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PAVILION. journal for politics and culture / #15 HANDLUNG. ON PRODUCING POSSIBILITIES
No part of this publication may be reproduced or used in any form without prior written permission from the editor. The view expressed in the magazine are not necessarily those of the publishers. Courtesy: the artist. On Producing Possibilities 14 Handlung.
Femeile au o abilitate stricatoare de a face scene din nimic,si sa se arate ranite cand ele,de fapt,sunt de vina. Dash it allI am in charge. I say my prayers out loud -A girl's love changes with every wind -Daniel's aphorism: When a man is tired of women, he is tired of life.
Despre producția posibilităţilor. Maria Muhle Aesthetic realism, fictional documents and subjectivation. Alexander Medwedkin.
The Medwedkin Groups. Chris Marker Realism estetic, documente ficţionale şi subiectivare. Alexander Medwekin.
Grupurile Medwedkin. On Producing Possibilities. These stories may then be recorded in documents and monuments, they may be visible in use objects or art works, they may be told and retold and worked into all kinds of material.
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Handlung Is there a difference between actions and stories? The German term Handlung serves not so much as a translation for both words, but much sooner it refers to the very semantic level.
Как и Элвин, он знал, что любое решение, принятое Советом, уже не будет иметь значения. Будущее полностью ускользнуло из-под контроля Совета в тот самый миг, когда Советники в счастливом неведении решили, что кризис благополучно преодолен. Элвин не ощущал чувства превосходства и сладостного ожидания триумфа, глядя на этих глупых старцев, мнивших себя правителями Диаспара. Он видел подлинного правителя города и беседовал с ним в угрюмой тишине его тайного сверкающего мира.
It is impossible to differentiate actions from stories, both meanings are intrinsically linked to each other and generate each other. It is exactly this ambiguity of Handlung 1 that should be stressed here and be made productive.
The 4th Bucharest Biennale suggests an experimental set-up to scrutinize different modes of action, possible courses and capabilities of action. It will try to examine various stories, interweaved plots, and fictions and how all this is bound to or detached from concepts of agency. How is agency proposed and what instructions for taking action are necessary or have to be developed?
We will examine practices that criticize, rewrite, correct or queer established narratives as well as yet other forms that play with the set of conditions of constructing narrations and history. It will be about the appearing of things 2 in the blinding bright light that shines out of the public viteză dating vecruz. With this project, we will investigate how, who, and where these  6 possibilities of action are produced, how one can intervene in common patterns and how other and new possibilities of Handlung can be generated.
In a critical manner, the set-up of this project will be based on the urban and spatial organization of Bucharest with its different historical and political layers and thus trying to examine how urban structures and architecture act as agents to allow, interdict and produce Handlungen. The public sphere: Action, emancipation and dissent The public sphere - and therefore our whole living together - is structured through various forms of Handlungen.
Handlungen have the very potential to make things visible, to find a form of communicating this, hence Handlungen are responsible for the becoming of the public sphere.
In other words it can be said that every single change, every single movement is based on different modes of action, which need to be narrated. Nevertheless, not everything that is happening or everything that one can speak about is automatically Handlung. In her book The Human Condition, published inHanna Arendt distinguishes wacky fluturând brațul gonflabil flag tube man dating three major human activities: labor, work and action. This short definition shows that action is a very open and general concept, but it does not include all activities and every speech act and is, despite all similarities in Arendt s thinking, not equate to Aristotle s conception of politics.
Nevertheless, all this happens in the public realm and consequently the Greek polis can still be described as the clearest realization with its division in oikos private household for labor and work and agorá public space of the polis for action.
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We will see later how these parameters of public and private space have changed and consider possibilities and necessities of their reactivation. With Arendt, Handlung can be valued as the inner logic of emancipation, because it makes political action possible and finds a form to narrate it.
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Another interesting view - that touches on the recent state of democracy and on the possibilities of art in this context - linked to this is Chantal Mouffe s conception on the so-called post-political society 6. Mouffe s analysis takes its starting point at the absence of dissent. She observes that there is a strong model of consensus located in the centre of today s politics, arguing not only that there are no alternatives, but that the logic of consensus politics prevents any form of disagreement.
Nevertheless Mouffe observes a neverending dimension of conflict and antagonism - which she transforms in agonism that has a lesser enemy connotation - which is supposedly ever present in the radical heart of democracy. This agonistic model can be one possibility in saving or establishing a radically democratic society that is based on various layers of disagreements, which are rationally accepted as disagreements.
If today s official politics is not producing possibilities of actions and if a culture of dissent became extinct, the question then is: How can new possibilities of action - new possibilities of and for Handlung - be produced and what kinds of interventions are necessary to interrupt recent i.
What does disagreement mean and how can it be applied?
How do we have to imagine and where can we find those agonistic models? Fiction, narrative and history At this point we have to remember that this text is about an exhibition, about artistic projects, 7 i.
These stories may then be recorded in documents and monuments, they may be visible in use objects or art works, they may be told and retold and worked into all kinds of material. Handlung Is there a difference between actions and stories?
However, fictions become relevant as fictions, if we recognize the formerly facts also as fictions. It is commonsense to talk about the fact that not only the whole living together, accompanying every action, activity and speech act, is structured through certain rules and regulations, but also the way how certain things and circumstances are narrated in a prearranged way.
This distribution of identifications, representations and subjectivations is also based on a spatial organization and a distribution of spaces -be it private housings, public spaces, parliaments or borders.
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Art - and more general: fictions - can produce those narrations, but it allows doing so differently from the predetermined order, respectively breaking it and producing new forms as well as different models of identification. Just recall the numerous events, which established breaks and discontinuities in the established order, not only in the artistic field, but for society as a whole: From Flaubert s novels over the invention of photography as an artistic practice and thus breaking with established forms of representation to such groundbreaking art works as Jacques-Louis David s Death of Marat.
- Pavilion 15 | Narrative | Public Sphere
- Рывком обернувшись, Элвин очутился перед взором треугольника из немигающих глаз.
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Consequently, it would be wacky fluturând brațul gonflabil flag tube man dating to just concentrate on a particular outcome and the agency that a Handlung might or might not produce and how the notion of participation can be productive: the question of how narrations, and the resulting narratives, are constructed seems even more crucial, which also asks for an investigation in the connections or connector joints between the different actors and actions.
To put the legitimacy of a narrative into question examines the notion of actions at an earlier stage; it is no longer the substance of the action that is essential for its perception, but the modality in which it is narrated that is the examination of that which leads to and allows its narration.