It shows that the model of deliberative inquiry found in Dewey, even though not without its own challenges, presents a viable option to replace metrics-based valuation approaches, without falling back on the whimsy of political judgement. This suggests that Dewey is not just contemporaneous, but that translating his insights into action could not be more urgent.

AbstractThis essay discusses issues of time and temporality in relation to performance art from the Dominican Republic. It contends that Dominican performance artists are advancing critical understandings of what is to be contemporary. The essay considers the work of David Pérez "Karmadavis," Sayuri Guzmán, and José Ramia as expressing the role of artists in defining and delving into what it means to make art in and of the present, while simultaneously challenging the presentist understanding of time linked to neoliberalism. From this perspective, the article examines the potential of performance art for criticizing and expanding our understanding of time and temporality.

Contemporaneity is a methodological category that is continuously developing and remodeling itself over time; it constitutes a complex approach to a dynamic reading of our social, political, and cultural scene. The contribution proposes a reflection on the meaning of contemporaneity and how this meaning has a close relationship with all the epochs in which communities have expressed themselves. All this has an important value to understand what it means to link this word with architecture, art, traditions, and cultural policies. ; La contemporaneidad es una categoría metodológica que se desarrolla y se remodela continuamente en el tiempo; esta costituye un enfoque complejo para una lectura dinámica de nuestro escenario social, político y cultural. La contribución propone una reflexión sobre el significado de la contemporaneidad y como este significado tiene una relación muy estrecha con todas las épocas en la cuales las comunidades se han expresado. Todo eso tiene un valor importante con el fin de intender que significa vincular esta palabra a la arquitectura, arte, tradiciones y politicas culturales.