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"The Long Summer of Theory" by Irene von Alberti: Talking with Sauce – Culture

Saturday, November 25th, 2017 | bitcoin updates

The seasons are popular metaphors to illustrate the flowering and decay of human life. Applied to cultural phenomena, they have something ambiguous about them. Spring, summer, autumn and winter are known to have many lives, and "The Long Summer of Theory", which the cultural scientist Philipp Felsch made up in his book of the same name for the years between 1960 and 1990, was perhaps all too lightly carried by the obituary. Have we actually arrived in the long winter of intellectual mischief? Two years ago, Felsch's idea report on the history of Merve Verlag in Berlin at least caught a nerve. For many good reasons, it can be argued that modern theory no longer permeates today, but by no means neglects current questions. From justice and migration discourses to ethics of the posthuman, there is hardly anything stimulating that would not exist. On every nail of the coffin, which a society dissipates into the flesh of its public debates in the media, comes a theatrical performance, in which it tries to get on the track. "The Long Summer of Theory", which filmed the filmmaker Irene von Alberti now as a hybrid of interview passages, played Wohnküchebebatten and Berlin city walk, on the one hand shares Felsch's burnout diagnosis – and gives her a hearing. On the other hand, the movie does not want to know about exhaustion. In the face of right-handedness, gentrification and self-optimizing delusion, or what otherwise haunts the usual catchphrases by the present, he once again bites his teeth on the good old Lenin question "What is it?" Unsuspecting little girl soundThree young women in an artists' apartment block on the edge of the Europacity, the district Heidestraße, shortly before the eviction. One of them sprayed KOMA on the wall in huge red letters. A poster with the young Angela Davis can be seen. The speech comes to the early days of the RAF, in between hatches Katja Weilandt in the role of Eva Braun. Martina Schöne-Radunski presents herself as a Punksängerin, and Julia Zange runs in the printed pants suit, on the "Generation Berlin" and "Future" stands, through the capital. In the unsuspecting little girl's tone she interviews the social philosopher Rahel Jaeggi on life forms, the teacher Lilly Lent and the social pedagogue Andrea Trumann on the problem of state feminism, the art theorist Boris Groys or the dramaturge Carl Hegemann. At the end, he rolls off the stage in the Bobby Car. What is that? A decidedly eccentric discourse cinema with a feminist flip side, in which everything that the protagonists, under visible strain of recalcitrant theory folklore recite, dies instantly between their lips. In her artificial figure life, it can not be about a natural speech, but about a rest of persuasiveness of the individual thought. The whole thing would obviously like to arrive at Jean-Luc Godard or Philippe Garrel, but remains at the level of a later Volksbühne-Klamotte stuck: In the Sexy Lamp test superfluous men are finger-snapped into floor lamps.

 Morale finger nag chewingBorn in 1963, Irene von Alberti, who inherits her René Pollesch adaptation of "City as Prey", is old enough to have witnessed the theoretical joy of the Merve years: the transition from neo-Marxism to post-structuralist energies in very different ways inspired Michel Foucault, Jean Baudrillard or Gilles Deleuze. But in their fun-ridden tale of moral finger-chewing, there seems to be so little historical awareness that an empiricist like the clever Jutta Allmendinger, president of the Berlin Social Science Research Center, passes by as a theoretician. What should result from all this to an order of action, remains in the dark. It can only claim that it remained vague even forty years ago – not least because of a Franco-German confusion of categories. What was read here as a guide to anarchist subversion in order to stay with Foucault was after all a case for the prestigious Collège de France in Paris. Whatever the case, Irene von Alberti's dubbed film has so little to say that he seeks refuge with people who have something to say. He is rebellious, but has nothing better to do than submitting to foreign authorities. This is intellectually a tragedy and in its aesthetic design an indictment. In eight Berlin cinemas


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