For the preparations of transmediale 2019 we are searching for interns who would like to gain experiences in the administration, communication, and production of the festival. The offer is aimed at students who have to complete an internship as part of their studies.
Does the appropriation of transgressive cultural expressions and tactics by right-wing subcultures mean the end of the road for progressive and playful subcultures? In their conversation “Better Think Twice: Subcultures, Alt-s, and the Politics of Transgression” at transmediale 2018 face value, Florian Cramer and Angela Nagle discussed how this question is related to an excessive faith in the inherently progressive and left-wing character of subcultures as well as to a longer history of ambiguous youth, pop and experimental art practices. However, given today’s interaction between alternative and mainstream public spheres and political life, David Garcia’s response to the Cramer and Nagle discussion demonstrates that a “folk politics” of the Left can still matter.
In 1895, viewers of the Lumière brothers' 50-second film L’Arrivée d’un train are said to have stampeded out of the theater when a train raced toward them on the projection screen. Unaccustomed to the cinematic experience, they couldn't help but take the image of the train for the real thing. The Lumière Effect, named after this supposed occurrence, describes the phenomenon of mistaking representation for reality. In this essay, the poet and artist manuel arturo abreu compares this (Western) myth of image-reality overlap to the "over-mediated" nature of how the West interprets the face of the Other. This face is a site of projection for Western anxieties, guilt, and fear: a fear that implies having always-already called for State protection. Through a reading of Emmanuel Levinas and Édouard Glissant, abreu suggests strategies of opacity to resist the "violence of the metaphor" of the face.
The protagonist of this short story by Stewart Home trusts no one. Flush with capital from his cryptocurrency investments, he is finance-obsessed and disinterested in humanity. The story takes place only a few years from the present, but cryptofinance has already gone through many stages of evolution. The main character has used his crypto-winnings to buy a penthouse apartment in a behemoth London development called The Denizen. Home’s London has fallen under the shadow of such real estate projects, and his protagonist is the poster child for the dehumanization of rampant profit-making dependent on nothing but capital to create capital. When he suffers an accident and his finances tank, the unnamed investor takes vengeance.
With their ongoing research and documentary film project Good Life, the collabortive duo Viktorija Šiaulytė and Marta Dauliūtė undertake an investigation into the narrative of innovation and flexibility, its social and political implications.