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Spheres of Action: Art and Politics - Part 2

Peter Sloterdijk.

10.12.2005

Spheres of Action
Art and Politics - Boris Groys, Peter Sloterdijk and Peter Weibel

Saturday 10 December 2005, 10.00–17.30

The philosophy of art in Germany has exerted increasing influence on art theory in Britain since the 1990s. Three outstanding and controversial German thinkers debate the changing relationship between art and politics: Peter Sloterdijk, Professor of Philosophy and Rector of the School of Fine Arts, Karlsruhe, and author of Critique of Cynical Reason (Edition Suhrkamp, 1983), Rules for the People Park (Suhrkamp Verlag KG, 1999) and Spheres (Suhrkamp Verlag, 1998); Peter Weibel, Director of the Center for Art and Media, Karlsruhe, and author of Fast Forward: Media Art (Ingvild Goetz, 2004) and The Open Work, 1964–1979 (Hatje Cantz, 2005); and Boris Groys, Professor at the School of Fine Arts, Karlsruhe and author of Stalin’s Total Work of Art (Hanser, 1988) and Ilya Kabakov (Phaidon Press, 1998).

The conference (was) chaired by Eric Alliez, Senior Research Fellow at University of Paris IV, andPeter Osborne, Professor of Modern European Philosophy at Middlesex University.

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__________AnD What I most detested was Hegelianism and dialectics.

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__________AnD

What I most detested was Hegelianism and dialectics.

And : The question of speed is important and also very complex. It doesn't mean the first in the race: you can be late through speed. Speed is to be caught in a becoming_ which is not a development or an evolution. One must be like a taxi, queue(ligne d'attente), line of flight, traffic jam, bottleneck, green and red lights, slightly paranoid,brushes with the police. To be an abstract and broken line, a zigzag which glides 'between'. The grass and speed. What you misnamed style just now_ charm or style_ is speed.

And :One only discovers worlds through a long, broken flight.

_AnD______as_______for___

As for the method of deconstruction of texts I see clearly what it is, I admire it a lot, but it has nothing to do with my own method. I do not present myself as a commentator on texts.

For me, a text is merely a small cog in an extra-textual practice. It is not a question of commenting on the text by a method of deconstruction, or by a method of textual practice, or by other methods; it is a question of what use it has in an extra-textual practice that prolongs the text ..

Professor D Challanger speaking

in Clinical Critical terms as the hat was in the wind

How else?

How else can one write of those things which one doesn't know, or knows badly? It is precisely here that we imagine having something to say. We write only at the frontiers of our knowledge, at the border which separates our knowledge from our ignorance and transforms the one to the other.
Only in this manner are we resolved to write. To satisfy ignorance is to put off writing until tomorrow -or rather, to make it impossible. Perhaps writing was a relation to silence altogether more threatening that that, which is supposed to entertain with death.
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Difference and Repetition.