For the last decade or so of the twentieth century, many of us were gripped by a powerful idea, an ideology even: that the new media of communications technology, writing, imaging, and data storage would not only revolutionise the way large armies fought wars and big powers conducted politics, but would also open up new spaces and times for less traditional political actors, activists, humanitarian and human rights movements, "independent media", non-governmental organisations, even an international citizenry. Unprecedented opportunities, and new political possibilities. Real-time television, camcorders, fax machines, and the Internet seemed to be creating new forms and zones of the political, new rhythms and speeds, new data conflicts and new rules by which to wage them.
eyal weizman's blog
Branden W. Joseph: Since Grey Room is primarily dedicated to questions of aesthetic practice, I'd like to begin by asking how you would understand forms of cultural discourse for example, art having access to the political or, rather, to the strictly political in the way you have come to de?ne it through your work on Carl Schmitt?2 As Derrida notes in Politics of Friendship although we don't need to go to Derrida for this, the political exists for Schmitt on two levels: the political as a particular aspect (which Schmitt is always opposing to the economic, for example, or the moral), and the political as a determination that occurs throughout all other strata of the world and, thus, potentially includes economics, morality, and, I would assume, culture and aesthetics as well.
What diference would it make for human rights discourse to take the photo opportunity seriously? Not the photo ops on behalf of human rights, but the ones coming from the other side, the other sides. What would it mean to come to terms with the fact that there are things which happen in front of cameras that are not simply true or false, not simply representations and references, but rather opportunities, events, performances, things that are done and done for the camera, which come into being in a space beyond truth and falsity that is created in view of mediation and transmission? In what fo
Economizing tendencies and globalization effects have all made their mark on art institutions' structures and practices in a variety of ways. Academic disciplines - like Cultural Studies or Art History -, museums, private collections and exhibition venues have increasingly become the subject of both artistic and theoretical investigations in recent years, critically tracing the changes that have come about in this context.1 Recently systems of work have also developed in the institution of the art colleg testing critical forms of practice already as part of art education. Initiatives like "The Academy and Corporate Public" in Bergen, the Hamburg "Modulator" and "Wiederholungen wiederholen" ("Repeating repetitions") projects, the "Commune des Arts" in Cologne, the Leipzig "/D/O/C/K-Projektbereich" or the "Protoacademy" in Edinburgh use different procedures and perspectives, but they all see the academy as an negotiation space whose specific requirements and possibilities make it particularly suitable for questioning the prerequisites and conditions under which an orientation towards economizing and socially hierarchizing parameters within the art field takes place.:2 In this institution, which trains the future players in the art field, values, rules and criteria are sanctioned for further distribution, Here the first selection procedures take place that can determine possible entry into the centre of the field. And here tried-and-tested procedures meet experimental change with particular force.
When he has left the political arena, Sharon’s legacy needs not be written into books and albums as it is already written large into the spaces of the Israeli Palestinian conflict. Whether in the military or in politics, times when Sharon is in power were always characterized by the construction frenzies that decisively shaped the physical realities in which both Israelis and Palestinians struggle to live. Significantly, Sharon was rarely photographed without a map rolled under his armpit.