Podcasts about Hito Steyerl

Luerweg, Susanne www.deutschlandfunk.de, Kultur heute

Luerweg, Susanne www.deutschlandfunkkultur.de, Fazit

Val Ravaglia is a curator born in Rome who has been based at Tate Modern since 2012, where she is now Curator of Displays and International Art. She holds a PhD in Humanities and Cultural Studies from the London Consortium at Birkbeck and has curated or co-curated works by artists including Hito Steyerl, Rebecca Horn, Nam June Paik, Phyllida Barlow and Monster Chetwynd, as well as leading the rehang of the entire Tate Modern collection ahead of the opening of the New Tate Modern in 2016.Val most recently curated Electric Dreams: Art and Technology Before the Internet at Tate Modern, which gives us a lot to think about as AI becomes a greater part of our conversations. The Daily Telegraph called it "a nerd's nirvana" with a premise that was "simple, smart, and electrifying." The Upcoming described it as "an engrossing exhibition" that revealed how artists "forged new creative frontiers." Studio International called it "an impressive amalgamation of research" with "scope and ambition" that ranked it among the most significant shows of 2024.

Guido Saracco"Biennale Tecnologia"http://www.biennaletecnologia.itda mercoledì 15 a domenica 19 aprile 2026Oltre 120 appuntamenti con più di 300 ospiti da tutto il mondoTra i tanti ospiti dell'edizione: Stefano Accorsi, Silvia Bencivelli, Paolo Benanti, Mitchell Baker, Dario Bressanini, Maccio Capatonda, Maurizio Cheli, Andrea Colamedici, Michael Crawley,Marcus du Sautoy, Dario Fabbri, Maurizio Ferraris, Karen Hao, Joe R. Lansdale, Riccardo Luna, Linus,  Daniel Oberhaus, Marco Paolini, Telmo Pievani, Chen Qiufan, Daniel Susskind, Hito Steyerl, Mariarosaria Taddeo, Giorgio Vallortigara, Jacopo Veneziani, Alessandro Vespignani, Gustavo Zagrebelsky Torna a Torino per la sua quinta edizione Biennale Tecnologia, manifestazione culturale organizzata dal Politecnico di Torino e dedicata a esplorare il rapporto tra tecnologia e società, da mercoledì 15 a domenica 19 aprile. Il titolo scelto per questa edizione è Soluzioni, tema che ruota attorno a un interrogativo fondamentale: in che modo la tecnologia può essere messa al servizio dell'interesse collettivo? Le grandi trasformazioni del presente – ambientali, energetiche, sociali, culturali e digitali – vengono affrontate non solo per metterne in luce le criticità, ma per individuare risposte reali, applicabili e condivise. Un ricco e articolato programma, quindi, con un obiettivo: colmare il divario tra le scienze tecnologiche e le scienze umane, all'insegna del claim manifestazione: “Tech Cultures”.  L'obiettivo della manifestazione è andare oltre l'alternativa tra entusiasmo e pregiudizi, creando uno spazio di confronto aperto tra scienze, saperi umanistici, arti e società civile. In questo dialogo, insieme a oltre 300 ospiti nazionali e internazionali e in oltre 120 appuntamenti, si analizzerà l'impatto delle innovazioni in ambiti come istruzione, lavoro, economia, salute, politica, relazioni e produzione culturale. Il programma di Biennale Tecnologia è curato da Guido Saracco e dai co-curatori Simone Arcagni, il collettivo Frame - Divagazioni scientifiche (Alberto Agliotti, Emiliano Audisio, Francesca Calvo, Enrica Favaro, Beatrice Mautino), Federico Bomba (Sineglossa). Sono quattro i filoni tematici seguiti: Saracco ha coordinato l'intero programma e nello specifico si è focalizzato sul filone dedicato all'impatto dell'IA e alle trasformazioni che implica nella società e nel rapporto con l'essere umano; Arcagni sul rapporto tra cultura e tecnologia; il collettivo Frame - Divagazioni scientifiche, si è occupato di incontri che in maniera trasversale toccano più argomenti, dallo spazio alla salute; Bomba (Sineglossa), invece, hanno curato due mostre inserite nel programma, Framing Problems e Dati Sensibili.La V edizione di Biennale Tecnologia si distingue per la sua presenza diffusa nello spazio urbano: quest'anno infatti la manifestazione non si limita a coinvolgere gli ambienti accademici del Politecnico di Torino, che rimane la sede centrale, ma si estenderà in maniera capillare nella città. Le sedi che accoglieranno il programma di Biennale Tecnologia saranno: Circolo dei lettori e delle lettrici, Accademia delle Scienze di Torino, Oratorio di San Filippo Neri, Museo Nazionale del Risorgimento Italiano, Teatro Regio, Piazza San Carlo, Teatro Carignano, Unione Industriali Torino, OGR Torino, Teatro Vittoria, CAP10100, Conservatorio Statale di Musica “Giuseppe Verdi” di Torino, Fondazione Sandretto Re Rebaudengo, Museo Egizio, Palazzo Birago - Camera di commercio di Torino, Museo Nazionale del Cinema, Museo Nazionale dell'Automobile, Gallerie d'Italia – Torino, Area X, XKè? Il laboratorio della curiosità.Anche questa edizione di Biennale Tecnologia propone al suo ampio pubblico non solo incontri e lezioni, ma anche mostre, laboratori, attività per le scuole e iniziative diffuse, trasformando Torino in un laboratorio temporaneo di sperimentazione e confronto.Sarà Alessandro Vespignani, fisico italiano, a tenere la lectio magistralis di inaugurazione della manifestazione. Il titolo dell'incontro è La co-evoluzione di essere umani e intelligenza artificiale: in un circolo continuo in cui dati e decisioni si influenzano reciprocamente, generando effetti sociali complessi, comprendere queste dinamiche è fondamentale per governare l'IA in modo responsabile, sul piano tecnico, etico e politico, e per rafforzare la consapevolezza critica dei cittadini. Inoltre, Biennale Tecnologia inaugura il programma anche con una rappresentazione teatrale, che quest'anno sarà firmata da Marco Paolini: lo spettacolo Dov'è il Po?. In scena, Mirko Artuso, Marta Dalla Via, Ted Keijser raccontano il Po come realtà fisica e politica, mostrando come i fiumi superino i confini nazionali e “ragionino” per bacini idrografici più che per Stati.Saranno diversi i nuclei tematici che verranno affrontati: interfacce cervello-macchina; geopolitica e democrazia della tecnologia; la tecnologia e le scienze umane a confronto; l'IA e il digitale tra lavoro, economia e formazione; uno sguardo verso lo spazio; medicina, matematica e innovazione; sport e benessere e nuove tecnologie; sostenibilità, ambiente e risorse; l'IA tra poesia, robotica ed etica. Quest'anno è stato dato grande rilievo alla relazione tra tecnologia e mondi espressivi tradizionalmente distanti dalle discipline tecniche, attraverso i format delle esposizioni artistiche e le mostre. Parte integrante dell'edizione di Biennale Tecnologia sono le due mostre in programma curate da Federico Bomba, presidente di Sineglossa – Framing Problems e Dati sensibili – e l'installazione BLACK-OUT. Energia, interazioni e mitocondri a cura di Vincenzo Guarnieri. Framing Problems, di Biennale Tecnologia e Fondazione Sandretto Re Rebaudengo, co-curata da Bernardo Follini, è una mostra diffusa in sei sedi cittadine che coinvolge otto artisti internazionali e propone un focus sull'uso e sull'impatto delle nuove tecnologie nella società. Il progetto propone l'arte come pratica per indagare i modi in cui questioni cruciali come la guerra, il genocidio, la disinformazione entrano nel discorso pubblico in un presente in cui le crisi ambientali, le trasformazioni sociali e le accelerazioni tecnologiche si intrecciano. Le opere, concepite come dispositivi di attenzione nello spazio pubblico, invitano a rallentare e osservare criticamente le contraddizioni del presente digitale. Dati sensibili, a cura di Federico Bomba e ospitata al Museo Nazionale del Risorgimento, nasce da una collaborazione con l'Associazione Archivio Storico Olivetti per interrogare il presente attraverso tre temi fondativi: città, tecnologia e lavoro. Il percorso espositivo alterna materiali d'archivio e macchine olivettiane, rendendo tangibile la materialità del sapere e la sua stratificazione nel tempo, restituendo ai dati la loro dimensione originaria di esperienza e di lavoro umano. L'esperienza analogica si conclude nella Sala dei Plebisciti con un incontro di carattere fortemente sperimentale.Come nelle passate edizioni, Biennale Tecnologia incontra il pubblico anche con diversi spettacoli in programma, come Automavie. La vita a rendere, da un soggetto di Luca De Biase, con l'adattamento e regia di Sergio Ferrentino e musiche originali di Gianluigi Carlone. Lo spettacolo è un esperimento radicale che attraversa il pianeta: Automavie promette di liberare l'umanità dal lavoro grazie a robotica avanzata e intelligenza artificiale, garantendo beni e servizi a cinquemila tester distribuiti nei cinque continenti. Prometeo Talks, con la regia di Gabriele Vacis, intreccia il mito eschileo con le visioni contemporanee di Federico Ferrero, Diego Nargiso, Guido Saracco, Angelica Savoini e Virginia Vergero, accompagnati da Vacis e dagli attori di POEM – Potenziali Evocati Multimediali. Lo spettacolo fonde parola accademica e coro scenico, tra intelligenza artificiale, ambiente, lavoro, nel segno del fuoco di Prometeo. Machiavelli Music, invece, presenta due spettacoli: il primo, Tecnomusik. Neurodinamiche dell'esperienza musicale: tra entrainment rimodellamento plastico sarà con Alice Mado Proverbio e con la performance musicale degli allievi del Conservatorio Statale di Musica “Giuseppe Verdi” di Torino. L'incontro affronterà inoltre il tema della neuroplasticità, mostrando come la pratica e l'ascolto della musica possano indurre cambiamenti funzionali e strutturali nel cervello umano. Il secondo spettacolo, invece, Tecnomusik. Il libro del mondo è scritto in musica sarà con Telmo Pievani, le musiche di Giorgio Li Calzi e con la performance musicale di un gruppo Jazz di allievi del Conservatorio di Torino. Lo spettacolo racconta il legame sorprendente tra matematica e natura, mostrando come idee nate per gioco nella mente degli scienziati si rivelino strumenti fondamentali per comprendere il mondo. E ancora: Retrofuturo, per la regia di Antonella Questa, è una commedia brillante che riflette su ciò che cambia, su ciò che resiste e su ciò che vale ancora la pena rivendicare. In scena, Francesca Fiore e Sarah Malnerich rappresentano due donne, due epoche, e, in un appuntamento dal parrucchiere, emergono problemi diversi e la stessa identica domanda: e se la realtà a cui siamo abituate non fosse la migliore possibile? Inoltre, verrà presentato lo spettacolo La sussurratrice – Dialogo con una macchina con Olivia Manescalchi e Guido Saracco, per la regia di François-Xavier Frantz, con i danzatori della Roma City Ballet Company di Fabrizio di Fiore Entertainment e le coreografie di Manuel Paruccini, che racconta la progressione del rapporto tra uno Scienziato, programmatore e creatore di un'Intelligenza Artificiale e la sua Creatura. Socrate 16.22, invece, è uno spettacolo scritto da Filippo Gentili, con la consulenza scientifica del Politecnico Torino, per la regia di Ferdinando Ceriani e le musiche di RobertoDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

With the recent 'AI Boom', the energy demand of computing has risen dramatically. As generative artificial intelligence (AI) chatbots such as Chat GPT, Claude, Copilot and Grok become more mainstream, tech companies are racing to build and power new data centres - the physical 'computer factories' that store and process our information and online services. This new infrastructure is significantly increasing greenhouse gas emissions - but tech companies argue that the climate innovations and efficiency improvements catalysed by AI tools will offset negative impacts. Could such claims prove true, or are they greenwashed PR? Alasdair puts this question to writer and energy analyst Ketan Joshi, who recently authored a report on AI's climate impacts alongside several leading nonprofits. Further reading:Read more from Ketan on climate and AI on his blog, here. 'Does Generative AI “Work”? That's a Misleading Question.', Ketan Joshi, The New Republic, March 2026The AI Climate Hoax: Behind the Curtain of How Big Tech Greenwashes Impacts, Ketan Joshi, February 2026'Crypto and AI exploit conflict zones and fossil fuels – with destructive consequences', Hito Steyerl, Gago Gagoshidze and Miloš Trakilović, Land and Climate Review, July 2025Empire of AI, Karen Hao, May 2025'Big Tech's green promises are hypocritical gestures', Nick Dyer-Witheford and Alessandra Mularoni, Land and Climate Review, April 2025SYSTEM OVERLOAD: How new data centres could throw Europe's energy transition off course, Beyond Fossil Fuels, February 2025Send us Fan MailClick here for our website to read all our most recent Land and Climate Review features and pieces.

Nel 1976, Nagisa Ōshima spingeva il cinema verso un limite estremo, dove il desiderio si faceva secessione radicale dal mondo. Trent'anni dopo, nel 2007, Hito Steyerl rilegge quel limite come pretesto per un'indagine sull'estetica politica e sulle dinamiche del potere che attraversano il corpo e l'immagine. Matteo e Simone, nel nuovo appuntamento di Salotto Retrocritica in occasione del cinquantesimo anniversario del film, si confrontano con il saggio della Steyerl per interrogarsi su quanto quella provocazione parli ancora al nostro presente. Buon ascolto!Qui il testo in inglese: https://texts.artistsspace.org/z99jvyzjAltri link:https://www.uzak.it/rivista/uzak-10/lo-stato-delle-cose/ecco-limpero-dei-sensi.htmlhttps://www.unive.it/web/it/7162/dettaglio/690Il nostro canale Telegram per rimanere sempre aggiornati e comunicare direttamente con noi: https://t.me/SalottoMonogatariSpotify: https://open.spotify.com/show/2QtzE9ur6O1qE3XbuqOix0?si=mAN-0CahRl27M5QyxLg4cwApple Podcasts: https://podcasts.apple.com/it/podcast/salotto-monogatari/id1503331981Google Podcasts: https://www.google.com/podcasts?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy8xNmM1ZjZiNC9wb2RjYXN0L3Jzcw==Logo creato da:Massimo ValentiSigla e post-produzione a cura di:Alessandro Valenti / Simone MalaspinaPer il jingle della sigla si ringraziano:Alessandro Corti e Gianluca NardoPer la gestione dei canali social si ringrazia:Selene Grifò

C'era una volta in Italia - Gli anni Ottanta è il terzo volume di una serie di libri di Enrico Deaglio e Ivan Carozzi che ricostruiscono le tappe fondamentali della storia Italiana a partire dagli anni Sessanta. Gli anni Ottanta, un decennio che viene solitamente ricordato come superficiale e spensierato, si rivela invece molto violento e percorso da trame sotterranee. Marty Supreme, il film di Marty Reisman con Timothée Chalamet, è nelle sale italiane dal 22 gennaio. The island è una complessa videoinstallazione dell'artista tedesca Hito Steyerl che parla di scienza, fantascienza, archeologia e intelligenze artificiali. Un documentario su Netflix, The stringer, racconta la storia di una delle fotografie di guerra più famose della storia. CONEnrico Deaglio e Ivan Carozzi, giornalisti e scrittoriLucia Magi, giornalista che collabora con Internazionale da Los AngelesChiara Costa, capo della programmazione di Fondazione PradaRosy Santella, photo editor di InternazionaleSe ascolti questo podcast e ti piace, abbonati a Internazionale. È un modo concreto per sostenerci e per aiutarci a garantire ogni giorno un'informazione di qualità . Vai su internazionale.it/podcastScrivi a podcast@internazionale.it o manda un vocale a +39 3347063050Produzione di Claudio Balboni e Vincenzo De Simone.Musiche di Carlo Madaghiele, Raffaele Scogna, Jonathan Zenti e Giacomo Zorzi.Direzione creativa di Jonathan Zenti.C'era una volta in Italia - gli anni Ottanta: https://www.youtube.com/watch?v=Xo1pP5yJqH4Marty Supreme: https://www.youtube.com/watch?v=Por5AWQB9_M&t=5sThe island: https://www.fondazioneprada.org/project/the-island-hito-steyerl/The stringer: https://www.netflix.com/it/title/82069795Ci piacerebbe sapere cosa pensi di questo episodio. Scrivici a podcast@internazionale.it Se ascolti questo podcast e ti piace, abbonati a Internazionale. È un modo concreto per sostenerci e per aiutarci a garantire ogni giorno un'informazione di qualità. Vai su internazionale.it/abbonatiConsulenza editoriale di Chiara NielsenProduzione di Claudio Balboni e Vincenzo De SimoneMusiche di Tommaso Colliva e Raffaele ScognaDirezione creativa di Jonathan Zenti

Quasi famoso come “L'origine del mondo” “Il sonno” di Gustave Courbet è un quadro che ha destato altrettanto scalpore e che a lungo non ha potuto essere mostrato in pubblico perché le due giovani addormentate nude apparivano come una chiara allusione a una scena di lesbismo.Ma l'arte da sempre ama raffigurare il sonno. Che ne siano preda dei, eroi, figure mitologiche, oppure anche solo animali domestici, i dormienti sono uno dei soggetti più frequenti fin dall'arte classica.Due mostre contemporaneamente – a Parigi e a Torino – propongono in queste settimane un viaggio che spazia dal ‘600 fino alla nostra contemporaneità e indaga la rappresentazione del sonno e dei misteri della notte.Per “Voci dipinte” è occasione e pretesto per riflettere con lo storico e divulgatore d'arte Stefano Zuffi su come nei secoli l'arte abbia rappresentato il sonno e l'universo ad esso correlato.La mostra della settimana è firmata da Hito Steyerl una delle artiste e saggiste contemporanee più interessanti nell'affrontare le tematiche dei media e delle immagini, che all'Osservatorio Prada di Milano presenta fino al 30 ottobre 2026 il suo ultimo progetto dal titolo “The Island”.

Quasi famoso come “L'origine del mondo” “Il sonno” di Gustave Courbet è un quadro che ha destato altrettanto scalpore e che a lungo non ha potuto essere mostrato in pubblico perché le due giovani addormentate nude apparivano come una chiara allusione a una scena di lesbismo.Ma l'arte da sempre ama raffigurare il sonno. Che ne siano preda dei, eroi, figure mitologiche, oppure anche solo animali domestici, i dormienti sono uno dei soggetti più frequenti fin dall'arte classica.Due mostre contemporaneamente – a Parigi e a Torino – propongono in queste settimane un viaggio che spazia dal ‘600 fino alla nostra contemporaneità e indaga la rappresentazione del sonno e dei misteri della notte.Per “Voci dipinte” è occasione e pretesto per riflettere con lo storico e divulgatore d'arte Stefano Zuffi su come nei secoli l'arte abbia rappresentato il sonno e l'universo ad esso correlato.La mostra della settimana è firmata da Hito Steyerl una delle artiste e saggiste contemporanee più interessanti nell'affrontare le tematiche dei media e delle immagini, che all'Osservatorio Prada di Milano presenta fino al 30 ottobre 2026 il suo ultimo progetto dal titolo “The Island”.

Thu, 08 Jan 2026 17:14:00 +0000 https://feed.neuezwanziger.de/link/21941/17249510/da94c66e-9b4c-419b-8a64-4a5c4af2ec5a b9a554de333a9c3ffbb6ee6605b70a9e Stefan und Wolfgang treffen sich vorm Salon Alles hören Komm' in den Salon. Es gibt ihn via Webplayer & RSS-Feed (zum Hören im Podcatcher deiner Wahl, auch bei Apple Podcasts und Spotify). Wenn du Salon-Stürmer bist, lade weitere Hörer von der [Gästeliste] Diskutiert mit uns hier 00:00:00 – Vor dem Salon Der Salon beginnt mit einem Blick auf die aktuelle Nachrichtenlage, angefangen bei den Haftungsfragen des Gelsenkirchener Tresorraum-Einbruchs bis hin zur politischen Aufarbeitung des Berliner Stromausfalls und der Kritik an Kai Wegners Freizeitgestaltung während der Krise. Die Gastgeber analysieren zudem die neue geopolitische Ehrlichkeit der USA unter Trump, die unverhohlen ökonomische Interessen in Venezuela artikuliert, und demaskieren den Schaukampf zwischen Jake Paul und Mike Tyson als Symptom einer durchinszenierten Leistungsgesellschaft. Schließlich wird der Bogen zu den transhumanistischen Fantasien der Tech-Elite gespannt, exemplifiziert an Alexander Wangs Wunsch nach Hirn-Computer-Schnittstellen zur Sicherung kognitiver Dominanz. 00:52:39 – Salon für Dezember 2025 Wolfgang und Stefan leiten zum Hauptteil des Salons über und geben einen kurzen Ausblick auf die Themenvielfalt der Episode. Zudem stellen sie die neue Diskurs-Plattform des Podcasts vor, die eine unabhängigere Hörerkommunikation ermöglichen soll. 00:54:57 – Salon-Hinweis für März Wolfgang kündigt einen gemeinsamen Konzertbesuch mit der Community für März 2026 in der Alten Oper Frankfurt an. Geplant ist der Besuch eines Auftritts des Isidore String Quartets, das Werke von Haydn und Dvořák spielen wird. 00:55:56 – Daniel Markovits, The Meritocracy Trap, 2019 Im Zentrum der Diskussion steht Daniel Markovits' These, dass die Meritokratie zu einem Mechanismus mutiert ist, der Reichtum und Chancen innerhalb einer neuen, super-ordinären Arbeiterklasse konzentriert und eine Kastenbildung durch exzessive Bildungsinvestitionen vorantreibt. Die Gastgeber analysieren, wie diese neue Elite, anders als frühere Aristokratien, ihre Privilegien durch extreme Selbstausbeutung legitimiert, was zu einer toxischen Dynamik aus Burnout bei den Gewinnern und systematischem Ausschluss der Mittelschicht führt. Dieser strukturelle Verschluss wird als wesentlicher Treiber für den modernen Populismus identifiziert, da die Aufstiegsversprechen der Leistungsgesellschaft für die breite Masse zur Illusion verkommen sind. Erwähnungen: Branko Milanović, Michael Sandel, Francis Fukuyama, Alexander Wang, Peter Thiel, Mark Zuckerberg, Karl Marx, Friedrich Engels, Thorstein Veblen, Pierre Bourdieu, Barack Obama, Donald Trump, Hillary Clinton, George W. Bush, Bill Clinton, Chelsea Clinton, Julia Friedrichs, Christoph Butterwegge, Oliver Stone, Michael Douglas, Gordon Gekko. 02:57:21 – Die meritokratische Falle in 1 Minute Wolfgang fasst die Kernbotschaft des Buches prägnant zusammen: Die Meritokratie ist eine Falle, die echte Gleichheit durch einen gnadenlosen Wettbewerb ersetzt, der letztlich sowohl die erschöpften Gewinner als auch die abgehängten Verlierer beschädigt. 02:59:24 – Ben Shattuck, Die Geschichte des Klangs, 2024 Wolfgang rezensiert Ben Shattucks Erzählung, die zwei Liebesgeschichten über Jahrzehnte hinweg verwebt, verbunden durch das Motiv des Sammelns von Volksliedern und die Frage, ob Liebe besser als flüchtige, intensive Erinnerung oder als gelebte Realität bewahrt wird. Die Novelle kontrastiert die melancholische Schönheit festgehaltener Momente auf Wachswalzen mit der Tristesse eines angepassten Lebens und wirft die Frage auf, was von einem Leben bleibt, wenn man sich gegen die Leidenschaft entscheidet. Erwähnungen: Paul Mescal, Josh O'Connor, Thomas Edison, Jane Austen, Édouard Manet. 03:10:49 – C.J. Chivers, In Ukraine, a New Arsenal of Killer A.I. Drones Is Being Born, 2025 Stefan stellt eine investigative Reportage über die rasante Evolution der semi-autonomen Drohnenkriegsführung in der Ukraine vor, in der westliche Tech-Größen wie Eric Schmidt das Konfliktgebiet als Labor für KI-gesteuerte Waffensysteme nutzen. Diskutiert wird der technologische Sprung zu visuellen Positionierungssystemen, die herkömmliche Störsender nutzlos machen und konventionelle Militärinfrastruktur obsolet werden lassen könnten. Die Gastgeber debattieren das "Gatling-Paradoxon" – die trügerische Hoffnung, dass tödlichere Technologie zu mehr Abschreckung führt – und die Verwischung der Grenzen zwischen Silicon Valley, Hollywood-Ästhetik und automatisiertem Töten. Erwähnungen: Eric Schmidt, Nazar Bigun, Brian Streem, Daniel Suarez, Paul Virilio, Steven Spielberg, Richard Gatling. 03:24:36 – Uwe Volkmann, Die unpolitische Gewalt, 2025 Wolfgang diskutiert Uwe Volkmanns Kritik am Bundesverfassungsgericht, dem vorgeworfen wird, sich durch juristischen Formalismus – etwa bei der Triage-Gesetzgebung oder der Schuldenbremse – der politischen Verantwortung zu entziehen. Es wird debattiert, ob der strikte Rechtspositivismus eine notwendige Demokratiesicherung darstellt oder ob er zu einer Dysfunktionalität führt, bei der existenzielle Fragen in Zuständigkeitsdebatten zerrieben werden, anstatt materielle Gerechtigkeit zu schaffen. Erwähnungen: Paul Laband, Gustav Radbruch, Christian Lindner. 03:50:45 – ungleichheit.info Stefan empfiehlt eine Webseite zur Datenvisualisierung, die die extreme Diskrepanz der Vermögensverteilung eindrücklich darstellt und aufzeigt, wie systematisch Großparteien das Thema Ungleichheit in ihren Wahlprogrammen ignorieren. Dies dient als Aufhänger für ein Plädoyer zur Renaissance der unabhängigen Blogosphäre und persönlicher Webseiten, um der Dominanz zentralisierter Plattformen etwas entgegenzusetzen. Erwähnungen: Martina Liel, Reese Witherspoon, Dua Lipa. 03:57:20 – Hito Steyerl, Medium Hot. Bilder in Zeiten der Hitze, 2024 Wolfgang bespricht Hito Steyerls Essaysammlung zur Ästhetik und Politik von KI-Bildern, insbesondere das Phänomen des "Haxenpornos" – verzerrte, nicht-explizite Nacktheit als Resultat prüder Content-Filter. Die Diskussion beleuchtet, wie KI-Modelle "gemeine Bilder" (mean images) erzeugen, die einen statistischen Durchschnitt abbilden und dabei gesellschaftliche Normen und koloniale Strukturen reproduzieren. Erwähnungen: James Bridle, Édouard Manet, Yann LeCun. 04:05:47 – Benjamin Riley, Large Language Mistake, 2024 Stefan führt eine Kritik an Large Language Models ein, die die Gleichsetzung von sprachlicher Kompetenz mit echter Intelligenz infrage stellt und argumentiert, dass Sprache primär ein Kommunikationswerkzeug und nicht der Gedanke selbst ist. Der Text postuliert, dass LLMs als "Maschinen toter Metaphern" lediglich vorhandene kulturelle Skripte recyceln, ohne die für echte Innovation notwendige kognitive Tiefe zu besitzen. Erwähnungen: Dario Amodei, Mark Zuckerberg. 04:11:21 – Vauhini Vara, What If Readers Like A.I.-Generated Fiction?, 2024 Das Segment beleuchtet ein Experiment, bei dem eine KI beauftragt wurde, einen Text von Han Kang stilistisch zu imitieren, wobei Testleser die geglättete KI-Version oft dem emotional roheren Original vorzogen. Die Gastgeber diskutieren die Implikationen für die Literatur und hinterfragen, ob die "Authentizität" eines Autors für den Lesegenuss notwendig ist oder ob KI-Assistenz die literarische Varianz legitim erweitern könnte. Erwähnungen: Han Kang, Stephen King, J.K. Rowling, Ernest Hemingway, Gwyneth Paltrow. 04:26:58 – Nils Schniederjann, Nicht besser als die EKD: Die Kriegsrhetorik der deutschen Katholiken, 2024 Wolfgang analysiert einen Artikel, der die Deutsche Bischofskonferenz für ihre kriegsbefürwortende Haltung kritisiert, die eher Regierungslinien folgt als der diplomatischen Friedanstradition des Vatikans. Diskutiert wird der Riss zwischen den deutschen Bischöfen und dem universalistischen, pazifistischeren Ansatz von Papst Franziskus sowie die Frage nach der Relevanz der Kirche, wenn sie lediglich säkulare Sicherheitsstrategien theologisch verbrämt. Erwähnungen: Papst Leo XIII., Papst Johannes XXIII., Papst Franziskus, Wladimir Putin. 04:34:22 – Musik: Quatuor Arod spielt Haydn Wolfgang empfiehlt die Einspielung von Joseph Haydns Streichquartetten Op. 76 durch das Quatuor Arod und lobt deren dynamischen, transparenten Klang, der durch die Verwendung historischer Bögen erzielt wird. Die Rezension hebt hervor, wie das Ensemble den Gesprächscharakter der Gattung und die Balance zwischen kontemplativer Tiefe und tänzerischer Derbheit meistert. Erwähnungen: Joseph Haydn, André Rieu. 04:38:09 – Ankündigung: Patrick Kaczmarczyk Stefan und Wolfgang kündigen die Lektüre für den nächsten Salon an: Patrick Kaczmarczyks Analyse zum Zerfall der westlichen Weltordnung und dem Aufstieg des globalen Südens. Literaturliste Daniel Markovits: The Meritocracy Trap penguin.co.uk Ben Shattuck: Die Geschichte des Klangs hanser-literaturverlage.de C.J. Chivers: In Ukraine, a New Arsenal of Killer A.I. Drones Is Being Born nytimes.com Uwe Volkmann: Die unpolitische Gewalt faz.net Ungleichheit.info ungleichheit.info Hito Steyerl: Medium Hot. Bilder in Zeiten der Hitze diaphanes.net Benjamin Riley: Large Language Mistake theverge.com Vauhini Vara: What If Readers Like A.I.-Generated Fiction? newyorker.com Nils Schniederjann: Nicht besser als die EKD: Die Kriegsrhetorik der deutschen Katholiken freitag.de Musik: Quatuor Arod spielt Haydn warnerclassics.com Ankündigung: Patrick Kaczmarczyk – Zerfall der Weltordnung: Die Ignoranz des Westens und der Aufstand des globalen Südens westendverlag.de full Stefan und Wolfgang treffen sich vorm Salon no Stefan Schulz und Wolfgang M. Schmitt 3298

Spreng, Eberhard www.deutschlandfunk.de, Kultur heute

Bulucz, Alexandru www.deutschlandfunk.de, Büchermarkt

Fuhrig, Dirk www.deutschlandfunk.de, Büchermarkt

Two of the most important artists of the 21st century help us tease through the implications of our book. 

“Una mattina mi son' svegliato…” (Bella Ciao). Na terceira década deste vinte e um, parece que os manifestos de ordem literária são gravados em balas. As palavras com capacidade de ruptura, de suspensão viajam em trajectórias balísticas. Cada tiro carrega uma proposição, um código cheio de carga viral. O atentado ameaça tornar-se o mais pregnante género literário numa época de dissolução das linguagens simbólicas. Este género distingue-se pela concisão absoluta, efeito imediato, impacto sem intermediários. O manifesto literário foi absorvido pelo disparo, num momento em que, mais do que qualquer texto, a imagem determinou que os corpos são os verdadeiros signos, saturando o espaço mediático, num momento em que a aparência consome todo o sentido, em que a estética e a política se confundem. Neste quadro, descontando esses actos mais peremptórios, dos livros, valem os que são escritos com sangue, com a merda, com essas excreções biliosas, essas pedras cultivadas interiormente e que conseguem cortar a luz, devolver-nos a um mundo trevoso. No seu livro, Heróis, Assassínio em Massa e Suicídio, Franco ‘Bifo' Berardi justifica o seu interesse por esses exemplos de brutalidade espectacular por reconhecer naqueles que a praticam a manifestação extrema de uma das tendências mais chamativas da nossa época: “Neles vejo os heróis de uma época niilista, uma era dominada por uma apavorante estupidez – a do capitalismo financeiro.” No entender deste filósofo italiano, nos nossos dias, o espaço do discurso épico foi ocupado pelas semio-corporações, esses aparatos dos quais emanam as ilusões que ocupam todo o horizonte de aspirações contemporâneas. “Aí reside a origem desta forma de tragédia tardo-moderna, nessa fronteira onde as ilusões são tomadas por realidade e as identidades percebidas como formas genuínas de pertença.” Para Bifo, a raça humana, deixando-se guiar por falsos heróis de enganosa substância electromagnética, perdeu a fé na realidade da vida e dos seus prazeres, e passou a acreditar apenas na infinita multiplicação das imagens. Ele serve-se de uma passagem do livro Os Condenados do Ecrã, em que Hito Steyerl assinala um ponto decisivo nesta transição, recordando o momento em que foi lançado o single Heroes, de David Bowie, em 1977: “Em 1977, a análise da situação iluminada pela banda punk The Stranglers proclama uma obviedade: o heroísmo terminou. Trotsky, Lenine e Shakespeare estão mortos. Enquanto os militantes de esquerda acorrem em massa ao funeral dos membros da Fracção do Exército Vermelho Andreas Baader, Gudrun Ensslin e Jan-Carl Raspe, a capa do álbum dos Stranglers mostra uma gigantesca coroa fúnebre de cravos vermelhos e declara: NÃO MAIS HERÓIS. Nunca mais. Mas também em 1977 David Bowie lança o seu single Heroes. Ele canta um novo tipo de herói, justamente a tempo da revolução neoliberal. O herói morreu, longa vida ao herói! Mas o herói de Bowie já não é um sujeito: é um objecto, uma coisa, uma imagem, um esplêndido fetiche — uma mercadoria imbuída de desejo, ressuscitada para além da miséria do seu próprio fim. Basta olhar para um vídeo de 1977 para perceber porquê: Bowie canta-se a si mesmo a partir de três ângulos simultâneos, com técnicas de sobreposição que triplicam a sua imagem; o herói de Bowie não só foi clonado, como sobretudo tornou-se numa imagem que pode ser reproduzida, multiplicada e copiada, um riff que circula sem esforço em anúncios que promovem quase qualquer coisa, um fetiche que embala como produto a glamourosa e impassível imagem de um Bowie para além dos dois géneros. O herói de Bowie já não é um ser humano maior que a vida, a cumprir missões sensacionais e exemplares; nem sequer é um ícone, mas um produto resplandecente dotado de beleza pós-humana: uma imagem e nada mais que uma imagem. A imortalidade deste herói já não provém da sua força para sobreviver a qualquer prova, mas da sua capacidade de ser fotocopiado, reciclado e reencarnado. A destruição alterará a sua forma e aparência, mas a sua substância permanecerá intacta. A imortalidade da coisa é a sua finitude, não a sua eternidade.” Face a este fenómeno seria possível identificar hoje um existencialismo de natureza puramente publicitária. Se ontem este nascia da náusea, e o homem lançado ao mundo era forçado a reconhecer-se livre, responsável, sem desculpa. Hoje, essa náusea foi estetizada, reciclada, convertida em branding. O que resta do ser não é o abismo da liberdade, mas a superfície brilhante do cartaz. Cada sujeito, em vez de se saber condenado à liberdade, descobre-se condenado à visibilidade. A nova metafísica é publicitária. A vida não se projecta — promove-se. O projecto sartriano, essa construção singular que respondia à contingência, converteu-se em storytelling padronizado. Já não me invento no risco de cada gesto, mas no algoritmo que recolhe e redistribui os meus gestos em equivalências de consumo. A angústia? Foi substituída pela ansiedade de não ser suficientemente visível, suficientemente performativo, suficientemente "autêntico" na vitrina universal. O inferno já não são os outros: é o feed. Um espaço onde o ser-para-outro já não é dialéctica mas estatística. Cada like é uma transcendência mínima, um micro-salto ontológico que me arranca por segundos à minha insignificância. A má-fé, outrora mecanismo subtil de fuga, é agora princípio estrutural. Viver é representar uma marca, e negar esse estatuto é apenas confirmar-se como produto de nicho. O homem publicitário não mente a si mesmo: ele é a própria mentira organizada, sistemática, estetizada. Que fazer diante deste deserto saturado de signos? Se em Sartre a liberdade exigia comprometer-se, aqui exige desaparição, opacidade, silêncio. Talvez a única resistência seja um existencialismo clandestino, sem campanhas nem slogans, uma vida que se furta à estetização total. Existir como quem sabota um anúncio: rasgando o cartaz, borrando o ecrã, recusando o brilho do próprio reflexo.

Künstliche Intelligenz verändert die Produktion und Wahrnehmung von Kunst und Kultur. Daher ist es wichtig, Orte des kulturellen Austauschs zu erhalten und zu fördern, sagt Filmemacherin, Autorin und Künstlerin Hito Steyerl. Koldehoff, Stefan www.deutschlandfunk.de, Kulturfragen

Join me for conversation with Dr. Jaleh Mansoor (Associate Professor of Art History in the Department of Art History, Visual Art, and Theory, University of British Columbia) about her book Universal Prostitution and Modernist Abstraction: A Counterhistory (Duke University Press, 2025). Our discussion brought us to topics like the artists' muse, the modern laborer, and other figures precariously suspended between the object/subject dialectic. In Universal Prostitution and Modernist Abstraction, Dr. Mansoor provides a counternarrative of modernism and abstraction and a reexamination of Marxist aesthetics. Mansoor draws on Marx's concept of prostitution—a conceptual device through which Marx allegorized modern labor—to think about the confluences of generalized and gendered labor in modern art. Analyzing works ranging from Édouard Manet's Olympia and Georges Seurat's The Models to contemporary work by Hito Steyerl and Hannah Black, she shows how avant-garde artists can detect changing modes of production and capitalist and biopolitical processes of abstraction that assign identities to subjects in the interest of value's impersonal circulation. She demonstrates that art and abstraction resist modes of production and subjugation at the level of process and form rather than through referential representation. By studying gendered and generalized labor, abstraction, automation, and the worker, Mansoor shifts focus away from ideology, superstructure, and culture toward the ways art indexes crisis and transformation in the political economic base. Ultimately, she traces the outlines of a counterpraxis to capital while demonstrating how artworks give us a way to see through the abstractions of everyday life. This episode was hosted by Asia Adomanis, a PhD student in the Department of History of Art at Ohio State. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Join me for conversation with Dr. Jaleh Mansoor (Associate Professor of Art History in the Department of Art History, Visual Art, and Theory, University of British Columbia) about her book Universal Prostitution and Modernist Abstraction: A Counterhistory (Duke University Press, 2025). Our discussion brought us to topics like the artists' muse, the modern laborer, and other figures precariously suspended between the object/subject dialectic. In Universal Prostitution and Modernist Abstraction, Dr. Mansoor provides a counternarrative of modernism and abstraction and a reexamination of Marxist aesthetics. Mansoor draws on Marx's concept of prostitution—a conceptual device through which Marx allegorized modern labor—to think about the confluences of generalized and gendered labor in modern art. Analyzing works ranging from Édouard Manet's Olympia and Georges Seurat's The Models to contemporary work by Hito Steyerl and Hannah Black, she shows how avant-garde artists can detect changing modes of production and capitalist and biopolitical processes of abstraction that assign identities to subjects in the interest of value's impersonal circulation. She demonstrates that art and abstraction resist modes of production and subjugation at the level of process and form rather than through referential representation. By studying gendered and generalized labor, abstraction, automation, and the worker, Mansoor shifts focus away from ideology, superstructure, and culture toward the ways art indexes crisis and transformation in the political economic base. Ultimately, she traces the outlines of a counterpraxis to capital while demonstrating how artworks give us a way to see through the abstractions of everyday life. This episode was hosted by Asia Adomanis, a PhD student in the Department of History of Art at Ohio State. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

Join me for conversation with Dr. Jaleh Mansoor (Associate Professor of Art History in the Department of Art History, Visual Art, and Theory, University of British Columbia) about her book Universal Prostitution and Modernist Abstraction: A Counterhistory (Duke University Press, 2025). Our discussion brought us to topics like the artists' muse, the modern laborer, and other figures precariously suspended between the object/subject dialectic. In Universal Prostitution and Modernist Abstraction, Dr. Mansoor provides a counternarrative of modernism and abstraction and a reexamination of Marxist aesthetics. Mansoor draws on Marx's concept of prostitution—a conceptual device through which Marx allegorized modern labor—to think about the confluences of generalized and gendered labor in modern art. Analyzing works ranging from Édouard Manet's Olympia and Georges Seurat's The Models to contemporary work by Hito Steyerl and Hannah Black, she shows how avant-garde artists can detect changing modes of production and capitalist and biopolitical processes of abstraction that assign identities to subjects in the interest of value's impersonal circulation. She demonstrates that art and abstraction resist modes of production and subjugation at the level of process and form rather than through referential representation. By studying gendered and generalized labor, abstraction, automation, and the worker, Mansoor shifts focus away from ideology, superstructure, and culture toward the ways art indexes crisis and transformation in the political economic base. Ultimately, she traces the outlines of a counterpraxis to capital while demonstrating how artworks give us a way to see through the abstractions of everyday life. This episode was hosted by Asia Adomanis, a PhD student in the Department of History of Art at Ohio State. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

“Le monde selon l'IA”au Jeu de Paume, Parisdu 11 avril au 21 septembre 2025Entretien avec Antonio Somaini, professeur de théorie du cinéma, des médias et de la culture visuelle à l'Université Sorbonne Nouvelle et commissaire général de l'exposition,par Anne-Frédérique Fer, à Paris, le 28 avril 2025, durée 16'50,© FranceFineArt.https://francefineart.com/2025/05/10/3616_le-monde-selon-l-ia_jeu-de-paume/Communiqué de presse Commissaire général : Antonio SomainiCommissaires associés : Ada Ackerman, Alexandre Gefen, Pia ViewingLe Jeu de Paume présente, du 11 avril au 21 septembre 2025, une exposition explorant les liens entre intelligence artificielle et l'art contemporain, qui sera la première au monde de cette ampleur.Développées à vitesse accélérée dans tous les champs de la société, les intelligences artificielles suscitent aujourd'hui étonnement, frayeur, enthousiasme ou scepticisme.Le monde selon l'IA présente une sélection d'oeuvres d'artistes qui, au cours de ces dix dernières années, se sont emparés de ces questions en art, photographie, cinéma, sculpture, littérature… Elle d.voile des oeuvres – en grande parties inédites – d'artistes de la scène française et internationale tels Julian Charrière, Grégory Chatonsky, Agnieszka Kurant, Christian Marclay, Trevor Paglen, Hito Steyerl, Sasha Stiles,…De l' “IA analytique”, sur laquelle se fondent les systèmes de vision artificielle et de reconnaissance faciale, . l' “IA générative”, capable de produire de nouvelles images, sons et textes, l'exposition traite de la manière dont ces technologies bouleversent les processus créatifs, redéfinissent les frontières de l'art, sans oublier d'en interroger les enjeux sociaux, politiques et environnementaux. Des capsules temporelles jalonnent par ailleurs le parcours, sous forme de vitrines suggérant des liens historiques et généalogiques entre ces phénomènes contemporains et différents objets issus du passé. Au-delà de toute fascination technophile ou de rejet technophobe, le Jeu de Paume propose, à travers cette exposition, une réflexion sur la manière dont l'IA transforme notre rapport visuel et sensible au monde, comme nos sociétés.L'intelligence artificielle, notion introduite en 1955, désigne de nos jours l'apprentissage automatique qui transforme tous les domaines de la société, avec des applications remplaçant l'action humaine sur la détection, la prise de décision ou la création de contenus textuels et visuels. Ces avancées soul.vent des enjeux éthiques, économiques, politiques et sociaux, entre autres en matière de vie privée et de discrimination, tout en bouleversant notre rapport aux images et aux textes. Dans le domaine artistique, l'IA redéfinit les processus de création, de production et de réception, mettant en crise les notions de créativité, d'originalité et de droits d'auteur. Les artistes de l'exposition mobilisent ces technologies aussi bien pour interroger leurs conséquences sur l'art et la société que pour expérimenter de nouvelles formes possibles d'expression.[...] Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Was bedeutet Normalität, wenn rechtsradikales Denken salonfähig wird? Und eine rechte Partei mit dem Slogan „Deutschland, aber normal“ wirbt? Normalität – zeigt Hito Steyerl bereits in ihrer gleichnamigen Serie von Video-Arbeiten aus den 1990er Jahren – wird dann zum Bedrohungsszenario für alle, die nicht unter die Norm fallen. Bekannt ist sie heute vor allem für ihre Video-Essays, zum Beispiel für die Arbeit „Is the Museum a Battlefield?“ über Kunst-Sponsoring von Rüstungskonzernen. Vom Magazin „Art Review“ wurde Hito Steyerl als einflussreichste Persönlichkeit in der Kunstwelt bezeichnet.

Anfang 2023 lehnte die Künstlerin Hito Steyerl den Hugo-Ball-Preis der Stadt Pirmasens ab, da in einigen Schriften Hugo Balls antisemitische Inhalte zu erkennen seien. Die Stadt und das Cabaret Voltaire in Zürich, wo Hugo Ball 1916 den Grundstein für den Dadaismus legte, veranstalteten daraufhin zahlreiche Vorträge und Workshops. Jetzt ging der Prozess mit einer abschließenden Podiumsdiskussion zu Ende.

It's Donna Tartt appreciation week! Michelle joins us for our deep dive into The Goldfinch, Donna Tartt's brilliant, award-winning novel about art, drugs, loss, and not always getting what you want. Also this week Joseph read Death Valley by Melissa Broder and Duty Free Art by Hito Steyerl, Michelle read A Curious History of Sex by Kate Lister and Fire and Blood by George R R Martin, and Saph read Son of Rosemary by Ira Levin and Taaqtumi: An Anthology of Arctic Horror Stories. This week's listener recommendation request comes from Edward who is looking for a great (auto)biography. Joseph recommends Girl In A Band by Kim Gordon. Saph recommends Crying in H Mart by Michelle Zauner and Take Away by Angela Hui. Michelle recommends Clothes Clothes Clothes, Music Music Music, Boys Boys Boys by Viv Albertine, Seabiscuit: The True Story of Three Men and a Racehorse by Laura Hillenbrand, and Educated by Tara Westover. Also mentioned in this episode:The Secret History and The Little Friend by Donna TarttMilk Fed by Melissa BroderGreat Expectations by Charles DickensWhores of Yore Twitter accounte-fluxSee the Novel Thoughts bookshop page for all books mentioned in this episode. Hosted on Acast. See acast.com/privacy for more information.

Luciana Parisi has produced some of the 21st century's most daring and bold work in the theories of cybernetics, information, and computation. Her work has had a major impact on both Marek and Roberto's artistic practices, specifically her early work in the inorganic components of human reproduction. Just a brief content note — we mention some complex topics including consent and suicide at the top of the pod, specifically in the context of David Marriott's concept of “Revolutionary Suicide”. These concepts are not extensively discussed throughout, but are nonetheless heavy topics. We strongly recommend three texts in parallel with this conversation:Probably Marek's favorite piece of theory: Abstract Sex: Philosophy, Biotechnology and the Mutations of DesireA book more specifically scoped to the subject of this conversation, which attacks the biophysicalist metaphors at the ground of how AI research markets itself: Contagious Architecture: Computation, Aesthetics, and SpaceThe essay: The Alien Subject of AI.Some references from the conversation that are likely interesting to any listener:If you haven't read Octavia Butler's Xenogenesis (renamed Lilith's Brood), we strongly recommend these amazing pieces of science fiction.If you're unfamiliar with the CCRU, play around on the CCRU website and buy this unhinged compendium from our friends at Urbanomic (they have a super sexy new edition just out now). If you haven't read Sadie Plant's Zeroes + Ones: Digital Women and the New Technoculture, it's seriously an essential read if you're interested in computation.We briefly make fun of the feature film “The Creator”, which it looks like you can stream on major platforms. We mention this in the context of Delueze and Guattari's “War Machine” — we recommend their “Nomadology: The War Machine” (if you follow Marek on Instagram, you'll note that he's obsessed with the exteriority of war machines from the state).When we start to talk about information theory, Luciana mentions Claude Shannon (one of the fathers of modern information theory), Cecile Malaspina (“An Epistemology of Noise”), and Karen Barad (“What is the Measure of Nothingness?”).Francois Laruelle is a major influence to Luciana here, in her chapter in Choreomata, and elsewhere. His corpus of work is famously intractable, but her chapter in Choreomata is a good way in.Luciana mentions Holly Herndon's work (we strongly recommend Holly+ and https://haveibeentrained.com/, alongside her and Mat Dryhurst's podcast, which was a huge inspiration to us when starting Disintegrator).Everyone should read Hito Steyerl's work “Mean Images” on NLR as they should Sylvia Wynter's “Towards the Autopoetic Turn/Overturn, its Autonomy of Human Agency and Extraterritoriality of (Self-)Cognition”.

Nach dem Rücktritt der Findungskommission fordert die Künstlerin Hito Steyerl eine vollständige Neuorientierung der Documenta. Sie müsse alte Paradigmen über Bord werfen und endlich im „Zeitalter der Multikrisen“ ankommen.Steyerl, Hitowww.deutschlandfunkkultur.de, InterviewDirekter Link zur Audiodatei

EPISODE 1827: In this KEEN ON show, Andrew talks to the filmmaker, artist and writer Hito Steyerl about what she calls the "pyramid schemes", "on-boarding" tools and the "mean" creativity of our AI ageHito Steyerl (born 1 January 1966) is a German filmmaker, moving image artist, writer, and innovator of the essay documentary. Her principal topics of interest are media, technology, and the global circulation of images. Steyerl holds a PhD in philosophy from the Academy of Fine Arts Vienna. She is currently a professor of New Media Art at the Berlin University of the Arts, where she co-founded the Research Center for Proxy Politics, together with Vera Tollmann and Boaz Levin.Named as one of the "100 most connected men" by GQ magazine, Andrew Keen is amongst the world's best known broadcasters and commentators. In addition to presenting KEEN ON, he is the host of the long-running How To Fix Democracy show. He is also the author of four prescient books about digital technology: CULT OF THE AMATEUR, DIGITAL VERTIGO, THE INTERNET IS NOT THE ANSWER and HOW TO FIX THE FUTURE. Andrew lives in San Francisco, is married to Cassandra Knight, Google's VP of Litigation & Discovery, and has two grown children.

Ein offener Brief durchbricht die dröhnende Stille im Literaturbetrieb. Jüdinnen und Juden haben das Sicherheitsgefühl in Deutschland verloren. Und eine junge Liberale will sich wohl unbeliebt machen. Das ist die Lage am Samstagmorgen. Hier die Artikel zum Nachlesen: Antisemitismus in Berlin: »Zum ersten Mal verstehe ich, was es bedeutet, Jüdin zu sein« Starkünstlerin Hito Steyerl über Antisemitismus in der Kulturszene: »Einige halten die Hamas für eine Befreiungsbewegung« FDP-Bildungspolitikerin Ria Schröder im Interview: »Warum gehen manche Leute nicht neben dem Studium arbeiten?«   +++ Alle Rabattcodes und Infos zu unseren Werbepartnern finden Sie hier: https://linktr.ee/spiegellage +++ Die SPIEGEL-Gruppe ist nicht für den Inhalt dieser Webseite verantwortlich.Alle SPIEGEL Podcasts finden Sie hier. Mehr Hintergründe zum Thema erhalten Sie bei SPIEGEL+. Jetzt für nur € 1,- für die ersten vier Wochen testen unter spiegel.de/abonnieren Informationen zu unserer Datenschutzerklärung.

Given the manifold political, climate, and technological crises unfolding just two months into 2023, one wonders if that ominous future our species so fears is much closer than we anticipated. It is a tense and dramatic time, but it does further underscore the importance of the cultural figure Hito Steyerl. The German filmmaker's bold artworks investigate emerging technologies and media, and she often sites these inquiries within society and politics, globalization, and capitalism. Yet despite the complexity of the subject matter and her research-intensive process, Steyerl's works are readily enthralling, often manifesting as highly ambitious, immersive architectural environments. It is no small wonder that her work has reached a global stage. Last year, her largest-ever retrospective, called “I Will Survive,” wrapped its European tour at the Stedelijk Museum in Amsterdam. And just last month, her exhibition called “This is the Future” opened at the Portland Art Museum, where it is on view until mid-June. On this week's episode, European editor Kate Brown spoke to Steyerl to tackle some of the questions about what artificial intelligence, the metaverse, crypto, and an increasingly imperiled natural world might mean for us.

Bruno BerteroDirettore Generale Ente Turismo Langhe Monferrato Roero"Prospettive / Perspectives"L'Ente Turismo Langhe Monferrato Roero insieme a Villa Arson, istituzione amministrativa pubblica del Ministero della Cultura francese dedicata alla creazione contemporanea, e alla Fondazione Sandretto Re Rebaudengo, istituzione con sede a Torino e a Guarene (CN) che da oltre venticinque anni opera a favore dell'arte e della cultura contemporanea, lo scorso ottobre ha presentato il progetto “Prospettive / Perspectives” che si realizzerà con il sostegno del Programma Europeo Interreg Alcotra Italia/Francia 2014-2020. “Prospettive / Perspectives” intende stimolare consapevolezza e responsabilità rispetto al tema del climate change attraverso l'arte. Per raggiungere questo obiettivo la Fondazione Sandretto Re Rebaudengo - portando avanti il suo ruolo di indagine e sostegno tra le tendenze artistiche e i linguaggi culturali del presente - ha individuato un curatore internazionale, Tom Eccles, che in accordo con gli altri partner ha selezionato due luoghi e due artisti che interverranno con opere site-specific nel territorio delle Langhe nella primavera prossima.Neviglie, in un punto panoramico dalla vista mozzafiato, ospiterà l'opera dello scultore francese Jean-Marie Appriou mentre a Roddino interverranno gli artisti Liam Gillick e Hito Steyerl. In preparazione al momento inaugurale Prospettive continua a perseguire il principale obiettivo del progetto ovvero costruire e trasferire attenzione e conoscenza sui temi del cambiamento climatico attraverso incontri fra cittadini, studenti, esperti e artisti.Il primo appuntamento del 2023 sarà giovedì 9 febbraio a Alba negli spazi di Sala Beppe Fenoglio (Cortile della Maddalena, Via Vittorio Emanuele 19) dove alle ore 18.30 il climatologo Luca Mercalli e il musicista Luca Morinoterranno un incontro approfondendo il tema del cambiamento climatico e del mutamento delle nostre colline sottolineando quanto sia fondamentale cambiare prospettiva e costruire un futuro capace di limitare gli effetti del cambiamento climatico di origine antropica. La serata, a tema conviviale con un aperitivo finale, sarà aperta al pubblico con ingresso gratuito fino ad esaurimento posti.Gli appuntamenti successivi saranno giovedì 2 marzo alle ore 18.30 presso la Fondazione Cesare Pavese (Piazza Ciriotti 1, Santo Stefano Belbo, CN) nuovamente con Luca Mercalli e Luca Morino mentre lunedì 27 marzo alle 21 a Roddino nel salone parrocchiale di Via Marconi 3 e martedì 28 marzo sempre alle 21 presso la sala polivalente del Comune di Neviglie in Via Umberto I 19 il dialogo sarà tra Luca Morino e il curatore della Fondazione Sandretto Re Rebaudengo Bernardo Follini.IL POSTO DELLE PAROLEAscoltare fa Pensarehttps://ilpostodelleparole.itQuesto show fa parte del network Spreaker Prime. Se sei interessato a fare pubblicità in questo podcast, contattaci su https://www.spreaker.com/show/1487855/advertisement

Luca Morinomusicista"Prospettive / Perspectives"L'Ente Turismo Langhe Monferrato Roero insieme a Villa Arson, istituzione amministrativa pubblica del Ministero della Cultura francese dedicata alla creazione contemporanea, e alla Fondazione Sandretto Re Rebaudengo, istituzione con sede a Torino e a Guarene (CN) che da oltre venticinque anni opera a favore dell'arte e della cultura contemporanea, lo scorso ottobre ha presentato il progetto “Prospettive / Perspectives” che si realizzerà con il sostegno del Programma Europeo Interreg Alcotra Italia/Francia 2014-2020.“Prospettive / Perspectives” intende stimolare consapevolezza e responsabilità rispetto al tema del climate change attraverso l'arte. Per raggiungere questo obiettivo la Fondazione Sandretto Re Rebaudengo - portando avanti il suo ruolo di indagine e sostegno tra le tendenze artistiche e i linguaggi culturali del presente - ha individuato un curatore internazionale, Tom Eccles, che in accordo con gli altri partner ha selezionato due luoghi e due artisti che interverranno con opere site-specific nel territorio delle Langhe nella primavera prossima.Neviglie, in un punto panoramico dalla vista mozzafiato, ospiterà l'opera dello scultore francese Jean-Marie Appriou mentre a Roddino interverranno gli artisti Liam Gillick e Hito Steyerl.In preparazione al momento inaugurale Prospettive continua a perseguire il principale obiettivo del progetto ovvero costruire e trasferire attenzione e conoscenza sui temi del cambiamento climatico attraverso incontri fra cittadini, studenti, esperti e artisti.Il primo appuntamento del 2023 sarà giovedì 9 febbraio a Alba negli spazi di Sala Beppe Fenoglio (Cortile della Maddalena, Via Vittorio Emanuele 19) dove alle ore 18.30 il climatologo Luca Mercalli e il musicista Luca Morinoterranno un incontro approfondendo il tema del cambiamento climatico e del mutamento delle nostre colline sottolineando quanto sia fondamentale cambiare prospettiva e costruire un futuro capace di limitare gli effetti del cambiamento climatico di origine antropica. La serata, a tema conviviale con un aperitivo finale, sarà aperta al pubblico con ingresso gratuito fino ad esaurimento posti.Gli appuntamenti successivi saranno giovedì 2 marzo alle ore 18.30 presso la Fondazione Cesare Pavese (Piazza Ciriotti 1, Santo Stefano Belbo, CN) nuovamente con Luca Mercalli e Luca Morino mentre lunedì 27 marzo alle 21 a Roddino nel salone parrocchiale di Via Marconi 3 e martedì 28 marzo sempre alle 21 presso la sala polivalente del Comune di Neviglie in Via Umberto I 19 il dialogo sarà tra Luca Morino e il curatore della Fondazione Sandretto Re Rebaudengo Bernardo Follini.IL POSTO DELLE PAROLEAscoltare fa Pensarehttps://ilpostodelleparole.itQuesto show fa parte del network Spreaker Prime. Se sei interessato a fare pubblicità in questo podcast, contattaci su https://www.spreaker.com/show/1487855/advertisement

Hito Steyerl's Defense of the Poor ImageHito Steyerl was born in 1966 and quickly became prominent in Germany's filmmaking circles. She's interested in how images and motifs are spread worldwide due to globalization, militarization, and surveillance migration. Steyerl's work defies convention by layering metaphors on top of metaphors and painting satire over serious subjects. One clear thing throughout Steyerl's work is that she wants the audience to think about the topic as much as she did.In this episode, I share Steyerl's concept of a poor image. According to Steyerl, a poor image symbolizes this democratization and is a way to resist image commodification. A bad image is an image that has been degraded through technological reproduction. The degradation is a loss of quality and integrity in the image.Listen to this episode and learn Steyerl's definitions of a poor image, how it can be used to exploit vulnerable communities, market cheap products, the significance of poor image in media, and the value of a poor image.Key Talking Points of the Episode:[02:14] How to transform an image[04:03] High versus low resolution images[08:07] Valid arguments against the poor image [10:12] How poor image can be used to exploit vulnerable communities[12:06] The significance of a poor image[14:01] The value of a poor imageMagical Quotes from the Episode:"A poor image is any image that has been distributed or viewed through digital technology, posted on the Internet or shared on social media.""A high-resolution image is more immersive, visually appealing and of higher quality than a low-resolution image.""A bad image is only created as a result of being viewed, distributed, modified, and circulated in a digital landscape." Visual Intonation Website: https://www.visualintonations.com/Visual Intonation Instagram: https://www.instagram.com/visualintonation/Vante Gregory's Website: vantegregory.comVante Gregory's Instagram: https://www.instagram.com/directedbyvante/ To support me on Patreon (thank you): patreon.com/visualintonations Tiktok: www.tiktok.com/@visualintonation Tiktok: www.tiktok.com/@directedbyvante

To hear our take on Andrew Callaghan and This Places Rules please support us on Patreon. 2022 was hard on your Art and Labor crew- so we wanted to start the new year with the most “le fantastique” thing we could think of, a world of endless possibilities, a place where magic could exist, a … Continue reading "182 – I See You"

We are closing out 2022 with highlights from eight incredible artists that graced the show this year. Tune in to hear the voices of Gary Hill, American Artist, WangShui, Meriem Bennani, Alan Michelson, Tourmaline, Arthur Jafa, and Hito Steyerl discussing how they think about the preservation and documentation of their work, as well as intimate inside glimpses into their practice and studios. Sending a huge heartfelt thanks to everyone all of the listeners that made 2022 such a memorable year for the show – wishing you all the best and see you in the new year! xoGet access to exlusive content - join us on Patreon!> https://patreon.com/artobsolescenceJoin the conversation:https://www.instagram.com/artobsolescence/Support artistsArt and Obsolescence is a non-profit podcast, sponsored by the New York Foundation for the Arts, and we are committed to equitably supporting artists that come on the show. Help support our work by making a tax deductible gift through NYFA here: https://www.artandobsolescence.com/donate

For our 60th episode, we are visiting with artist, writer, filmmaker, and educator, Hito Steyerl. In addition to being able to find Hito's work in museums, biennales, collections, and bookshelves all over the world, a good deal of her single-channel moving image work can be watched freely online, which of course is a good thing, but Hito's work has also explored the darker side of what the global dispersion of images can entail – starting with her deeply personal pre-internet short film Lovely Andrea. Hito's work is often deeply socially and politically engaged – taking on issues of war, labor, surveillance, climate change, and more – and this social engagement and critique extends of course to her writing. Hito is not shy about turning her lens onto corruption that exists within the art world itself, as she did in her 2017 book, Duty Free Art: Art in the Age of Planetary Civil War – a book whose initial seed of inspiration was realizing that an artwork of her own had been purchased merely as an investment and shipped directly to a tax-haven Freeport art storage facility. Hito's installations are often ambitious in scale and immersion, and are incredibly spatially away of your presence – it is quite common to find a place for yourself as a viewer to sit, rest, and enjoy the work – in a way that is very integrated with the installation itself. In our chat we cover so much ground from Hito's origins in film-making, to going inside how she conceives of and creates her immersive installations, as well as some pretty real feelings about long-term preservation of contemporary art in the age of anthropogenic climate change and global energy crisis. This episode was made possible thanks to generous support from lovely folks at the Kramlich Art Foundation. Tune in to hear Hito's story! Links from the conversation with Hito> How Not to be Seen: A Fucking Didactic Educational .MOV File, 2013: https://www.artforum.com/video/hito-steyerl-how-not-to-be-seen-a-fucking-didactic-educational-mov-file-2013-51651> Lovely Andrea, 2007: https://vimeo.com/533265768> Duty Free Art, Art in the Age of Planetary Civil War: https://www.versobooks.com/books/2992-duty-free-art> Radical Friends: https://www.furtherfield.org/radical-friends-book/ Get access to exlusive content - join us on Patreon!> https://patreon.com/artobsolescenceJoin the conversation:https://www.instagram.com/artobsolescence/Support artistsArt and Obsolescence is a non-profit podcast, sponsored by the New York Foundation for the Arts, and we are committed to equitably supporting artists that come on the show. Help support our work by making a tax deductible gift through NYFA here: https://www.artandobsolescence.com/donate

Welcome to the Film Comment Podcast! I'm Devika Girish, the Co-Deputy Editor of Film Comment. Recently, I was at the Locarno Film Festival in Switzerland, where I participated in a fascinating experimental event called The Future of Attention, curated by Rafael Dernbach, a researcher at the Universita della Svizzera Italiana. It was a continuous 24-hour live talk, moderated by 3 hosts—including yours truly—and involving a new guest each hour. The event began at noon on August 10, and went on all the way to noon on August 11, with attendees invited to sit, lounge, or even sleep in the audience when they wished. The idea was not just to discuss the workings of attention in contemporary film and media culture but also to actively experience and challenge the various ways in which we pay attention over a sustained period of time. We hope you've been following along the last two weeks as we've shared excerpts from Devika's hosting shift at the event, featuring conversations with filmmaker Helena Wittman, curator Giovanni Carmine, this year's Golden Leopard–winner Julia Murat, and others. Next up is a very exciting guest: artist, filmmaker, and critic, Hito Steyerl, who talks about teaching on Minecraft during the pandemic, maintaining techno-optimisim in very pessimistic times, and the distinction between attention and voyeurism.

At this year's Locarno Film Festival, Film Comment Co-Deputy Editor Devika Girish participated in a fascinating experimental event called “The Future of Attention”, curated by Rafael Dernbach, a researcher at the Universita della Svizzera italiana. A continuous 24-hour live talk moderated by three hosts—including Devika—and involving a new guest each hour, the event began at noon on August 10 and went on all the way to noon on August 11. Attendees were invited to sit, lounge, or even sleep in the audience as and when they wished. The idea was to not just discuss the workings of attention in contemporary film and media culture, but also to actively experience and challenge the various forms our attention may take over a sustained period of time. Over the next two weeks, we'll be sharing excerpts from Devika's hosting shift at the event, which featured some exciting guests: filmmakers Helena Wittmann and Kamal Aljafari; curator Giovanni Carmine; this year's Golden Leopard–winner, Julia Murat; artist Hito Steyerl; and scholars Kevin B. Lee and Noa Levin, among others. Today's episode features the Brazilian filmmaker Julia Murat, whose film, Rule 34, won this year's Golden Leopard. Check back here for our next episode from “The Future of Attention” at the Locarno Film Festival, featuring filmmaker and writer Hito Steyerl.

At this year's Locarno Film Festival, Film Comment Co-Deputy Editor Devika Girish participated in a fascinating experimental event called “The Future of Attention”, curated by Rafael Dernbach, a researcher at the Universita della Svizzera italiana. A continuous 24-hour live talk moderated by three hosts—including Devika—and involving a new guest each hour, the event began at noon on August 10 and went on all the way to noon on August 11. Attendees were invited to sit, lounge, or even sleep in the audience as and when they wished. The idea was to not just discuss the workings of attention in contemporary film and media culture, but also to actively experience and challenge the various forms our attention may take over a sustained period of time. Over the next two weeks, we'll be sharing excerpts from Devika's hosting shift at the event, which featured some exciting guests: filmmakers Helena Wittmann and Kamal Aljafari; curator Giovanni Carmine; this year's Golden Leopard–winner, Julia Murat; artist Hito Steyerl; and scholars Kevin B. Lee and Noa Levin, among others. Today's conversation explores the spaces and infrastructures of attention with Levin and Carmine, the director of Kunsthalle St. Gallen and the curator of Art Basel's Unlimited Section.

At this year's Locarno Film Festival, Film Comment Co-Deputy Editor Devika Girish participated in a fascinating experimental event called “The Future of Attention”, curated by Rafael Dernbach, a researcher at the Universita della Svizzera italiana. A continuous 24-hour live talk moderated by three hosts—including Devika—and involving a new guest each hour, the event began at noon on August 10 and went on all the way to noon on August 11. Attendees were invited to sit, lounge, or even sleep in the audience as and when they wished. The idea was to not just discuss the workings of attention in contemporary film and media culture, but also to actively experience and challenge the various forms our attention may take over a sustained period of time.  Over the next two weeks, we'll be sharing excerpts from Devika's hosting shift at the event, which featured some exciting guests: filmmakers Helena Wittmann and Kamal Aljafari; curator Giovanni Carmine; this year's Golden Leopard–winner, Julia Murat; artist Hito Steyerl; and scholars Kevin B. Lee and Noa Levin, among others. Today's episode features Aljafari, who discusses his new short, Paradiso XXXI, 108, and the ways in which his filmmaking draws attention to what he calls the “camera of the dispossessed.”

At this year's Locarno Film Festival, Film Comment Co-Deputy Editor Devika Girish participated in a fascinating experimental event called “The Future of Attention”, curated by Rafael Dernbach, a researcher at the Universita della Svizzera Italiana. A continuous 24-hour live talk moderated by three hosts—including Devika—and involving a new guest each hour, the event began at noon on August 10 and went on all the way to noon on August 11. Attendees were invited to sit, lounge, or even sleep in the audience as and when they wished. The idea was to not just discuss the workings of attention in contemporary film and media culture, but also to actively experience and challenge the various forms our attention may take over a sustained period of time.  Over the next two weeks, we'll be sharing excerpts from Devika's hosting shift at the event, which featured some exciting guests: filmmakers Helena Wittman and Kamal Aljafari; curator Giovanni Carmine; this year's Golden Leopard–winner, Julia Murat; artist Hito Steyerl; and scholars Kevin B. Lee and Noa Levin, among others.  First up is Wittman, who talks about her new film, Human Flowers of Flesh, and the ways in which her practice is rooted in embodied and communal experiences of time and space.  Check back here for our next episode from “The Future of Attention” at the Locarno Film Festival, featuring Kamal Aljafari.

We discussed: artistic discipline in the 21st century, curating photography, contemporary photography, interdisciplinary art, subjectivity, the evolution on photography, beauty in art, the importance of text with your artwork, artist statements, the responsibilities of artists   https://archipelagoprojects.com     People + Places mentioned: Trevor Paglen - https://www.pacegallery.com/artists/trevor-paglen/ Hito Steyerl - https://www.moma.org/artists/43752 Gerhard Richter - https://www.gerhard-richter.com     Audio engineering by Mickey at CushAudio Services Music by Peat Biby     Supported in part by: EEA Grants from Iceland, Liechtenstein + Norway – https://eeagrants.org               And we appreciate the assistance of our partners in this project: Hunt Kastner – https://huntkastner.com Kunstsentrene i Norge – https://www.kunstsentrene.no  

We discussed: artistic discipline in the 21st century, curating photography, contemporary photography, interdisciplinary art, subjectivity, the evolution on photography, beauty in art, the importance of text with your artwork, artist statements, the responsibilities of artists   https://archipelagoprojects.com     People + Places mentioned: Trevor Paglen - https://www.pacegallery.com/artists/trevor-paglen/ Hito Steyerl - https://www.moma.org/artists/43752 Gerhard Richter - https://www.gerhard-richter.com     Audio engineering by Mickey at CushAudio Services Music by Peat Biby     Supported in part by: EEA Grants from Iceland, Liechtenstein + Norway – https://eeagrants.org               And we appreciate the assistance of our partners in this project: Hunt Kastner – https://huntkastner.com Kunstsentrene i Norge – https://www.kunstsentrene.no  

WATCH IT HERE: https://www.youtube.com/watch?v=iYO_uyLqPu4&t=3137s Are AMVs proletarian or free fandom labor for multinational media companies? Where do Anime Music Videos sit in Hito Steyerl’s “an alternative economy of images” and can someone be the Dziga Vertov of AMVs? Are AMVs subjected to a particular nation state? This is the second session of Constructing the Real’s … Continue reading "Constructing the Real’s Art Worlds – Anime Music Videos: an Artform and Culture"

What is the lasting legacy of anti-war depictions? Is there revolutionary potential? OK does a presentation for the Constructing the Real class on Revolutionary Art. Picasso’s Guernica connects the brutal massacre from the Spanish Civil War to My Lai in Vietnam and torture in Iraq. Taking the commission from the Spanish republicans also changed the … Continue reading "BONUS – Picasso’s Guernica: Revolutionary Art Class Session"

We revisit Hito Steyerl’s “In Defense of Poor Image” to make a point about naiveté of the American left during the Obama administration. The web was a frontier, meaning conditions have always been ripe for dissemination of far right disinformation as well as highly polished neoliberalism. It’s a positive development that left popular discourse is … Continue reading "Episode 103 – Indefensible Poor Image and Prestige TV"

Spanish politics are complicated. Dan speaks to Carlos Delclós, Kate Shea Baird and Bécquer Seguín to help clarify the Catalan independence movement, the radical municipalist governments that now govern major Spanish cities including Barcelona, and the promise and problems of the left-wing party Podemos. Thanks to Verso Books. Check out Duty Free Art: Art in the Age of Planetary Civil War by Hito Steyerl versobooks.com/books/2553-duty-free-art. And Deport, Deprive, Extradite: 21st Century State Extremism by Nisha Kapoor versobooks.com/books/2551-deport-deprive-extradite Support this podcast at Patreon.com/TheDig and access our new weekly newsletter.

p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; line-height: 15.0px; font: 12.8px Arial; color: #222222; -webkit-text-stroke: #222222; background-color: #ffffff} p.p2 {margin: 0.0px 0.0px 0.0px 0.0px; line-height: 15.0px; font: 12.8px Arial; color: #222222; -webkit-text-stroke: #222222; background-color: #ffffff; min-height: 15.0px} p.p3 {margin: 0.0px 0.0px 0.0px 0.0px; line-height: 15.0px; font: 12.8px Arial; color: #222222; -webkit-text-stroke: #222222} span.s1 {font-kerning: none} span.s2 {font-kerning: none; background-color: #ffffff} span.s3 {font: 12.0px Helvetica; color: #000000} Today's Dig is a very good and somewhat unusual Dig: Dan's got two interviews with two different people. First, journalist Eric Blanc on the teacher strike wave that he's been covering for Jacobin. Then comes the Center for Popular Democracy's Xiomara Caro Diaz on last week's May Day demonstrations against austerity in Puerto Rico. Thanks to Verso Books. Check Duty Free Art: Art in the Age of Planetary Civil War by Hito Steyerl versobooks.com/books/2553-duty-free-art. Also, check out the Socialism 2018 Conference at SocialismConference.org. And please make a contribution to support the long-run viability of this show at Patreon.com/TheDig

Historian and political theorist Timothy Mitchell joins Dan for the second of a two-part interview on his book Carbon Democracy: Political Power in the Age of Oil, published in 2011 by Verso. In part 1, we talked about a lot of things, including how the rise of coal made both industrial capitalism and newly powerful worker resistance possible; and how the shift to oil then facilitated the persistence of imperialism in a decolonizing world while thwarting worker organizing. In this installment, we discuss imperialist assaults on worker struggles in Iraq and Iran, the cooptation of those struggles by nationalist elites, and how those imperialist attacks facilitated the rise of the Baathist security state. We'll also look at how the true history of the 70s oil shock undermines the conventional account, how the protection of minorities was used to legitimate imperialism, how petro-dollars fueled the global arms trade, in what sense the Iraq War has been a war for oil, and the US strategy to seek advantage through the continuation of conflict and instability across the Middle East. Finally, we'll address petro-imperialism's bedrock alliance with right-wing Islamists against democratic movements of the left in Saudi Arabia and beyond, and why we must fight to ensure that the coming energy transition is a just one. That review of Yascha Mounk's book that Dan wrote with Thea Riofrancos https://nplusonemag.com/online-only/online-only/zombie-liberalism/ Thanks to Verso Books. Check out Duty Free Art: Art in the Age of Planetary Civil War by Hito Steyerl versobooks.com/books/2553-duty-free-art and and Police: A Field Guide by David Correia and Tyler Wall versobooks.com/books/2530-police And support this podcast with $ at patreon.com/TheDig, where you can also check out the first edition of our new weekly newsletter.

It's our 100th episode and the launch of our spring fundraising drive! Aziz Rana returns to The Dig 15 years after the invasion of Iraq to reflect on the paucity of substantive anti-imperialist politics across much of the American left. Socialism isn't just an internationalist politics on principle: domestic and foreign struggles are inherently linked, just as the forces we struggle against are globally intertwined—and the latter benefit from perpetuating an ideology that artificially divides the two. But for decades, a bipartisan consensus has governed foreign policy, to disastrous ends. Why, Rana asks, is there no foreign policy equivalent to the new left-wing domestic policy litmus test on single-payer healthcare? Check out Aziz's n+1 article here: nplusonemag.com/online-only/online-only/the-lefts-missing-foreign-policy. Thanks to our supporters at Verso Books. Check out Duty Free Art: Art in the Age of Planetary Civil War by Hito Steyerl versobooks.com/books/2553-duty-free-art and Where Freedom Starts: Sex Power Violence #MeToo versobooks.com/blogs/3635-where-freedom-starts-sex-power-violence-metoo And support this podcast with $ at patreon.com/TheDig

Many Americans take the existence of so-called "illegal immigrants" for granted, whatever their opinion of the matter. But illegality isn't a property of immigrants; rather, it's a creation of positive law. And we can only understand how immigrants are declared "illegal" by the government by examining this country's too-often ignored history of racist and exclusionary immigration politics. Dan's guest today is Mae Ngai, an historian at Columbia and the author of Impossible Subjects: Illegal Aliens and the Making of Modern America. Thanks to Verso Books. Check out The End of Policing by Alex S. Vitale versobooks.com/books/2426-the-end-of-policing and Duty Free Art: Art in the Age of Planetary Civil War by Hito Steyerl versobooks.com/books/2553-duty-free-art. And support this podcast with $ at patreon.com/TheDig