Ex-Embassy



Übersetzung der Textserie für das Projekt Ex-Embassy (2018) aus dem Englischen von Manuela Koelke.

Die Ausstellung und Textserie EX-EMBASSY entpackt ein dauerhaftes Archiv kultureller und diplomatischer Hinterlassenschaften, die sich aus, entlang und über die ‚produktiven Beziehungen‘ zwischen der Deutschen Demokratischen Republik (DDR) und dem ‚fünften Kontinent‘ hinweg ergeben. Entsprechend der Definition der Geografin Doreen Massey von Raum als „Gleichzeitigkeit bisheriger Geschichten“ adressiert EX-EMBASSY die ehemalige australische Botschaft in der DDR als einen Ort, der von Prozessen geprägt ist, die weit über den physischen Zusammenhang hinausgehend vergegenwärtigt: ein Rahmen für die Untersuchung mehrerer Entwicklungen, die sowohl den Kalten Krieg als auch entstehende neoliberale ideologische Spannungen durchlaufen. Die in Auftrag gegebenen Kunstwerke und Texte befassen sich mit der Verhandlung und Infragestellung von nicht zu vereinbarenden Ordnungssystemen von Land und Eigentum, Territorium und Diplomatie, wobei die Rolle der Ästhetik bei einer Neuausrichtung der politischen Vorstellungskraft herausgearbeitet wird.

In Auftrag gegebene Kunstwerke und Texte sondieren und hinterfragen ein offenes Forschungsarchiv, das von der Initiatorin und Veranstalterin des Projektes, Sonja Hornung (AU/DE), vorläufig zusammengestellt und gemeinsam genutzt wird. Künstler*innen: Megan Cope (Quandamooka), Archie Moore (Kamilaroi), Sumugan Sivanesan (AU/DE), Carl Gerber (DE) & Simone van Dijken (NL), Sonya Schönberger (DE) und Khadija von Zinnenburg Carroll (AU/AT). Autor*innen: Ben Gook (AU/DE), Sarah Keenan (AU/UK), Peter Monteath (AU), Rachel O’Reilly (AU/DE), Raelee Lancaster (Wiradjuri) und Nathan Sentance (Wiradjuri). Kuratorische Beraterin: Rachel O’Reilly (AU/DE).

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The Demand of Solidarity



by Stefan Zweig

Die Forderung der Solidarität. First published in „Max Brod. Festschrift zum Fünfzigsten Geburtstag“, edited by Felix Weltsch, Mährisch-Ostrau 1934. Also published in „Das Geheimnis des künstlerischen Schaffens,“ Fischer Verlag 1993. Translated into English by Manuela Kölke

“One of the most difficult problems in the lives of writers and any creative person is their relationship to the community, their undeniable duty of solidarity. And here there is an inner conflict. “Ancient enmity,” as Rainer Maria Rilke unsurpassably says, “between life and great work.” The work they are supposed to create and the intellectual, the artistic expression they want to give to their work, actually condemn writers to seclusion. In order to concentrate, in order to grasp the problems of the time as clearly as possible, they would have to detach themselves completely from what is happening, to stand alone, to think for themselves.

To remain impartial, they would have to stay clear of all prejudices, outside any group, any community. But it is precisely the effect of their work that cancels this remoteness and brings them back into relation with the real world. Poets, artists, by expressing themselves in their work, address others and thereby give others a right, a right to themselves.  As they call upon the world to share their feelings and ideas with them, the world turns to them in the likeness of countless individuals who now demand compassion for their personal misery and fate. The fame accorded to writers and artists is nothing but the sum of a wealth of human trust they have earned, and this trust inevitably turns into a demand. Since people regard them as the ones who understand and know better, they rightly demand that they also be the ones who help. Since they perceive them to be leaders in spirit, they claim that they should support them at every opportunity, and therefore actually demand that they leave behind seclusion and solitude, and with it, however, the indispensable precondition for their work. They want them, who have a powerful command of the word, to speak out on every occasion that concerns them and to express the same solidarity that they feel towards them.

Stefan Zweig

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Theory of Nonconceptuality



The term “Unbegrifflichkeit” has initially sparked my interest due to my recent investment the notion nonconceptuality. I began to read the book with the same title by Hans Blumenberg, which has been published posthumously in 2007 with Suhrkamp. I started to translate some passages, which I consider key to his approach of the nonconceptual.

This is a first passage from p. 75-76 of “Theorie der Unbegrifflichkeit” by Hans Blumenberg
Translated by Manuela Kölke

“The distant noise of a massive body, or the perception of a trace, allow for the possibilities (and alarm the corresponding precautious behaviors) that it might be a mammoth. Just as important as the admission of this possibility is the other moment that it can also be excluded, and thereby set off a consolidation of the situation or a change of attention. “It is not a mammoth” – that is, according to Kant, an infinite judgment, that is, a logically almost worthless one, because it has diminished the infinity of possibilities only by one; in the finite horizon of a situation, however, for the logic of the lifeworld, this exclusion may be of the highest value. In the ‘negation,’ the ‘decision of reality about the awareness of possibilities’ is taken note of and brought into knowledge. Freud once remarked that the dream-consciousness is a consciousness which knows no negation. (Interpretation of Dreams, 169 ff. Merleau-Ponty, Lectures I 80). Because it knows no concept. Awakening has the character of negation against the dream because it allows the concept again. The metaphoric, as well, does not know the negation, unless, in the conceptual statement [Feststellung] toward the context of the metaphoric, that one metaphor does not get along with another, that there is interference between them, and so on. The ‘concept’ allows us to recognize and introduce imaginatively what is not there, which is according to experience not present. The concept thus allows to identify ‘gaps in the context of experience’ because it is related to the absent – but not only to make it present but also to leave it absent. Again and again, it must be said that to speak about something, which is not perceived and given is the actual mental achievement.”

Superposing Ends – In Sight of Posthumanities



In the recent decades, digital technologies have not only brought about huge ruptures and disruptions in the field of digital commu­nication and information processing. They also have extended the repertoire of the methods of inquiry towards understanding human and non-human interaction. – I will here refer to ‘non-human entities’ mostly as technological/digital/discrete entities. – This shift has thus not only impacted our everyday lives, but all fields of research and education in the arts and sciences. In contrast to most STEM fields in which new technology is continuously incorporated and applied, the Digital Humanities have emerged as the description for those n­ew digital modes of research and education that have been introduced into the hu­manities discipline.
Recent debates focus on the emergence of the Digital Humanities as a discursive construct,1 on how digital technology is applied to various disciplines and their practices,2 on the implications of Big Data,3 on the materialist dimension of digital cultures4 and on their implicit political turn5 when it comes to accessibility and manipulation of data, in the media, for example.

In my presentation, however, I will focus briefly on the different ends between traditional and Digital Humanities, and on their superposition, that is, on how their tasks can be rethought, reoriented by fusing them together into a Posthumanities. I will also focus on the conditions of a posthuman inquiry and its implications for a posthuman science. Continue reading →

An Unoccupied and Unoccupiable Place



“Ein unbesetzter und unbesetzbarer Ort” by Nikolai Roskamm
Translated by Manuela Kölke

In La Revolution urbaine, a founding text of critical urban research, Henri Lefebvre describes the city as a “pseudo-concept” that no longer corresponds to “any societal object” (1990, 65). In the mid-1980s, Jürgen Habermas, in his essay “Modern and Postmodern Architecture” asks the question, whether the concept of the city is not outdated because it no longer keeps pace with the constant change of the urban form of life (1985, 24). At about the same time, the urban sociologist Peter Saunders speaks of the “sociological irrelevancy” of the city and its traditional determining factors (1987, 17, similarly Häußermann / Siebel 1978). The planning theorist John Friedmann formulates at the beginning of the millennium succinctly: “The city is dead” (2002, XI). Quite recently, Neil Brenner and Christian Schmid – two prominent representatives of the critical urban studies – are writing in a programmatic text about their theory of planetary urbanization: “The category of the ‚city’ has today become obsolete as an analytical social science tool” (2014, 162).

The subject of my text is precisely this useless division, this inoperable and traditional concept of the city.

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