1sAm AlD1n and UlF Am1nDe
1n thE ArT
Miriam Schickler with Ahmed Isam Aldin and
Ulf Aminde — Negotiating Opacity
and Transparency in the Art Academy
*foundationClass was initiated at weißensee academy
of art berlin in 2016. Taking advantage of new funding
possibilities for projects and programs geared towards
granting (re)access to so-called newcomers into high-
er education, the *foundationClass’ primary goal
consists of supporting artists and designers
A medium fades into the background
despite its material presence (e.g. the form of technical apparatus) so that
the mediatised comes to the foreground, not the medium itself. Taking this
into account, it is not surprising that “transparency” of a CHI has recently
been a hot topic of interface design, even from the engineering point of view.
1 See for instance Krämer 1998, pp. 73-75.
But some of the more recent arguments discussed in this context need to be
reconsidered and called into question. The issue of “transparency”, in the
design of many of the
realistic foundation for openness and transparency that are rele-
vant dimensions of profane democracy. Attempting to build an applied field for
the complex notion by Glissant, the book finally lays the basis for post-apartheid
criticism distinct from post-colonial criticism from which it however derives its
relevant methodological stances.
Also, in focusing essentially on South African post-apartheid narrative, the
book perhaps enunciates general rules applicable to all literatures. Good libraries
in the USA, South Africa, England, and Germany will not regret to
domination in the sense that they
consent to play their prescribed role as “clients of colonial edicts” (Kom, 2000, p.
9).The “coconuts” are illustrations of what Glissant calls “transparency” and which
has to be dismantled beforehand if Relation has to take off.
Another effect amply ironized in Dog Eat Dog is the hope which democracy is
thought to bring about in the post-apartheid era. The advent of the Big Brothers
18 Cf. Fabien Eboussi Boulaga andAlainDidier Olinga, ed. LeGénocide Rwandais. Les Interrogations
des Intellectuels Africains (2006). Quoted by François
of discourse in portrayed post-apartheid South Africa ............................... 114
III-2-3- Obstacles to the embodiment of Relation: authenticity, transparency,
racism in reverse .................................................................. 120
III-3- How do social representations relate to discourse and Relation? .................... 128
III-3-1- Manifestations of social representations through ideology and common sense 131
III-3-2- Social representations and the fictional narrative........................... 135
CHAPTER FOUR: Extricating Democracy
its theoretical sophistications, and
enables to envision the embodiment of Relation in post-apartheid South Africa as
part of a Copernican revolution because it involves the society in all directions.
To be complete about this aspect on my book, I would like to systematically es-
tablish how the embodiment of Relation either matches or brings about a truly in-
clusive democracy for sustainable social betterment in post-apartheid South Africa.
True or profane democracy gets its reliability from; it promotes openness,
transparency, diversity, exchange and consensus
parence, pour vivre avec cet autre ou construire avec lui. Le droit à l’opacité serait
aujourd’hui le signe le plus évident de la non-barbarie (Glissant, 1996, pp. 71-72).
The right to “opacity” mediated in post-apartheid narrative is tantamount to ef-
fective autonomy or to “positive freedom”. Any culture or identity has the right to
exist among all others. The “surface” of The Quiet Violence of Dreams makes use of
Tshepo to clearly formulate the necessity to deconstruct transparency and assimi-
latory achievements beforehand for “opacity” to take shape
couldn’t stand the weather, abso-
lutely dreadful, so I moved back here first chance I got. It’s harder here, though,
you have to do everything for yourself. You can’t trust anybody, not with all the
crime and corruption. But ja, it’s home, what can I say (Matlwa, 2007, p. 146)?
Fiks’ identity embodies the transparency by Glissant or mimicry by Bhabha. It is
this condition that compels her to show to her oppressor a smiling face as if all was
well. But, “the honest to God truth is” (p. 147) that, Fiks is from the family of:
Gogo with her endless praying, Uncle and his
democracy does not only
pertains to the fight for the achievement of a positive demo-cracy but, also to ac-
knowledging all the stakeholders “the right to decide what democracy will mean”
(Meckstroth, 2015, p. 2). It is so to speak an openly participative democracy by
which stakeholders are fully aware of their interests and freely offer them to sane
contradiction expec-ting to benefit from its curative and non-barbaric power. It
is this sense of democracy that I refer to as a truly and inclusive democracy. It is
achieved in society through justice, transparency, sane