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Wissenschaftliches Schreiben ist nach wie vor zumeist ein Schreiben in Disziplinen. Das gilt insbesondere für die Geistes- und Sozialwissenschaften: Die Zugehörigkeit zu einer bestimmten akademischen Disziplin bestimmt in einem hohen Maß nicht nur den Inhalt des Gesagten, sondern auch die Form dessen, was überhaupt gesagt werden kann.
Was aber, wenn nicht die Disziplin, sondern die Frage zuerst da ist? Wenn geistes- und kulturwissenschaftliche Forschung sich jenseits disziplinärer Ordnung in einem primären Fragen verortet und damit ein unmarkiertes Feld betritt. Dann kann ein Forschen und Schreiben entstehen, das nicht interdisziplinär ist, sondern sich jenseits der üblichen Disziplinen und Disziplinierungen des Akademischen stellt.
Die ‚Undiszipliniertheit‘ der Reihe kann sich sowohl in der Methode als auch in der Schreibweise und im Gegenstand der Untersuchungen offenbaren. Der Begriff der ‚Undiszipliniertheit‘ zielt dabei nicht auf ein Jenseits des wissenschaftlichen Diskurses. Er meint vielmehr ein Fragen, das vor der disziplinären Verortung eines Projekts entspringt und den Gang der Untersuchung mit einem Grundton der Dringlichkeit unterlegt. Eine (auch politische) Positionierung der Texte ist durchaus gewollt, wenn nicht unvermeidbar: Mit der Undiszipliniertheit ist nicht nur an eine Verortung abseits oder an den schon ins Marginale übergehenden Rändern wissenschaftlicher Disziplinen gedacht, sondern auch an eine Verweigerung gegenüber öffentlichen und politischen Disziplinierungen. Diese Verweigerung muss nicht explizit sein, darf aber in einem direkten oder indirekten Aktualitätsbezug der Texte sichtbar werden.
Herausgeber_innenIris Därmann, Andreas Gehrlach und Thomas Macho
Wissenschaftlicher BeiratAndreas Bähr, Kathrin Busch, Philipp Felsch, Dorothee Kimmich, Morten Paul, Jan Söffner
Iris Därmann, Andreas Gehrlach und Thomas Macho
This comparatist study is the first to address failure, a historically recent figure of thought. By looking at selected literary works and scholarly discourses, it examines the origins and implications of the genuinely modern concept of the non-functioning subject, which began taking shape around 1850. It investigates texts by authors like Gustave Flaubert, Italo Svevo, Franz Kafka, and Sigmund Freud.
SOS signals, knocks, flares, or messages in a bottle: when people find themselves in distress, they must use all possible means to draw attention to themselves. They have to send distress signals in order to stay alive. This book examines numerous catastrophes to show why people in emergencies are existentially dependent on media and means of communication.
As one component of ongoing research into the persistence of similarity in aesthetic modernism, this study sketches the historical and conceptual dimensions of similarity as an aesthetic and epistemological paradigm and looks at the similarity concepts of Breton, Ernst, Magrittes, and Caillois to examine how surrealism’s transversal agenda released similarity from rational, representational, and identitarian criteria.
The research agency Forensic Architecture investigates war crimes and ecological as well as political crises and brings them into the exhibition as well as the courtroom with its "Investigative Aesthetics" (MACBA 2017). Following the figure of "Law on Trial" Lisa Stuckey examines why aesthetic and poetic forensic procedures, of all things, are entrusted with a radical questioning of social justice.
Interest in the voice grew in the late eighteenth century. It was above all its appearance at the peripheries and outside of human articulation and perception that came into view. Physiology, linguistic anthropology, media technology, and literature examined the vocal expressions of animals in an intense process of exchange. This study traces the historic prerequisites for and cultural interferences of bioacoustics avant la lettre.
The cultural history of German migration society is still unwritten, even though, since the 1960s, numerous interactions and aesthetic negotiations have taken place in literature, film, and in societal debates and theories that have driven the transformation of the political system. This volume opens up an unexpected perspective on informal relations and potentials that have so far received little attention.
Unlike conventional avant-garde narratives that primarily revolve around dynamic processes, this volume explores the static side of modernism. Mondrian, Schlemmer, and Benn are presented as "aesthetic staticians," who, like engineers, are on the search for balance. A dazzling panorama of cultural and theoretical history unfurls, revealing how statics shaped classical modernism.
During the political upheaval of 1968, a frequent topic of conversation was how economics rules desire and how desire drives capitalism. This study investigates the relationship between desire and economics based on paradigmatic positions in the history of philosophy. It also suggests ways to update the claims of Deleuze and Guattari’s Anti-Oedipus for late-stage capitalism.
Trash: It sits in the street and in yellow bins, carefully sorted or carelessly discarded, omnipresent yet invisible. This study investigates the cultural politics of waste, including day-to-day life of the garbage can, the phenomenon of hoarding, and present-day trash separation. Modern trash is not only the basis of justifications of inequality. Garbage also reveals the limits of domination of the one over the other.
Since the 17th century, palate and taste have been key “technology of the self” used by the new global metropolitan bourgeoisie. The practice of taste, including its communication and staging in a manner divorced from political, economic and bodily needs, holds out the promise of a free and egalitarian society. This history of “mature” taste characterizes a transformation in the realms of orality and appetite.