Showing posts with label note. Show all posts
Showing posts with label note. Show all posts
Saturday, January 28, 2012
selbstausbeutung
"Verweigerung ist tatsächlich nur gegenüber einem fremden Zwang möglich, den ich ablehnen kann. Die Selbstausbeutung ist viel fataler als die Fremdausbeutung, weil sie mit dem Gefühl der Freiheit einhergeht. Sie ist gleichzeitig effizienter, produktiver als die Fremdausbeutung, weil man sich freiwillig ausbeutet, bis man zusammenbricht. Darin besteht offenbar die List des Systems. Wir haben heute keinen Herrscher, keinen Souverän mehr, dem wir unser Nein entgegensetzen könnten. Wir sind einem systemischen Zwang, einer systemischen Gewalt ausgeliefert, die das Leistungssubjekt dazu zwingt, ja verführt, sich selbst auszubeuten. Stéphane Hessels Empört Euch! bringt hier nicht viel. Die List des Systems besteht darin, dass sie gerade das zum Verschwinden bringt, wogegen man sich empören könnte. Es ist sehr schwierig, sich zu empören, wenn jeder Täter und Opfer, Ausbeuter und Ausgebeuteter zugleich ist."
Byung-Chul Han im FREITAG
Byung-Chul Han im FREITAG
Wednesday, August 24, 2011
Tuesday, November 16, 2010
quote
"Freiheit ist immer die Freiheit der Andersdenkenden" ("Freedom is always the freedom of the one who think differently")
Rosa Luxemburg
Rosa Luxemburg
Friday, May 7, 2010
new year's resolution 2010 / note to self
- avoid judgmental conversations
- avoid generalisations
- avoid the phrase "früher" ("it used to be")
ps: resolution_09 was "here and now" and it did actually make a difference
- avoid generalisations
- avoid the phrase "früher" ("it used to be")
ps: resolution_09 was "here and now" and it did actually make a difference
Thursday, April 8, 2010
Monday, March 1, 2010
generationenwechsel
"she she pop und ihre väter - TESTAMENT – VERSPÄTETE VORBEREITUNGEN ZUM GENERATIONSWECHSEL – NACH KöNIG LEAR".
theater at its best. eine freie adaption des shakespear klassikers, die elegant die brücke ins hier und jetzt und für mich relevante schlägt, wie ich es so noch nicht gesehen habe. das private ist ausnahmsweise tatsächlich mal für eine öffentlichkeit relevant. die inszenierung der befindlichkeiten des mitte-dreißigjährigen berliner bildungsbürgertums, die ausnahmesweise nicht eine reine nabelschau ist, sondern brisanz und relevanz hat.
bühnenmittel (kostüm mit historischen andeutungen; sesselthrone, projizierte ahnengalerie und gemeinsamer esstisch; musik für emotion und erinnerung und videoprojektion als ausschnitt=vergrößerung von details des bühnengeschehens) zum geringen teil annektiert (wooster group, nature theater of oklahoma) und als eigenes, geschicktes erzählmittel eingesetzt.
und ja, ich hatte nie darüber nachgedacht: es gibt kein ritual, daß für den familiären generationenwechsel als hilfe dienen kann.
zugehört, gelacht, geweint und nachgedacht. eben theater at its best.
reaktionen
theater at its best. eine freie adaption des shakespear klassikers, die elegant die brücke ins hier und jetzt und für mich relevante schlägt, wie ich es so noch nicht gesehen habe. das private ist ausnahmsweise tatsächlich mal für eine öffentlichkeit relevant. die inszenierung der befindlichkeiten des mitte-dreißigjährigen berliner bildungsbürgertums, die ausnahmesweise nicht eine reine nabelschau ist, sondern brisanz und relevanz hat.
bühnenmittel (kostüm mit historischen andeutungen; sesselthrone, projizierte ahnengalerie und gemeinsamer esstisch; musik für emotion und erinnerung und videoprojektion als ausschnitt=vergrößerung von details des bühnengeschehens) zum geringen teil annektiert (wooster group, nature theater of oklahoma) und als eigenes, geschicktes erzählmittel eingesetzt.
und ja, ich hatte nie darüber nachgedacht: es gibt kein ritual, daß für den familiären generationenwechsel als hilfe dienen kann.
zugehört, gelacht, geweint und nachgedacht. eben theater at its best.
reaktionen
Sunday, January 17, 2010
traces left behind
"vogelfrei" - i had seen that film as a teenager and all i can remember is, that it impressed and irritated me a lot and that it was about this landstreicher, this girl on the road, who would never say "thanks" or "please".
a guy i vaguely knew but liked a lot, had recommended it to me. together with "zementgarten" and "tee im harem des archimedes" - (and "birdie" but i did not like that one so much). i didn't really know that guy, we hardly saw eachother, sometimes bumped into eachother at a party or a concert of the local band. i cannot even recall his name. but he left a mark, a quiet one, a beautiful one. and so i had to think about other people i met at some point in my life, who were important for a while and to a certain degree shaped the way i perceive the world. and i don't have a clue where they are now, what they do, if they are still alive.
two days ago i found out by chance, that this film will be screened at a cinema nearby, that the original title is "sans toit ni loi" that it is by wonderful agnes varda, who was also there in person, and stars young sandrine bonnaire. saskia walker did the interview after the screening, a transcript can be found in revolver 24.
the film starts with the girl lying dead at the side of the road. in the voice-over varda says: "since nobody claimed the body, it was burried at the local cementary. this victim of a natural death did not leave a trace. i ask myself who of those who knew her as a child still remember her. the people who recently met her, do remember her. and with the help of their statments i can recount the last few weeks of her life. they were all impressed by her. when they spoke about her, they did not know that she was dead. i did not tell them and also did not mention her name: mona berger. i myself know little about her. but i believe she came from the sea."
a film about what it takes and what it means to be independent. and whether independence and freedom are the same. and how far you can go before it kills you.
a guy i vaguely knew but liked a lot, had recommended it to me. together with "zementgarten" and "tee im harem des archimedes" - (and "birdie" but i did not like that one so much). i didn't really know that guy, we hardly saw eachother, sometimes bumped into eachother at a party or a concert of the local band. i cannot even recall his name. but he left a mark, a quiet one, a beautiful one. and so i had to think about other people i met at some point in my life, who were important for a while and to a certain degree shaped the way i perceive the world. and i don't have a clue where they are now, what they do, if they are still alive.
two days ago i found out by chance, that this film will be screened at a cinema nearby, that the original title is "sans toit ni loi" that it is by wonderful agnes varda, who was also there in person, and stars young sandrine bonnaire. saskia walker did the interview after the screening, a transcript can be found in revolver 24.
the film starts with the girl lying dead at the side of the road. in the voice-over varda says: "since nobody claimed the body, it was burried at the local cementary. this victim of a natural death did not leave a trace. i ask myself who of those who knew her as a child still remember her. the people who recently met her, do remember her. and with the help of their statments i can recount the last few weeks of her life. they were all impressed by her. when they spoke about her, they did not know that she was dead. i did not tell them and also did not mention her name: mona berger. i myself know little about her. but i believe she came from the sea."
a film about what it takes and what it means to be independent. and whether independence and freedom are the same. and how far you can go before it kills you.
Tuesday, November 3, 2009
Saturday, October 31, 2009
Thursday, October 22, 2009
the individual and the system
a few notes on "hunger" by steve mcqueen
- a naked man gets beaten up by prison guards and is forced into a bath tub. this is 40 minutes into the film. we did not get to know this man, he was not introduced to us, we didn't see his personal backstory - the usual means of enabeling the viewer to identify with a person on screen and therefore feel with and for that person are not used in this film. and still we feel strong compassion for him, we suffer with him - because he is a human being (btw: embedding that scene is disabled by youtube, which, i think, is a good decision. one comment says: "How someone could do that to another person.....")
- it made me think about frederick wiseman's documentaries which are always about individuals in an institution
- an institutions becomes helpless when it is confronted with the indestructible will of an individual
- i was surprised to see that the prison guards (=the system) only used pure violence and endurance/stubborness in the attempt to break the will of that individual. no "silent torture" or psychological manipulation was used (at least the film doesn't show it).
- making loud noise brings a group together and gives it power. the film opens with such a moment and the prison guards do it before they beat up the naked man.
from an interview with steve mcqueen: "What was incorporated into the script was when Sands died and there was the banging of the dustbin lids. But that was also a ritual that they did when the army was coming. It was to allow people to know what was going on."
- "Steve McQueen remarked recently: 'It was as if the whole history of the Troubles, and of Britain's relationship to Ireland, was distilled in that moment. It came down to two opposing and immovable forces: Margaret Thatcher and Bobby Sands.'" from an article in the guardian.
reminds me of how stephen frears in "the queen" also focused on one conflict to tell a bigger story. very smart and elegant as far as storytelling is concerned.
- " 'The French government offered the Dublin government two gestures of solidarity, which Dublin declined. One was to boycott the British royal wedding, the other that President Mitterrand attend Bobby Sands's funeral.'" from the same article in the guardian
- "It's striking that Sands had an appeal that went beyond Irish nationalism. The Iranians named the street where the British Embassy is Bobby Sands Street - where, of all things, there is a Bobby Sands Snack Bar.
Yes. They named the street for Bobby Sands, and then the British government changed the entrance to the building to the street behind it. It was the same time as the revolution in Iran, and the mythology of martyrdom in Iran was huge. One of the people whom they took up was Bobby Sands." from an interview with steve mcqueen
- "I was eleven years old, and an image appeared on the TV screen every night, with a number underneath it, and the image was of him, so every night the numbers went up, and as an eleven year old kid the whole idea that, in order to he heard, someone had stopped eating was kind of weird for me. It was an oral situation - food wasn't going in, but the words were getting louder." from the same interview
- "These are people who made their bodies in some shape or form into a weapon. It's always been there. Of course, this is different from 9/11, when airplanes were used to blow up other people. This is someone who was using his body, and not hurting anyone but himself to make a point." from the same interview
- "Only a single 90-second snatch of film exists of conditions inside the H Blocks at the time, shot by an Ulster Television camera crew for a documentary that was subsequently banned by the government. It shows two prisoners, bedraggled and Christ-like, wrapped in dirty blankets, shouting out their demands from a filthy, excrement encrusted cell. From that image, the artist Richard Hamilton created the first work of art based on the H Blocks, a painting called The Citizen, which he completed in 1983. Twenty-five years later, with several former IRA men now sitting in the Northern Ireland Assembly, McQueen has created the second." from another article in the guardian
- "In the final part, in which the skeletal Sands falls into fitful reveries and remembrances, there are hallucinatory scenes of his childhood that struck me as the only false note in a film that otherwise eschews any kind of easy romanticism." . i agree. also from that article in the guardian
- a naked man gets beaten up by prison guards and is forced into a bath tub. this is 40 minutes into the film. we did not get to know this man, he was not introduced to us, we didn't see his personal backstory - the usual means of enabeling the viewer to identify with a person on screen and therefore feel with and for that person are not used in this film. and still we feel strong compassion for him, we suffer with him - because he is a human being (btw: embedding that scene is disabled by youtube, which, i think, is a good decision. one comment says: "How someone could do that to another person.....")
- it made me think about frederick wiseman's documentaries which are always about individuals in an institution
- an institutions becomes helpless when it is confronted with the indestructible will of an individual
- i was surprised to see that the prison guards (=the system) only used pure violence and endurance/stubborness in the attempt to break the will of that individual. no "silent torture" or psychological manipulation was used (at least the film doesn't show it).
- making loud noise brings a group together and gives it power. the film opens with such a moment and the prison guards do it before they beat up the naked man.
from an interview with steve mcqueen: "What was incorporated into the script was when Sands died and there was the banging of the dustbin lids. But that was also a ritual that they did when the army was coming. It was to allow people to know what was going on."
- "Steve McQueen remarked recently: 'It was as if the whole history of the Troubles, and of Britain's relationship to Ireland, was distilled in that moment. It came down to two opposing and immovable forces: Margaret Thatcher and Bobby Sands.'" from an article in the guardian.
reminds me of how stephen frears in "the queen" also focused on one conflict to tell a bigger story. very smart and elegant as far as storytelling is concerned.
- " 'The French government offered the Dublin government two gestures of solidarity, which Dublin declined. One was to boycott the British royal wedding, the other that President Mitterrand attend Bobby Sands's funeral.'" from the same article in the guardian
- "It's striking that Sands had an appeal that went beyond Irish nationalism. The Iranians named the street where the British Embassy is Bobby Sands Street - where, of all things, there is a Bobby Sands Snack Bar.
Yes. They named the street for Bobby Sands, and then the British government changed the entrance to the building to the street behind it. It was the same time as the revolution in Iran, and the mythology of martyrdom in Iran was huge. One of the people whom they took up was Bobby Sands." from an interview with steve mcqueen
- "I was eleven years old, and an image appeared on the TV screen every night, with a number underneath it, and the image was of him, so every night the numbers went up, and as an eleven year old kid the whole idea that, in order to he heard, someone had stopped eating was kind of weird for me. It was an oral situation - food wasn't going in, but the words were getting louder." from the same interview
- "These are people who made their bodies in some shape or form into a weapon. It's always been there. Of course, this is different from 9/11, when airplanes were used to blow up other people. This is someone who was using his body, and not hurting anyone but himself to make a point." from the same interview
- "Only a single 90-second snatch of film exists of conditions inside the H Blocks at the time, shot by an Ulster Television camera crew for a documentary that was subsequently banned by the government. It shows two prisoners, bedraggled and Christ-like, wrapped in dirty blankets, shouting out their demands from a filthy, excrement encrusted cell. From that image, the artist Richard Hamilton created the first work of art based on the H Blocks, a painting called The Citizen, which he completed in 1983. Twenty-five years later, with several former IRA men now sitting in the Northern Ireland Assembly, McQueen has created the second." from another article in the guardian
- "In the final part, in which the skeletal Sands falls into fitful reveries and remembrances, there are hallucinatory scenes of his childhood that struck me as the only false note in a film that otherwise eschews any kind of easy romanticism." . i agree. also from that article in the guardian
Thursday, October 15, 2009
plan of action
i didn't know they prepared their battles so minutely - or it was drawn afterwards. in any case: amazing details.
from Musee de Bretagne.
from Musee de Bretagne.
Sunday, August 30, 2009
aging
"1) everything that’s already in the world when you’re born is just normal;
2) anything that gets invented between then and before you turn thirty is incredibly exciting and creative and with any luck you can make a career out of it;
3) anything that gets invented after you’re thirty is against the natural order of things and the beginning of the end of civilisation as we know it until it’s been around for about ten years when it gradually turns out to be alright really.
Apply this list to movies, rock music, word processors and mobile phones to work out how old you are."
from How to stop worrying and learn to love the internet, written yesterday ten years ago by Douglas Adams.
thanks grisi
2) anything that gets invented between then and before you turn thirty is incredibly exciting and creative and with any luck you can make a career out of it;
3) anything that gets invented after you’re thirty is against the natural order of things and the beginning of the end of civilisation as we know it until it’s been around for about ten years when it gradually turns out to be alright really.
Apply this list to movies, rock music, word processors and mobile phones to work out how old you are."
from How to stop worrying and learn to love the internet, written yesterday ten years ago by Douglas Adams.
thanks grisi
Tuesday, August 25, 2009
dilettant
A dilletant: A person who enjoys the arts or someone who engages in a field as an amateur out of casual interest rather than as a profession.
"Violon D'Ingres" by Man Ray
Ingres's well-known passion for playing the violin gave to the French language a colloquialism, "violon d'Ingres", meaning a second skill beyond the one by which a person is mainly known. (from wikipedia)
Ingres's well-known passion for playing the violin gave to the French language a colloquialism, "violon d'Ingres", meaning a second skill beyond the one by which a person is mainly known. (from wikipedia)
Tuesday, June 23, 2009
representation
a pattern still in use *
from an exhibition about maps and travel reports.
* hartz4 hieß mal stütze - ein wort, das eine zukunftsperspektive beinhaltet. ich bin mit einem anderen bild von arbeitslosigkeit aufgewachsen als das, das jetzt in den medien gemalt wird.
*und auch mein bild vom islam war anders gefärbt als es das jetzt wird.
neda
it's the first time in my life that i see a person dying. i witness the actual moment when her soul leaves her body. the moment when her eyes look straight at me, then loose control. her heart keeps on pumping blood through her veins, but the vein has a hole, the body is leaking, turning the pavement red. she is gone.
that moment is just a little bit longer than the blink of an eye. and if i wanted to, i could witness it over and over again, just by hitting the play button. i stumbled upon it on facebook, a place that is about sharing private moments.
it's maybe the most private moment in a person's life. and i have no right to witness it. i don't know that person, i am not close to her, she never trusted me. and now she has no chance to not share this moment with me - and with millions of other people. i don't want that and who know's whether she wanted that.
instead she is turning into a piece of propaganda.
see also note via fresser
ps: why eg is her video in this article?
that moment is just a little bit longer than the blink of an eye. and if i wanted to, i could witness it over and over again, just by hitting the play button. i stumbled upon it on facebook, a place that is about sharing private moments.
it's maybe the most private moment in a person's life. and i have no right to witness it. i don't know that person, i am not close to her, she never trusted me. and now she has no chance to not share this moment with me - and with millions of other people. i don't want that and who know's whether she wanted that.
instead she is turning into a piece of propaganda.
see also note via fresser
ps: why eg is her video in this article?
Saturday, June 13, 2009
die pflichten der frau
"Radsessel von Kaiserin Elisabeth Christine
Nußholz, Buche gebeizt, Porzellanziernägel, um 1740
Elisabeth Christine von Braunschweig-Wolffenbüttel wurde 1708, nachdem sie zum Katholizismus übergetreten war, mit Erzherzog Karl, König von Spanien, dem späteren Kaiser Karl VI. vermählt.
Um ihre Fruchtbarkeit zu erhöhen, verschrieb man ihr Eßkuren, durch die sie an Leibesfülle zunahm. In späteren Jahren durch Krankheiten wie Gürtelrose, Rheutmatismus, Rotlauf und offenen Beinen gesundheitlich angeschlagen, wurde sie zusehends immobil und war auf Bewegunshilfe angewiesen." Museumstext
Tuesday, June 9, 2009
don't predict the future, shape it*
"She was six and she was at the back, drawing, and the teacher said this little girl hardly ever paid attention, and in this drawing lesson she did. The teacher was fascinated and she went over to her and she said, "What are you drawing?" And the girl said, "I'm drawing a picture of God." And the teacher said, "But nobody knows what God looks like." And the girl said, "They will in a minute.""
Ken Robinson
*i used to think this was an old apple-slogan, but i cannot find any reference to it on the web.
thanks, phil
Ken Robinson
*i used to think this was an old apple-slogan, but i cannot find any reference to it on the web.
thanks, phil
die zeit
"Warum sagen wir: die Zeit vergeht? Und nicht ebenso betont: sie entsteht?" Alexander Kluge
"sich dem druck der zeit zu unterwerfen ist das, was einen tatsächlich unfrei macht. dabei ist die zeit eine spirale und wird irrelevant, sobald man sie ignoriert." xy
"sich dem druck der zeit zu unterwerfen ist das, was einen tatsächlich unfrei macht. dabei ist die zeit eine spirale und wird irrelevant, sobald man sie ignoriert." xy
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