Suchergebnisse

Resumo Discutindo os conceitos de Benjamin de meios puros e violência divina, este artigo levanta a questão de como podemos pensar em um domínio de política revolucionária fora e além do direito - uma esfera de justiça e de violência não legal. Para Benjamin, estava claro que havia algo de fundamentalmente "podre no direito" - seja este o direito da monarquia, da democracia ocidental ou de regimes autocráticos. A violência inerente ao direito contradiz-se a si mesma, uma vez que a aplicação do direito - por exemplo, pela polícia - sempre borra a linha entre a violência mantenedora e integradora do direito. Por outro lado, a maioria das tentativas de romper o direito e seus poderes de sustentação conduz ao estabelecimento de um novo direito. Contra a ciclo "mítico" da violência/poder ("Gewalt") de instauração e preservação do direito, Benjamin busca uma violência não-violenta, pura, que possa interromper a aplicação do direito à vida. Esse artigo argumenta que a leitura de Werner Hamacher do ensaio de Benjamin como aformativo oferece uma possível estrutura para compreender a noção paradoxal de Benjamin de "meios puros".

In times when norms of commerce and technology seem to pervade all activities, the example of the Jan van Eyck Academie in Maastricht stands out. Until its recent entrepreneurial recasting under austerity measures, the Academie had been a site of encounters which had surpassed the sterile confines of academia and the consensual norms of market-oriented work: it welcomed examinations and radical critiques of the spaces of artistic creation, theoretical inquiry and design, while also questioning the relations and boundaries between these fields. Building upon this experience, while at the same time surpassing its institutional limitations, it was our intention to construct a platform for collaboration between theorists, designers and artists by suspending the borders between their respective disciplines, by affirming the need for collective and experimental work, by engaging in projects which do not shy away from questioning the very possibilities of different domains, whether aesthetic, scientific or political. Within the framework of a three-day inaugural meeting, we presented and discussed works in design, art and theory by people formerly related to or supporting the Academie as well as others who are joining us. A series of lectures and performances, seminars and screenings, as well as displays of works and book presentations served not only as materials for a broader discussion, but also as a nucleus for future collaborative work.Monday 15 July 10:30 Welcome 10:45 Pietro Bianchi: Looking With No Eyes. The Lacanian Gaze and the Problem of Formalization of the Visual Field 11:15 Alan Smart: How to Design? 11:45 Coffee Break 12:15 Jonathan Short: On the Sovereignty of Value 12:45 Sami Khatib: Non-Realist Realism, Notes on Benjamin and Brecht 13:15 Benjamin Dawson: Why Practice? 13:45-15:45 Lunch Break 15:45 Nathaniel Boyd: Who Thinks Concretely? Hegel's Critique of Political Abstraction 16:15 Agon Hamza: Žižek's Althusser on Ideology 16:45-17:15 Coffee Break 17:15 Simone van Dijken: Mumbling with the Devil ...

Critique: The Stakes of Form -- An Introduction to "The Stakes of Form -- How to Do Materialistic Dialectics with Words? Adorno and the Resistance of Presentation -- Expression and Suffering -- Semblance and Mimesis (Notes on an Enigmatic Passage in Adorno's Aesthetic Theory) -- Marx, Real Abstraction, and the Question of Form -- Forms of Critique, Modes of Combat -- "To Arlene on Wings of Love": Shared Forms of Life, Art, and Writing -- Decorating Charleston Farmhouse: Bloomsbury's Experiments in Forms of Life, Work, and Art -- Feedback Systems: Artwriting as Critique? -- On Slowing Down and Not Being Shy. A Conversation -- The Horse's Eye -- Editing as the Practice of Criticism -- ECZEMA! -- Roland Barthes' Critical Writing from the Materials of Cy Twombly-and the Criticism of Form in the Early Texts of Lukács and Benjamin -- Gesture and Citability: Theater as Critical Praxis -- The Stakes of the Stage: Piscator's Scenography as a Practice of Critique and Benjamin's Discontent with the "Zeittheater" -- Why Streets Are No Longer Paved with Theater Gold: Critique and Stage Form(s) -- List of Illustrations -- Contributors.