Pub Date : 2019-09-15DOI: 10.7591/9781501739224-007
A. Kluge
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Pub Date : 2019-09-15DOI: 10.7591/cornell/9781501739200.003.0011
A. Kluge
This chapter assesses the last remaining, untranslated portions from Alexander Kluge's aforementioned essay collection of 1975 on antagonistic realism, Gelegenheitsarbeit einer Sklavin. People usually learn about the deductive method in educational institutions. Starting with laws, rules, and values, people then descend to their application or illustrate them with examples. Reality is represented. The principle of illustration is that abstraction regulates concretion by destroying it. Film seems to develop an oppositional program to this tendency. Its raw material is apparently made up of concrete depictions. According to its qualitative edict, it has little appreciation for thought. It lacks the polished and universal quality of a so-called trade language. The majority of its products are oriented toward the direct imitation of reality.
本章评估了亚历山大·克鲁格(Alexander Kluge) 1975年关于对抗性现实主义的论文集(Gelegenheitsarbeit einer Sklavin)中最后剩余的未翻译部分。人们通常在教育机构学习演绎法。人们从法律、规则和价值观开始，然后深入到它们的应用或用例子来说明它们。现实被呈现出来。说明的原则是抽象通过破坏具体来调节具体。电影似乎发展了一种与这种趋势相反的程序。它的原材料显然是由具体的描绘组成的。根据它的定性法令，它很少欣赏思想。它缺乏所谓的贸易语言的精致和通用的品质。它的大部分产品都以直接模仿现实为导向。
{"title":"The Realistic Method and the “Filmic”","authors":"A. Kluge","doi":"10.7591/cornell/9781501739200.003.0011","DOIUrl":"https://doi.org/10.7591/cornell/9781501739200.003.0011","url":null,"abstract":"This chapter assesses the last remaining, untranslated portions from Alexander Kluge's aforementioned essay collection of 1975 on antagonistic realism, Gelegenheitsarbeit einer Sklavin. People usually learn about the deductive method in educational institutions. Starting with laws, rules, and values, people then descend to their application or illustrate them with examples. Reality is represented. The principle of illustration is that abstraction regulates concretion by destroying it. Film seems to develop an oppositional program to this tendency. Its raw material is apparently made up of concrete depictions. According to its qualitative edict, it has little appreciation for thought. It lacks the polished and universal quality of a so-called trade language. The majority of its products are oriented toward the direct imitation of reality.","PeriodicalId":345609,"journal":{"name":"Difference and Orientation","volume":"197 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114556435","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-09-15DOI: 10.7591/cornell/9781501739200.003.0023
A. Kluge
This chapter focuses on populism and passivity, making available for the first time in English one of four essays Alexander Kluge penned alone for his third collaboration with social philosopher Oskar Negt, Measured Relations of the Political (1992). Words like “folkish,” “folksy,” “popular,” “populist,” “popularis,” “folk festival,” “national community,” and even phrases like “in the name of the people” not only describe different ideas, but each also assumes a different historical guise. The seriousness contained in the use of these words cannot be found if the shadows, perspectives, and temporal signs accompanying such words are destroyed. Amid falsehoods and instrumental appropriations, appeals to the people revolve around the search for autonomy and distinctive character. What is sovereignty's elemental material? How is the creation of autonomy, if need be by proxy, organized? How is it balanced? Which building blocks are used to construct a community? People pose these questions more frequently at two historical transitions: when they doubt the materials used to construct their community along with the organization of their experience; and when they believe they have reason to be proud of their achievements, like when they succeed at attaining autonomy. With regard to the concept of the political in both positions—doubt and pride—people are currently witnessing a peculiar devaluation.
{"title":"The Political without Its Despair","authors":"A. Kluge","doi":"10.7591/cornell/9781501739200.003.0023","DOIUrl":"https://doi.org/10.7591/cornell/9781501739200.003.0023","url":null,"abstract":"This chapter focuses on populism and passivity, making available for the first time in English one of four essays Alexander Kluge penned alone for his third collaboration with social philosopher Oskar Negt, Measured Relations of the Political (1992). Words like “folkish,” “folksy,” “popular,” “populist,” “popularis,” “folk festival,” “national community,” and even phrases like “in the name of the people” not only describe different ideas, but each also assumes a different historical guise. The seriousness contained in the use of these words cannot be found if the shadows, perspectives, and temporal signs accompanying such words are destroyed. Amid falsehoods and instrumental appropriations, appeals to the people revolve around the search for autonomy and distinctive character. What is sovereignty's elemental material? How is the creation of autonomy, if need be by proxy, organized? How is it balanced? Which building blocks are used to construct a community? People pose these questions more frequently at two historical transitions: when they doubt the materials used to construct their community along with the organization of their experience; and when they believe they have reason to be proud of their achievements, like when they succeed at attaining autonomy. With regard to the concept of the political in both positions—doubt and pride—people are currently witnessing a peculiar devaluation.","PeriodicalId":345609,"journal":{"name":"Difference and Orientation","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114837495","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-09-15DOI: 10.7591/9781501739224-011
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Pub Date : 2019-09-15DOI: 10.7591/cornell/9781501739200.003.0019
A. Kluge
This chapter looks at the dialogue between Christian Schulte and Alexander Kluge wherein they talked about primitive diversity. “Primitive diversity” is an expression from the American East Coast for early film. The one- to two-minute films demonstrate the early form of cinema. Meanwhile, pre-Hollywood cinema is closely tied to the inventors of the film camera, who were also scientists. Primitive diversity encompasses the entire spectrum ranging from sensationalism, curiosity, and old greed to the abilities cameras themselves possess. Ultimately, this early cinema responds to the needs of migrant workers in the United States who come from many countries, are in need, and create their own public sphere themselves in the silent movies. Kluge claims that “astonishment as means of knowledge—that is primitive diversity.” The dialogue between Schulte and Kluge also ruminates on Kluge's indebtedness to the cinema of attraction.
{"title":"Primitive Diversity","authors":"A. Kluge","doi":"10.7591/cornell/9781501739200.003.0019","DOIUrl":"https://doi.org/10.7591/cornell/9781501739200.003.0019","url":null,"abstract":"This chapter looks at the dialogue between Christian Schulte and Alexander Kluge wherein they talked about primitive diversity. “Primitive diversity” is an expression from the American East Coast for early film. The one- to two-minute films demonstrate the early form of cinema. Meanwhile, pre-Hollywood cinema is closely tied to the inventors of the film camera, who were also scientists. Primitive diversity encompasses the entire spectrum ranging from sensationalism, curiosity, and old greed to the abilities cameras themselves possess. Ultimately, this early cinema responds to the needs of migrant workers in the United States who come from many countries, are in need, and create their own public sphere themselves in the silent movies. Kluge claims that “astonishment as means of knowledge—that is primitive diversity.” The dialogue between Schulte and Kluge also ruminates on Kluge's indebtedness to the cinema of attraction.","PeriodicalId":345609,"journal":{"name":"Difference and Orientation","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129672199","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-09-15DOI: 10.7591/cornell/9781501739200.003.0016
A. Kluge
This chapter examines Alexander Kluge's reflections on the distinctions between classical media and new media. Kluge ties the advent of new media to the advance of digital technologies, attendant reductive forms of programming, the acceleration of experience, and the acquisition of new forms of private property located in viewers' heads. The supposed advantage of new media lies in the fact that it mobilizes people more rapidly and more inclusively in a nonhuman way than humans could ever manage directly among one another. To all appearances, new media works differently. A television program shows, for instance, direct documentation; it is a transmission. This is, however, not at all unmediated, but is rather cut down from its original time. Kluge then determines what the classical public sphere has more of and the new media has less of.
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Pub Date : 2019-09-15DOI: 10.7591/9781501739224-026
{"title":"22. The Political without Its Despair: On the Concept of “Populism” (1992)","authors":"","doi":"10.7591/9781501739224-026","DOIUrl":"https://doi.org/10.7591/9781501739224-026","url":null,"abstract":"","PeriodicalId":345609,"journal":{"name":"Difference and Orientation","volume":"62 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116446825","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-09-15DOI: 10.7591/9781501739224-027
{"title":"23. War (2001)","authors":"","doi":"10.7591/9781501739224-027","DOIUrl":"https://doi.org/10.7591/9781501739224-027","url":null,"abstract":"","PeriodicalId":345609,"journal":{"name":"Difference and Orientation","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127821434","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-09-15DOI: 10.7591/9781501739224-023
{"title":"19. Planting Gardens in the Data Tsunami (2010)","authors":"","doi":"10.7591/9781501739224-023","DOIUrl":"https://doi.org/10.7591/9781501739224-023","url":null,"abstract":"","PeriodicalId":345609,"journal":{"name":"Difference and Orientation","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129136641","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-09-15DOI: 10.7591/cornell/9781501739200.003.0004
A. Kluge
This chapter looks at the dialogue between Die Zeit and Alexander Kluge wherein they talk about Kluge's book The Devil's Blind Spot (2004). The book is not really about the devil, but about the process of enlightenment. Kluge identifies two types of stories. One type points to absolutely nothing; they are monads. The others are maps. When stories are laid on top of each other like maps, cross-mapping occurs. Zeit and Kluge also discusses the concept of “antiliterature.” Kluge mentions that there is something lacking in literature today and there is too much of something else. When asked if he ever thinks retrospectively what God would have to do in order to save a person, he claimed that he leans more toward the belief that there is a God who does not look after humanity. Kluge then explains the reconciliation of poetry and science. Poetry is concentrated emotion. It can either tell a story or contain thoughts. As a lawyer, Kluge uses his reason; as a storyteller, he relies on the powers of his emotions.
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