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between the sub- ject and the object of knowledge: “A new Principle of Relativity emerges from the coexistence between complex plurality and open unity: no level of Reality constitutes a privileged place from which one is able to understand all the other levels of Reality. A level of Reality is what it is because all the other levels exist at the same time” (ibid., pp. 54-55). From the perspective of the subject, Nicolescu develops a certain form of relative constructivism: “This Principle of Relativity is what originates a new perspective on relig- ion, politics

Inszenierungselement der szenographischen Modenschau für Frühjahr/Sommer 2014 standen damit Leit- themen wie Weiblichkeit, Repräsentation, Macht und Vielfalt im Raum bzw. wur- den assoziativ auf den Wänden des hauseigenen prada-Showrooms abgebildet: As the models walked down this stylised »street«, their looks echoed their environment. Those enormous faces on the walls also echoed the zeitgeist-y social political art by the likes of Diego Rivera and José Clemente Orozco that defined an era. But then the athletic tube socks and Britney Spears declaring »Work Bitch« on audio

dem symbolischen Akt der Sinnverweigerung und einer absichtsvollen Mit- teilung, die ein (künstlerisches) Subjekt bewusst erzeugt und aussendet 11 Zum politischen Aspekt der ,Botschaftslosigkeit’ vgl. Randy Martins Studie Per- formance as Political Art. The Embodied Self: „The performing body is by nature involved in resistance to the symbolic, which attempts to limit the meanings of action and the body, to channel the flows of desire. The tension, emotionality, flows of desire of performance can instigate a

üben, müsse 55 Siehe Auslander 1994, S. 9-19. 56 Für einen Überblick zu Biografie und künstlerischem Schaffen Laurie Andersons sie- he Goldberg, RoseLee, 2000: Laurie Anderson. New York: Harry N. Abrams; Howell, John, 1992: Laurie Anderson. New York: Thunder’s Mouth Press. Die Wiederkehr des Theaters | 285 die ›Performance‹ zwangsläufig bis zu einem gewissen Grad genau die Mittel und Voraussetzungen gebrauchen, auf die sich ihre Kritik richtet: »Because postmodernist political art must position

much more a program of empirical research than a theory. The empirical investigation of the practice of sci- ence revealed a quite different picture than what science thought of itself, including what social scientists thought of science as well as their own enterprise.6 Instead of pure science, there appeared messy networks of associations that do not respect the distinctions of modern epistemology. The boundaries between the supposedly independent domains of science, economics, politics, art, law, and religion could not be maintained. In the face of this

the surge of opening up that took place post- 2001. Some who remained evolved a form of slightly political art, which was political primarily in terms of the Chinese arena but, significantly, was understood as being political in terms of the Western narrative con- cerning China, and China post-June 4th. For a period of time, largely pri- or to 2001, this placed an emphatic accent on a certain type of art, and was a cause for frustration among the community in general. It was unfortunate, too, for creating a cer- tain type of image of China’s con

. Continuing to reach out to larger and larger concentric circles of community, the artist role switches to facili- tator – facilitating the community will to make the project happen” (ibid.). In their “position paper”, Tom and Connie Merriman discuss the evolution of their own practice of “socio-political art” over twenty years. Over these years, they maintained a concern for ecological and social issues as insepa- rable from each other, as in the cases of “disenfranchised people” and of “the consequences of globalization”. But they criticize their own early prac

, according to Fassbinder, as the viewer must withdraw “into the kind of silence in which sooner or later you become a moron”.114 His aim was not to provide a soothing storyline that aims at the neutralization of discontent and the stabilization of society; rather, he intended to tell “stories in such a way that the moviegoer is entertained and is afterwards no stupider”.115 Fassbinder’s political art was meant to engage the viewer by foregrounding its artistic framework; he was determined “that a realism should come about in the audience, in the head of the viewer

most important political art being made in America today, and much of it is even made by Trojan Horse. Acti- vist art and power (1984) drei Arten, wie KünstlerInnen aktivistische Kunst machen können: als „com- munity artists“, als „political artists“ und als „experimental avantgarde in high art“, eben nur mit einem persönlichen politischen Anspruch, der in den Werken zugunsten des Kunstdiskurses zurücktritt, Lip- pard 1984. 1. STREET ART-KARRIEREN AUF DEM KUNST- UND DESIGNMARKT | 19 in seinem Buch Fotos, die er von 1980 bis 1990 in dem eines Public Arts

, knowledge management, decentralization, self-organization, viral communication, and much more. These terms are not to be found only in media studies, but in every area of society including education, health care, science, politics, art, law, etc. If we decide not to dismiss these terms as superficial buzz or merely the latest hype, then they can be understood to describe a fundamental shift in the way that networking is done and also in the world that arises from it. Concepts such as the above describe a different kind of world and a differ- ent kind of reality