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Community Unit School District 200 students may soon have access to a more diverse array of classes due to a multi-district effort to expand online course offerings.
D-200 and four other local school districts are working together to explore creating and sharing online teachers, resources and digital classrooms. Some of those new resources could start to be phased in as soon as next year, according to Faith Dahlquist, the district's assistant superintendent of educational services.
"With all of the digital learning tools that are available, we need to seize those opportunities not only to expand the different types of classes that we could offer but also to be able to differentiate instruction and provide more effective instruction during our regular school day," Dahlquist said.
The digital classrooms would be "blended," she said. There would not be a full "digital experience" where students simply watch online videos. Instead, courses could include chatrooms across districts, outside reading links and more.
Despite a heavier reliance on technology, Dahlquist said that the initiative will be about meeting learning goals and giving students more opportunities, not replacing teachers. She said there would still be "face-to-face time with a human teacher."
Dahlquist said that one model could involve a teacher from one district leading a digital classroom during or outside school hours with students from several districts. The teacher then would meet with the students personally on a less frequent basis.
Such a model could allow schools to provide classes that would otherwise lack the student interest to warrant a full classroom, including certain AP classes or foreign languages such as Mandarin. It could also provide additional learning opportunities for students who need extra practice with coursework.
The online and digital opportunities would prepare students for college and careers as well. Digital classrooms and workplaces are becoming increasingly common, Dahlquist said.
The talks between D-200 and Batavia Public School District 101, Kaneland School District 302, and Naperville districts 203 and 204 are still in the early phases, according to Dahlquist. She hopes that representatives from the districts will have some idea of course offerings for grades six through 12 by January.
These endeavors are part of the school board's larger efforts to offer more digital options, said Assistant Superintendent of Business Operations Bill Farley. He said that the district has tried to focus its resources towards technology for staff and students, including allocating increased funds for resources and tech staff in next year's budget.
"Technology changes rapidly and the uses that we're looking at to meet that need are always a challenge. It wasn't in school budgets 30 years ago," Farley said. "21st century skills are so important, and we want to line the priorities and our resources for students and staff to access technology."


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In German
With: Daniel Falb, Mara Genschel, Steffen Popp, Charlotte Warsen
While the poetry system is boasting of a "blossoming of German-language poetry" at the moment, holding congresses and showering new generations with awards through numerous competitions, contemporary poetry is of little relevance for both a general audience, and those in visual arts and theory. So something isn't quite right. Could it be that German-language poetry is not as fantastic as it thinks it is? Is it, perhaps, really terrible: Baaaad Poetry? And what do we have to do with all this??
In this event, four poets dedicate themselves to this dirty category, reading and discussing the worst poems – and not just their own. Because taking a look at the trash – the slick, grotesque, laughable, trite, grandiose, boring, rude trash of text and lyrical will – is more than simply amusing, it's an epistemological machine that reveals poetological criteria, types of failure, working and living conditions, social classes, personal resentments etc. And last but not least, attempting poetry as practice in times of the permanent revolution of all conditions demands our constant failure. The only Gooooood Poetry is Baaaad Poetry!
After over 60 events, Armen Avanessian & Enemies, the successful talk-think-theatre series for new political theory and theory formats, is now entering its fourth season. In what time and from which place do we actually think and talk from when we're in the theatre, or streaming from it? Together with new enemies, the talk-think-theatre will pursue these questions. And also ask what a theatre of the future could look like, not only post-corona, or a second wave if it comes up, but also in light of the fact that we've already witnessed a third, fourth and fifth economic, social and geopolitical wave. In order to develop theoretical and artistic answers to these questions, this series experiments with different formats, from performances and installations to chat shows and games.
Produced in collaboration with the Nemetschek Foundation.
Book presentation and discussion with Stefan Keppler-Tasaki and Rebecca Mak
In a historical-theoretical warm-up for the 2020 Olympic Games in Tokyo, Stefan Keppler-Tasaki (Tokyo University) and Rebecca Mak (Freie Universität Berlin) discuss Japanese discourses on identity with Armen Avanessian. What's Japanese about Japan? How are cultural self-definition and international environment mutually dependent in the process of Japanese "nation building"? And what does that have to do with Germany? Stefan Keppler-Tasaki's new book, Wie Goethe Japaner wurde (How Goethe became Japanese), takes a look at Japanese self-reflection through the medium of the German "prince among poets". Important topics include Goethe's succour for the "suicide nation" of Japan, Goethe's exemplary appearance as an enlightened person in Zen Buddhism and his success as a lifestyle-icon in today's Tokyo. Rebecca Mak contrasts him with controversial Japanese cultural icon Yukio Mishima, in particular.
With: Charles Heller, Itamar Mann and Valentina Azarova
Charles Heller and Itamar Mann have been working together for several years, as investigator and lawyer, both focusing on a common struggle against border violence in the Mediterranean. In this event, they will discuss some of the cases they have developed together, and particularly explore the possibilities that surveillance technologies open when directed back at governments. The two will be joined for conversation by international law expert Valentina Azarova.
On May 1st, "Arts of the Working Class" and Goethe Institut LA's "Worlds of Homelessness" assemble:
Celebrating labor for twenty-four hours? Housing precarity and homelessness on the streets of the world.
On May 1st, voices from different cities are discussing housing situations on different continents, societal behavior towards what is 'not worth aspiring to', fantasies and realities of the streets and how we navigate the layers of structural inequality.
Goethe Institut L.A.'s "Worlds of Homelessness" is a project that offers an interdisciplinary engagement with the issue of homelessness and its many related themes such as the gap between rich and poor, participation, inequality, gentrification, racism, and migration.
"Arts of the Working Class" is a global art newspaper that rethinks the distribution of poverty and wealth, art and culture. It is published and edited by Alina Ana Kolar, María Inés Plaza Lazo & Paul Sochacki, for the streets of the world.
15:00 Opening
Entry + Registration 14:30
Opening Discussion at Roter Salon
16:00 – 18:30 Presentation & Discussion
Sellers of "Arts of the Working Class", Participants of the project "Worlds of Homelessness", Representatives of Obdachlosenhilfe e.V., moderated by Armen Avanessian
18:30 Reception
19:30 Screening
Film "Ex*st", Performance and Q&A with Radames Eger
21:00 DJ-Set
Image: Showzart, 2019, Courtesy of Michael Jaffe
Further information on this evening will be announced shortly before the event.
Talk and discussion with Erik Bordeleau
We all experienced it when we were child. A caterpillar becomes a butterfly: the same life is embodied in two bodies that have nothing in common. One is a huge digestive tube resting on legs that climb on the ground, the other is a machine that flutters to mate: they have neither the same anatomical identity, nor the same clothes, nor a specific world and yet they are inhabited by the same self, and they are as intimately connected to each other as one is to one's childhood body. This relationship is not limited to the caterpillar and the butterfly, it extends to all living things. Regardless of the species and kingdom to which they belong, all living bodies, present, past and future, are the same life that is transmitted from body to body, species to species, era to era. Metamorphosis is the relationship that unites all living beings to the planet, of which they are the expression: life is only the butterfly of this enormous caterpillar that is our Earth.
With: Abir Ghattas, Rasha Hilwi, Elisa Lindinger, Julia Kloiber
The past decade of civil movements all over the world has shown: resistance is not futile – it may come at a price but there is more that is at stake. From the Arab spring to the climate crisis: the people in the streets are louder and more visible than ever. What new ways has the digital age opened up for civic movements to organize, act, and influence the future of our planet? Together with Abir Ghattas (Human Rights Watch) and Rasha Hilwi (Cultural Journalist) we will discuss the recent protests in Lebanon. The countrywide protests devolved into expressions of anger against the entire political establishment, whom protesters blame for the country's dire economic crisis. It is the biggest wave of demonstrations the country has ever seen since 2005. It is also the first ever seen wave of decentralized protests. How did we get here? What are the new found ways of resistance? How are activist and civil society groups going about documentation, archiving, organizing and mobilizing?
Peter Kubelka, 1934 in Wien geboren, mehr als nur Professor, der an der Städelschule in Frankfurt eine "Klasse für Film und Kochen als Kunstgattung" hatte, zudem Koch, vergleichender Theoretiker, scharfsinniger Beobachter, Kulturanthropologe, Sammler, Künstler, Mitbegründer der Anthology Film Archives in New York, Filmemacher, Avantgardist, Musiker, reisender und subtiler Theoretiker des Essens, hat das praktische Denken über das Kochen auf ein philosophisches Niveau gehoben und auf kulturenvergleichendeweise den irritierenden Nachweis erbracht, dass Kochen Kunst ist. Mehr noch, er hat die vorschnell benannte Unterscheidung zwischen Mensch und Tier ad absurdum geführt und durch den geweiteten Blick auf andere Ess- und Kochkulturen die gefährliche Enge eurozentrischer Betrachtungen und Wahrnehmungen vor Augen geführt. (Heinz-Norbert Jocks, Kunstforum)
Treating 'AI' as a space of, and for, doubt and uncertainty rather than narrowly defined ends, Ganesh and Chung will talk about separation, merging, and how we inhabit the relations between human, machine and non-human others. With reference to Chung's practice, and other critical works at the intersection of art and technology, this conversation will disturb the world-making and culturally homogenous narratives of AI – and humanity - that proliferate around us.
This conversation is thematically related to the School of Disobedience seminar series, A is for Another: Beyond Artificial Intelligences hosted by the Volksbühne in January and February 2020.
Sougwen Chung is an artist and (re)searcher based in New York. Chung's work explores the mark-made-by-hand and the mark-made-by-machine as an approach to understanding the dynamics of humans and systems. Her speculative critical practice spans performance, installation, and drawings which have been featured in numerous exhibitions at museums and galleries around the world. She is a former research fellow at MIT's Media Lab. She has been awarded Artist in Residence positions at Google, Eyebeam, Japan Media Arts, and Pier 9 Autodesk. In 2019, Chung was selected as the Woman of the Year in Monaco for achievement in the Arts & Sciences, and received the Lumen Prize for Art and Technology (Still Image Award) for Drawing Operations. More at https://sougwen.com
Maya Indira Ganesh is a technology researcher and writer based in Berlin. Ganesh's doctoral work examines on the cultural apparatus that shapes machine autonomy through the construction of computational ethics, and how the human is being (re)shaped in this process. For over a decade, her info-activist work has focused on gender, feminism and technology; digital security and privacy; and visual cultures of online activism. Maya has worked with Haus der Kulturen der Welt, Berlin; the University of Arts & Design, Karlsruhe; the Transmediale digital arts and culture festival; Tactical Tech; the Citizen Lab at the University of Toronto, and UNICEF India among others. More at https://bodyofwork.in
Both new books from Armen Avanessian and Anke Hennig unfold into an exchange of different voices and, now and again, they flow into a we – sometimes they share an opinion but often they do not. They are united by their doubts regarding the conviction that individualism should be deemed the most successful form of subjectivity and that individual self-reflection is still an expression of a productive philosophical position.
»A speculative techno-logic of the future insists that every vision of future intelligence must be gendered in order to conceive of a body with a non-biological, informational structure and raise awareness of the sexual subconscious that emerged in the course of the body's industrialisation in the modern age.«
"I wasted my best years on ____________ ."
Sometimes it's already clear in the moment that your work is a waste of time. For example, because you suspect that no one reads the newsletter about renewable energy in the Hanover region that you're putting out every week. Or because you're sitting at a reception where the telephone never rings and no one comes by. Or simply because your job is so tedious that you're constantly asking if that's it. For other things, you don't admit that it was all in vain until you look back on it: a draft of a novel is rejected by all possible publishers. The promotion you were promised never happens. The company went bankrupt. The funding pool was dry. But was everything really for nothing just because of that? And are work-free phases any better?
For the end of the season, writers Heike Geißler, Juan S. Guse, Enis Maci and Leif Randt have prepared compact presentations and contributions to discussions in "Wasting Time 2". An evening about work and holidays.
With: Heike Geißler, Juan Guse, Enis Maci, Leif Randt
Due to the great interest in the event the previous evening, and while preparing the Chinese and German translation of a series of essays entitled 'Bratton Thought', we will discuss key texts and concepts of Benjamin Bratton's work over the last years from Anthropolysis to the Stack.
Bratton's work spans philosophy, urbanism, computer science and speculative fiction. He shows that the deep interweaving of technology and society is not a conclusion but a continuous beginning. Far from a mere tool or simply the expression of a human culture, technology is essential to what we are. Because it changes, so do we. Arguing for a "Copernican Turn" in design and geopolitics, his far-sighted and sometimes contrarian perspective explores how "alienation" may reveal critical new ways of knowing and making.
The technologies that we today call "artificial intelligence" may in time prove to be many different things. We may look back at the moment when we grouped them together into one as naive. Historically, artificial intelligence began as philosophical thought-experiments which, in time, became real technologies. Importantly, "AI" is still (several) thought-experiments based on both existing and not yet existing technologies.
To define AI is to conceive what and is not "intelligence" and what is and is not "artificial." Because no two cultures understand these basic terms in the same way, they will not understand AI in the same way. As such, any global discussion about the future of AI must be cross-cultural. The more we understand what each culture "means" by AI the more fruitful the collaborative design of AI can be.
In the megacities we co-inhabit, how AI senses the world and how AI processes the information it has gathered are deeply interwoven processes. Therefore, the span of the Philosophy of AI is not limited to disembodied formal cognition but extends from embodied sensation to urbanism and back again. It is composed of ways of thinking that are drawn from any of the world's cultures and built into machines in particular locations, but also, in turn, global machines informing locally specific forms of thought.
AI will demonstrate that "thinking" is more than the sum of how different cultures have imagined it historically. As a technology, AI will be defined by how it is conceived theoretically and vice versa. In time, it may come to gather more and more of philosophical inquiry into its frame because it is not only a way describing thought, but of inventing it as well. While the future of AI is undefined, one thing is certain: it will teach us as much about what thinking is as we will teach it.
With: Metahaven
In Europe, populist voices predict bank crises, national debt crises, economic crises, and refugee crises and are accompanied by the rampant circulation of media images and reductionist symbolism – promising a future based on a national past that probably never existed. What these iconographic reductions and origin fantasies fail to recognize is that Europe is comprised of a complex infrastructure, which penetrates and enables life down to the smallest everyday aspects. How can Europe's identity be imagined outside classical symbols such as flags, hymns or monuments? Which kinds of future perspectives for Europe could this vision imply?
This event is part of the Lange Nacht der Ideen 2019 by the Federal Foreign Office and presented by Villa Aurora & Thomas Mann House in cooperation with Volksbühne Berlin and Arch+.
RSVP via firstname.lastname@example.com
The Federal Foreign Office and its partners invite you to attend the fourth Long Night of Ideas on June 6, 2019. The Long Night of Ideas will be focusing on Europe this year under the motto "Idea and Ideal - Europe". The idea of Europe will be illuminated in many ways. At prominent locations in Berlin's cultural landscape, from the Volksbühne to the Barenboim Said Akademie to the Silent Green Quartier in Wedding, we present the range of foreign cultural and educational policy. You can find the complete program here.
With Laurence A. Rickels, Nina Katchadourian, Tom McCarthy, Melissa McCarthy
Join us to probe and pierce surfaces of sea, skin and scholarship, as our contestants make the case for the best monstrous double. In the corner of history-making events, we have The Vampire. Lurking unseen, but no less potent for the obfuscation, there's The Shark. Each comes with a particular history, imagery and cultural field. And each offers its own distorted, disappearing reflection of how we might be human. It's a show-down between the cartilaginous and the canine-toothed. Who will win?
With: Katja Brunner, Nora Bossong, Max Czollek and Armen Avanessian
Das Kritische Quartett* is an educational event from the Volksbühne's Roter Salon. Devised by Armen Avanessian, the discussion series originally planned as a one-off event quickly, from 27 May 2019, became a benchmark in German intellectual life. The participants in the legendary first event were Nora Bossong, Katja Brunner and Max Czollek.
During this event, which is recorded and, in keeping with the times, streamed, and distributed on YouTube as well, a quartet of writers discuss current reviews of their texts, both positive and negative (from Wikipedia, updated 01 June 2023), as well as exemplary reviews from other fields, reflecting on the current state of literature and its criticism today, as well as on the personal, variable usefulness of criticism for writers.
*Literally "The Critical Quartet", the name also refers to a television programme called Das literarische Quartett, or "The Literary Quartet".
Introduction: Anh-Linh Ngo (ARCH+)
Moderated by: Stephan Trüby (IGmA)
With: Armen Avanessian, c/o now, Wojciech Czaja, Verena Hartbaum, Tina Hartmann, Gal Kirn, Philipp Krüpe, Andreas Rumpfhuber, Zsuzsanna Stánitz, Matteo Trentini, Anna Yeboah and others
Special guest: Jacobus North (Feine Sahne Fischfilet)
The rise of the (new) political right also has implications for the politics of architecture. This research project is designed to be a contribution to re-politicising the architectural discourse. And a contribution to the spatialisation of the political discourse as well. Because "right-wing spaces" aren't discussed with regard to "good" or "bad" architecture, rather with a view towards how politics claims spaces.
The results of the project have been collected in the Rechte Räume edition of ARCH+ magazine, which was produced in cooperation with the Institute for Principles of Modern Architecture in Stuttgart. It contains architectural-political observations from a journey through Europe in the winter of 2018/19, as well as reports from correspondents that scrutinize the architectural nationalisms of European states (+the USA). In keeping with this, the programme will take on the form of a travelogue. Through short lectures, the featured experts will highlight different problem areas in Europe.
Before the event, right-wing spaces in Berlin will be sought out and discussed through a city tour organized by IGmA. Additional information will be available on archplus.net/features shortly. To participate, please register by 17.05.19 via email to email@example.com.
An event of the series "Armen Avanessian & Enemies" in cooperation with ARCH+ Verein zur Förderung des Architektur- und Stadtdiskurses e.V. and Villa Aurora & Thomas Mann House e.V., supported by Bundeszentrale für politische Bildung.
With: Anke Hennig u.a.
On this evening we will stage a dramatised reading of the debate about the term "theatre" that originally took place at the State Academy of Artistic Research (GAChN) in post-revolutionary Russia. The re-enactment will intertwine past and present, artistic and academic methods, in other words, will practice the theory of theatre by theatrical means.
The State Academy of Artistic Research (GAChN), a large interdisciplinary network of artists and researchers, was founded in 1921 by Vasily Kandinsky and Anatoly Lunacharsky, Commissar for the People's Education.
The body of our performative investigation concerns the "protocols" (that is, the minutes of the GAChN discussions) which were made in large numbers while working on the central, unrealised project of the Academy—their Encyclopaedia of Artistic Concepts.
We understand the debates at the GAChN as being an artistic form comparable to the forms of the literary sketch (ocherk) and the experimental concept (étjud) of the avant-garde constructivists.
We learn from the minutes that the discussion of Vasily Sachnovsky's thesis on the term "theatre" was so controversial that Pavel Jakobson was asked to prepare a thesis and a talk on the same subject.
The two talks and two theses by two scholars on identical subjects sparked a debate that lasted over several months in 1926 and took six discussions in total.
In the debate Jakobson took a position from the point of view of a philosophy of theatre. For him it was essential who has which kind of consciousness of what in theatre, while his opponent, Sachnovsky, took the point of view of poetics. For him the quintessential question was, what is created in theatre? He saw the actor as the one and only artist of theatre. Although the actor creates a mimesis of actual actions in life, the fiction of action created by the actor differs from all kinds of other actions by its complete freedom from restraints (as in religious or magical rituals, mass demonstrations or dances).
A collaboration between Armen Avanessian & Enemies at the Volksbühne Berlin and the research project "Artistic Research. Between the Stenograph and the Encyclopedia. Strategies for the Acquisition and Documentation of Knowledge used by the State Academy of Artistic Research in Moscow (1921-1930)" at Ruhr University Bochum, funded by the DFG, organised by Anke Hennig.
Differences in opinion to celebrate the new special edition of the Karuna Kompass street paper
Keynote speech by Rafael Horzon, conversation with Armen Avanessian, Guya Merkle, Iris von Tiedemann and Jörg Richert. The evening is hosted by Astrid Mania and Christian Kaspar Schwarm.
As a term, success is pretty damn vague. Who and what defines when someone or something is "successful" and when it's not? On the occasion of the release of the Karuna Kompass street paper's special issue on the theme of "success", we're looking to find out more. We'll begin with successful entrepreneur Rafael Horzon, who'll summarize everything we need to know in a keynote. Followed by a conversation with jewellery entrepreneur and environmental activist Guya Merkle, management consultant, coach and trainer Iris von Tiedemann, NGO founder and head of Karuna Jörg Richert and philosopher Armen Avanessian, who's switching roles this time – to be a guest at his own show for once.
With: Ari Benjamin Meyers and Armen Avanessian
On the occasion of the 50th anniversary of the in/famous "breast attack" on Theodor W. Adorno by a group of Warhol-inspired revolutionary students on April 22 1969, Ari Benjamin Meyers and Armen Avanessian will officially launch/unveil their performative research opera: Schizo, a philosophical and experimental opera exhibition which takes three iconic discourses – or their disruption – as a starting point for a new musical and performative vision of philosophical research. The Frankfurt school, Lacanian Psychoanalysis and French Poststructuralism continue to have an important impact on art theory and practice. Schizo however will less focus on the continuities than restage and expand upon the performative ruptures each discourse has endured in a series of emblematic confrontations: Adorno being confronted in his seminar by female revolutionary students showing their breasts in protest to his bourgeois aesthetics and politics (1967), Lacan's surrealist trained provocation of the revolutionary youth being answered by a glass of water to the face (1972), and finally the notorious Schizo conference (1975), a clash of aesthetic and political cultures that has become hugely important and is responsible for the impact of theory in the arts worldwide. And this in spite of (or perhaps precisely because of) being a performative disaster in itself.
Schelling and Hegel as Forms Occurring in Contemporary Philosophy
Caricatures of Schelling and Hegel abound: the Romantic nature-philosopher versus the bureaucratic rationalist; the potency of myth versus the negativity of history. These familiar caricatures prevent us from noticing the surprising actuality of their concerns, their shared project of renewing philosophy, and, in consequence of this, the forms they introduce to those then occurring amongst its contemporaneous expressions. What forms, therefore, might they introduce into those occurring in our own age? To grasp what really divides these two thinkers is not just a question of rectifying the historical record; it can shed new light on contemporary debates about nature, history, reason, politics, and the fate of the human. To grasp what unites them is to reengage the project of philosophical reinvention without abandoning truth, reality, or reason. These are the topics that this conversation proposes to explore.
"The owl of Minerva spreads its wings only with the falling of the dusk." (Hegel) What did we mean when we once said that something is contemporary and do we still mean the same thing today or when we talk about phenomena like "contemporary art"? Is there a pornography of the contemporary? And what about contemporaneity: are we maybe no longer contemporaries of one shared present and therefore since a long time post-contemporary, or is this yet another triumph of obsolescent chronological and contemporary thinking?
All these questions will be discussed (but maybe not fully answered) with some of the leading scholars of the emerging new research field Comparative Contemporaneity Studies (CCS), incl. Knut Ebeling, Jacob Lund, Anke Hennig, Laurent de Sutter and Olga Schubert.
We are all actors, audience, observers and co-participants: selves upon selves upon selves. But is there such a thing as a 'real me' or a 'genuine self'? How does one live an authentic life? These are some of the questions addressed in this performance, where a model, an actor, a drag king and a banker speak candidly about self-presentation and persona, and about how they each consume, shop and get dressed in order to construct or enact identity.
Goldman $nax offers the best product more often than any competitor – and as such is the market leader in trading tactics and decentralised funding. Goldman $nax codifies an unconditional mutation of the undead corpse called 21st century late capitalism. Our tool CUMmons™ is your first-choice funding alternative to the conventional attention economy in the art world. CUMmons™ broadcasts absolute affirmation, opaque transparency and disruptive processing. Combining rhizomatic dreamscapes and lucid game play, CUMmons™ brokers the imaginarium of art and finance. It will set you free from the bonds of financial infestation. This is a total t€rror production. Please do not hesitate to contact us (in a language of your choice)!
With: Goldman $nax + special guests
Dirk Baecker's new book 4.0 oder Die Lücke die der Rechner lässt (4.0 or the Gaps that the Computer Creates) tackles the fourth media epoch in human history – the epoch of electronic and digital media. Three earlier epochs preceded it: oral 1.0, written 2.0, and printed 3.0. Before human society experienced digitalisation, it went through the adventures of developing oral communication, written language and wide-spread printed materials, none of which were any less overwhelming. Nothing less than a fundamental change in the structure and culture of society, four times in a row, was necessary to cope with these challenges.
The project of the modern age – the inclusion of the entire population in political, legal, economic, educational and cultural processes – has been followed by the project of digitalisation: the transformation of analogue processes into processes that can be counted discretely, analysed statistically, calculated by machine and coded into binary. Some hope that digitalisation will create the prerequisites necessary for continuing the project of the modern by preparing tools that enable access to all areas of society. Others fear that it's ending the project of the modern in a perverse way, as universal participation in society is no longer a question of individual decisions, but rather of collective data collection.
For the presentation of their books Metaphysik zur Zeit (Metaphysics at the Moment, 2018) and Geospekulationen. Metaphysik für die Erde im Anthropozän (Geo-speculations. Metaphysics for the Earth in the Anthropocene, 2019) in the Roter Salon, Armen Avanessian and Daniel Falb will become Armen Falb and Daniel Avanessian, explaining their texts – or what is fundamentally wrong about them – in reversed roles, and showing in passing: the present is a heyday of metaphysics. In an unprecedented fashion, the world-view of modern science is the product of a metaphysical practice. Today, in the early Anthropocene, new models of international and ecological governance must also pass through the metaphysics of trans-generational terrestrial space-time. And fundamental philosophical concepts such as substance/accident, form/material, life/death etc. are forcefully melted down and re-coded by algorithmic insecurity, nanotechnology and mind uploading. The trauma of our present – its destructive ecstasy and Great Acceleration – is the transformation of its metaphysics.
Unnecessary dating rituals, holidays at non-places, hour-long youtubing, standing in lines, meaningless office tasks. Our lives are a constant waste of time – out of love, for amusement, for work. But is that really a problem? When do we suffer from it and when are we pumped up by it? Why don't we exercise all day long? Philosopher Armen Avanessian and two writers, Juan S. Guse and Leif Randt as well as Milosz Paul Rosinski embark on a journey in search of lost time. An evening with texts, videos, guests and evidence.
Unfortunately the event on the 16.12. with Ray Brassier and Iain Grant has to be postponed to the 13.04.19. A replacement event will take place on the 16.12. with the title Armen Avanessian & Enemies #43: What do the yellow vests mean?
Ticket holders can either exchange their ticket for the replacement event on the 16.12, or for the new date on the 13.04. within 14 days. Alternatively please contact our ticket office for a full refund.
Caricatures of Schelling and Hegel abound: the Romantic nature-philosopher versus the bureaucratic rationalist; the potency of myth versus the negativity of history. These familiar caricatures prevent us from noticing the surprising actuality of their concerns, their shared project of renewing philosophy, and, in consequence of this, the forms they introduce to those then occurring amongst its contemporaneous expressions. What forms, therefore, might they introduce into those occurring in our own age? To grasp what really divides these two thinkers is not just a question of rectifying the historical record; it can shed new light on contemporary debates about nature, history, reason, politics, and the fate of the human. To grasp what unites them is to reengage the project of philosophical reinvention without abandoning truth, reality, or reason. These are the topics that this conversation proposes to explore.
The multifaceted practices of Metahaven (Vinca Kruk and Daniel van der Velden) include films, writing, installations, garments, theory, music videos, and design. On the occasion of their visit at Volksbühne's Roter Salon, they will show clips from several of their films, and discuss their work from beyond the distinction of theory versus practice. Metahaven meets their inquiries—from digital superstructures to propaganda to daily life—with what could be called a poetical methodology, which seems necessary in times of epistemic uncertainty: counter-imaginations, multiplication of narratives, and an attempt to inhabit (instead of represent) the investigated phenomena.
The work of Metahaven consists of filmmaking, writing, design, and installations, and is united conceptually by interests in poetry, storytelling, digital superstructures, and propaganda. Films by Metahaven include The Sprawl (Propaganda about Propaganda) (2015), Information Skies (2016), Possessed (2018, with Rob Schröder), Hometown (2018) and Eurasia (Questions on Happiness) (2018). Publications include Digital Tarkovsky (2018), PSYOP (2018), Black Transparency (2015) and Uncorporate Identity (2010). Their work is screened, published, and exhibited worldwide.
MOM, Movement Of contemporary Manliness, is meeting for a "Gather Up" in the Roter Salon. In this second offline meeting, they'll investigate the rhetoric and practices of new masculinity: the tears of the Sad Boys, the MGTOW's ghost status, the radical potential of herbivore men. MOM asks: What must be given up, what reclaimed? How can understandings of masculinities beyond biological identity and heteronormativity be established? How can masculinity become a tool for change? How can we become MOM?
In MOM, THE AGENCY – together with Nile Koetting (musician, performer), Taro Inamura (dramaturg, Japan research) and Kanako Azuma (video artist) – challenge themselves to conceive of a new men's movement that acts beyond the identity-political allocations of our contemporary climate and offers a positive potential for identification.
With: Nile Koetting (performer, musician), Fabian Stumm (performer), Dorian Fabini (performer) and THE AGENCY (Magdalena Emmerig, Belle Santos, Yana Thönnes, Rahel Spöhrer)
More information:
Diversity changes all of us, in one way or another. Armen Avanessian and the philosopher Isolde Charim discuss what it means to live in a 'pluralised society'.
We live in a pluralised society. Each culture exists alongside another, there is no obvious sense of belonging. But what does that even mean – a pluralised society? And what is it to be an individual living in one? Today, another perspective, or the possibility for things to be different, to believe something else or live distinctly, is now part of every culture. And this change affects everyone. It changes one's relationship to the community, to one's own identity. The philosopher Isolde Charim applies her thesis to several topics, from politics to integration, to the definition of home, to the debate surrounding religious symbols.
With: Heba Y. Amin, Grada Kilomba, Bonaventure Soh Bejeng Ndikung, Iris Rajanayagam, Candice Breitz
For decades, people of colour, womxn and other minority communities have drawn attention to the violent disparities that continue to persist in cultural institutions. How is it possible, then, that museums, galleries, symposia and other cultural initiatives continue to place such a disproportionate focus on the cultural practice and achievements of white men? The art community, in particular, likes to prides itself on protecting freedom of expression above all other principles. But whose freedom of expression does it celebrate and amplify, exactly? And at what cost to those whose voices are marginalised as a consequence? Can we really grasp and narrate the complex world in which we live, when voices of privilege continue to resonate so dominantly and so disproportionately, effectively sidelining the voices of so-called 'others'? Are universalist defences of freedom of expression merely an alibi, serving to distract from the urgent and necessary work of transformation that lies ahead, if institutions wish to commit to dismantling existing infrastructural hierarchies and broadening their programming? The aim of this panel is to discuss various possibilities via which to move beyond commonly-used consciousness-raising strategies (as exemplified, for example, in the practice of the Guerrilla Girls, or in the use of tools such as the 'open letter'), towards actual transformation within our cultural institutions. What role can rigorous intersectional feminism play in building meaningful alliances and addressing systemic disparities that have continued to fester for generations? Should we be pushing harder for a diversity quota? And why are quotas such a fearful prospect to so many on the cultural left in Europe? What other forms of collective practice could be effective in challenging cultural institutions to support the creative labour of a broader range of cultural producers? A strong hope is that this panel will open onto other forms of collective action in the future. We warmly invite those attending to share their ideas and thoughts.
It was a moment of social change, a moving generational experience – and was ruthlessly drowned: the admission of hundreds of thousands of refugees in the summer of 2015 could have been a chance to re-establish Germany, to create a different, more open civil society. Why didn't this happen? And what are the consequences of this failure? Armen Avanessian, Georg Diez, Sophie Passmann, Gilda Sahebi and Farhad Dilmaghani discuss.
Presented in partnership with The Royal Central School of Speech and Drama, University of London
Generational battlegrounds. Class war. From high ideals to dirty money, and never enough of it. From the birth of mechanical reproduction in 1457 to the death of the gold standard in 1973, Corresponding with Ghosts is an experiment in staging modernity. Karl Marx, Charles Baudelaire, Richard Wagner, Alfred Kerr, Catherine of Aragon, and Galileo's daughter discuss their dealings with debt, ventriloquized by children attempting to come to terms with the world built by their parents, Debt and Loss. Together, they sketch the machine-consciousness of ledgered modernity as it crawls out of the swamps of feudalism to erect its cloud-castles on the logic of debt. As the machine turns, the screams of bodies crushed in its gears are expelled as witness statements.
Performed by Paula Kober and Anne Tismer with music by Sir Henry
Developed by Sam Williams with graduates of the MA in Theatre Criticism and Dramaturgy at The Royal Central School of Speech and Drama, University of London
Based on materials compiled by Armen Avanessian
Sir Henry (John Henry Nijenhuis) was born in Montreal, Canada. He received his stage name, a homage to vinyl organ legend Sir Julian, in 1996, as performer/arranger for the Sonambiente Festival in Berlin. Shortly thereafter he became a member of the Volksbühne ensemble and worked as musical director and composer for Frank Castorf, Dimiter Gotscheff, David Marton, and others. For the past few years he has frequently collaborated with Alexander Kluge.
Paula Kober is a student of acting at Berlin's Universität der Künste, where she is a recipient of the Deutschlandstipendium scholarship prize. She has performed in Volksverräter!! (2017) directed by Hermann Schmidt-Rahmer, based on Henrik Ibsen's Enemy of the People, at Schauspielhaus Bochum, or Die Ermordung des Kaisers Elagabal at Berlin's Deutsches Theater and Hans Otto Theater Potsdam, and for which she received the Schauspieltreffen 2018 Solo Prize. Most recently she has appeared in Madame Poverty. A set of emotion and Sensation (2018) at the Volksbühne.
Anne Tismer is an actress, performance artist, and co-founder of the free Experimentierbühne Ballhaus OST, Berlin and one of the most important stage artists of her generation. She uses her body as a medium to question the boundaries between acting and performance. Her work examines the role of theatre as a driving force and catalyst for the discussion of social issues. Her film and theatre credits are extensive. She has worked at the Schaubühne and Sophiensäle in Berlin, and in the United States, Belgium, Korea and Taiwan and Togo. She was named Germany's actress of the year in 2003 and in 2009 received the Belgian Prix Spécial de la Critique Théâtre et Danse. As of 2018, she is a member of the Volksbühne ensemble.
Wir erleben einen Coup der weißen alten Männer, er ist still, er dauert schon länger, und möglicherweise ist er für die Demokratie noch gefährlicher als die Straßenschlachten der rassistischen Glatzen oder die Redeschlachten der xenophoben Tweedsakkos: Die Rede ist vom Deep State, in den USA längst Gegenstand widersprüchlicher Spekulationen, aber gibt es ihn überhaupt, und wenn ja, wie viele? Auch in Deutschland ist der Deep State in den vergangenen Wochen zu einem heißen Thema geworden durch das grenzwertige Verhalten von Verfassungsschutzpräsident Hans-Georg Maaßen und das dunkle Heimatverständnis seines Dienstherrn Horst Seehofers. Wie verhalten sich eigentlich latenter und manifester Rechtsextremismus zueinander? Und was bedeutet es für die Legitimität des demokratischen Systems, wenn sich die, die dieses System schützen sollen, zunehmend außerhalb von Sichtbarkeit und Rechenschaft bewegen? Was sind Gegenwart und Geschichte des Deep State bzw. seiner paranoiden Evokationen? Und welche Alternativen stehen uns zur Verfügung?
Zu Gast: Antonia von der Behrens (Anwältin im NSU-Prozess), Georg Diez (Der Spiegel), John Goetz (Investigativjournalist, Süddeutsche Zeitung), Maximilian Popp (Der Spiegel, Türkeikorrespondent), Martina Renner (Die LINKE)
With: FAM_, One Mother, Camelt:O & Daycare aka Hitprovider
FAM_ throws a party to the big reopening of the Roter Salon on 14.09!
There is: opluent karaoke for deep emotion-diving & spoil_me pop.
with a subsequent concert by one mother and the finest anger management rap.
◊ The notion of a black secret technology allows Afrofuturism to reach a point of speculative acceleration. ◊ Blaccelerationism proposes that accelerationism always already exists in the territory of blackness, whether it knows it or not. ◊ Sinofuturism is a darkside cartography of the turbulent rise of East Asia; It connects seemingly heterogeneous elements onto the topology of planetary capitalism. ◊ S hanghai futurism ultimately depends on breaking free from the now common assumption about the nature of time. ◊ T he unfolding story of Gulf Futurism is a strange mitosis happening out of the sight of the master planners and architects; it's the splitting of worlds, of then and later, us and them, real and unreal. ◊ The Dubaification of the world is already a thing of the present and the recent past, and has completed its ideological mission at lightning speed.
Data is what we are. And for many, Facebook is only an example. We are all accomplices in this new, radical form of market economy, that is organised increasingly monopolistically. Surveillance is extensive. So what could resistance against this almighty regime look like? The famous technology philosopher Evgeny Morozov discusses with the Swedish journalist and author Karin Pettersson and the ,Spiegel' columnist Georg Diez about democracy's central question of survival. The event is the live-format of ,Start Worrying, Details to Follow', the podcast for new ideas for democratic thought. The event is in English.
We will discuss the text 'Unsterblich werden mit Toni Kroos' (Becoming immortal with Toni Kroos) The participants will receive his text at the beginning of the colloquium.
What form of inner life should we expect from a person who no longer makes any mistakes under extreme pressure and simply appears to exist effortlessly in the room. Is someone even 'still at home'? An active internal addressee? Is there still a continued process of personal perception and conscious decision making at work?
Relevant for the modules: Epistemology, Introduction to philosophy, Football, Theology, theory of consciousness
The author of the novels "Schimmernder Dunst über CobyCounty" (Dazzling Dust over CobyCounty), and Planet Magnon as well as Co-Founder of the label Tegel Media (tegelmedia.net) gives insights into his work from 2018.
,I now write in my mum's house again' (Leif Randt, E-Mail to Armen Avanessian, 2 April 2018)
,So much text about so much free time. What happy human beings are we' (Leif Randt, Telegram message to Jakob Nolte, 5. April 2018)
The endless bavardage of columnists, experts and editors, in either journals, radios or television broadcasts, have rendered the contemporary impossible to understand. In order to reverse this trend, we need to rethink not only our predicament, but the very tools we use in order to try and understand it. We have been rendered stupid with principles, values, beliefs, things to be done and things certainly not to be done, prohibitions and permissions, scandals and judgments. It is this whole apparatus that it is time to get rid of. How to? For instance, by making the hypothesis that the present always allows for something different to be said – every event, case, dossier, debate, question, stake or problem is there waiting for someone to take them seriously, rather than applying to them some preconceived moral or political agenda. This is what is going to happen tonight. Randomly selected items out of the political, intellectual or aesthetical news, treated as they would deserve to be treated: experimentally, with no borders and no consideration for seriousness or gravity. To the epic fail of contemporary moral sociology, politology or journalism, we need to reply with the acceptance of the epic fail of thought to deal with anything – if one doesn't accept one's own, predictable, failure. Douchebags and stiffed necs not welcome.
Book launch
On the occasion of the launch of his book Die Pinocchio Theorie (Merve), Steven Shaviro presents a discussion on Speculative Time. It has often been said that we live in a historical moment in which "it's easier to imagine the end of the world than the end of capitalism" (Mark Fisher). We seem to be trapped in a heightened eternal present, characterized by media saturation, financial speculation, and relentless entrepreneurial innovation. Everything is continually changing – right here, right now – and yet nothing ever seems to be truly different. In a time of incessant novelty and intensified actuality, we find it ever more difficult to envision any future that is not just continuous with the present. In his talk, Steven Shaviro seeks to excavate a different sort of futurity: one that is "real but not actual" (a formulation that was proposed, independently of one another, by the philosophers Alfred North Whitehead and Gilles Deleuze). Against the background of the ways that our sense of time has been molded by financialization and by schedules of indebtedness, the talk will consider alternative futurities expressed in the fabulation of science fiction narrative, and in the forms of rhythm generated in contemporary popular music and music videos.
Steven Shaviro's presentation will start at 20:00, screening of music videos from 19:00.
Whilst politics is losing democratic legitimacy nationwide and Europe wide, and neoliberalism and right-wing populism are more and more rooted into the governments as competitors or partners, the potential for left-wing countermovement in cities is coming to light.
Be it in the "Solidarity City" network, which aims to give people without the same formal rights the same access to the housing and job market, in 'Recht-auf-Stadt-Initiativen' (rights for city initiatives), who have been fighting for a 'city for all' for years or in 'hack the city' projects, who digitalise cities from the bottom instead of accepting the neoliberal Smart City, in which profitoriented companies collect the data of individual inhabitants for so-called improvement of security.
In many southern European cities, left-wing grass-roots initiatives that have already gained power in the city halls, are trying to win over the existing institutions. And in a completely different context, the local self-organisation also appears to demonstrate a chance of a new beginning: in Aleppo, where the inhabitants find resistant ways of surviving and living through new social alliances and recreate the city and neighbourhoods. What chances lie in the reconstruction of cities?
What defines all of these initiatives and what perspectives for a progressive politics do they open up? Can local power stand up against neoliberalism, right-wing populism (and destruction)? How can institutions be taken over and social movements strengthend? Can a left-wing citywide network be formed in order to decentrally erode capitalism?
Concept and Moderation:
Nora al Badri & Carolin Wiedemann
Lisa Vollmer, interdisciplinary city- and movement researcher, Institute for European Urban Planning, Bauhaus-University Weimer
Nina Scholz, Journalist and activist at Kotti and Co, Berlin
Jennifer Schubert researches 'Informal City Making – Tools for Civic Participation in Neighbourhoods', Design Research Lab, Universität der Künste, Berlin
N.N., Activist from Solidarity City Berlin
Zoya Masoud, Architect and coordinator of "Crossroad Aleppo - Multaka Halab", project at the Museum of Islamic Art, TU Berlin
Book presentation from Robert Misiks collection of essays "Love under capitalism".
The book is a collection of essays, articles and lectures that were made especially for this collection or were written from scratch. A kind of diagnosis of our times, following several terms. Terms that have influenced our epoch: fear, exasperation, consumption, love, tinderisation, happiness, insecurity, freedom, patriotism, integration, identity, irony and much more. In total they make up a well-composed panorama of our times.
Reading by the author and discussion with Armen Avanessian.
Many promises of love, for example that of the budding internet or that of the canonical '68, go like this: One day our closeness will be free and very, very light and it will cost us nothing. But this optimism veils how much emotional and thus unpaid labour is needed to endure our differences.
And especially: how much tender administration is necessary to make these differences less heteronormative. Especially following supposed sexual revolutions and the cybersex-era. LOVECOIN therefore asks the question: how can we learn to manage our contemporary intimacies? What do infrastructures that offer different types of commitment to wedding rings and "it's complicated" cost us? Perhaps less of a hope of what's to come, and more queer bureaucracy of what could already be: precise and too much, collective and dynamically administered like a safe space or the blockchain. So minus the hype, minus the bro culture: a stock market-crush of closeness. Three short performative science fictions present themselves, and how our relationships will have been a little bit different.
What happens when the global systems that we once thought permanent break down? And what does it mean for cultural production in the 21st Century? Paul Mason, author of Postcapitalism: A Guide to Our Future (2015), presents a simulation of global system failure and invites participants to consider the consequences. To discuss what global system failure will mean for artists, theatremakers, and the art forms that are likely to emerge, Paul will be joined by Sam Williams and Armen Avanessian. The evening will conclude with an open platform for the free exchange of ideas.
In English
On the stage of Roter Salon, at Volksbühne, a film shoot of a live-drama is performed, which the audience can attend alongside the camera team and direction.
A scene from a soap opera is staged in which the main protagonists perform a theatre piece as part of the plot.
The audience is invited to watch this chamber play, whose actors act about the act of acting.
Occupy, Momentum, Democracy in Bewegung (Democracy in Movement), Pulse of Europe, Fearless Democracy, 'Zentrum für politische Schönheit' ('Centre for political beauty'). A large number of new movements are bringing a fresh breeze to the stale discourses of our post democracies. But do these actors really bring about change? With what kinds of strategies and instruments do they get involved in the political battle of opinions? And what understanding of politics hides behind it? Can the chosen strategies actually bring about real change? We need to talk.
Marc Saxer, Disrupt Democracy
Philipp Ruch, Zentrum für Politische Schönheit
Gerald Hensel, Fearless Democracy
Paula Peters, Change.org
Nora Al-Badri, artist
Alexis Passadakis, attac
"Trees have nothing to teach me", insists Socrates (Phaedrus 230d), so dismissing, at one and the same time, the natural inquiries of his youth and the bifurcating iterations of a natural logic responsive to the paired terrestrial demands of gravitation (branches cannot be more massive than trunk without catastrophe) and light (energy, honey pump) while irreducible to either. Already therefore dendritic morphology teaches us a great deal about natural logics as situated in domains requiring additional logics to articulate them. If what is true of the first (dendrite plus conditions) remains true of the second (though <dendrite plus conditions>), it will be unconditionally true that there are no unconditioned logics. Such logics, evident in the morphogenetics of D'Arcy Thompson and Rene Thom, and practised in the cosmographies of Yves Klein and Anselm Kiefer, articulate innumerable natural logics. With their passing, as when a hyper-salinated river dries and drifts, natural logics are instances of the earth's thoughts that must pass, according to their own imperatives, at least partly unremarked. Precisely, therefore, what grants logics expanded and natural fields simultaneously conditions them as immanently restricted.
With Tom McCarthy, Clémentine Deliss and Sina Najafi
In the context of the reading of Tom McCarthy's novel Satin Island in Roter Salon the previous day, curator and publisher Clémentine Deliss, Cabinet Magazine editor-in-chief Sina Najafi and Armen Avanessian join the author for a discussion.
Is the feedback loop running between radical culture and capitalism's mechanisms of capture inescapable?
Are all avant-gardists ultimately conducting research and development for tomorrow's branding and advertising agencies?
Or is art still able to 'détourne' power, to open up new modes and possibilities?
Tom McCarthy's celebrated recent novel Satin Island raises all these questions, and more. Its protagonist U., a twenty-first-century Man Without Qualities, works as a corporate anthropologist for a cutting-edge consultancy, placing the insights of thinkers from Malinowski and Levi-Strauss to Deleuze and Badiou in the service of government think-tanks and multinational corporations. At the same time, he harbours fantasies of acting as a symbolic terrorist, destroying the entire system from within.
Presented by Tom McCarthy and Stop making sense, it's as good as it gets. (www.bnkr.space)
A full reading of Tom McCarthy's novel 'Satin Island', staged (in keeping with the book's corporate-anthropological milieu) as a company report, designed by Laura Hopkins. The actors Elena García Gerlach, Steffen Klewar and Jonas Zipf will be reading. On purchase of a unit of the event's stock, shareholders will have the right to audit the text's full reading, alongside a power-point presentation. Coffee and biscuits will be free to all shareholders, and alcohol will be available for purchase.
'Satin Island' has been described as 'Kafka for the Google Age'. Its anti-hero, corporate anthropologist U., is a twenty-first century man-without-qualities, meandering his way from brainstorming session to government meeting to aimless speculation about cargo cults and dead parachutists, the meaning of buffering and the after-life of Ulrike Meinhof. Is there a logic governing our era? Could this be summed up, 'named'? Or is it all just randomness, algorithm and glitch?
The reading is part of the program Stop making sense, it's as good as it gets., by Ludwig Engel and Joanna Kamm and a cooperation between Volksbühne Berlin and BNKR Munich.
One day after the reading of the novel, curator and publisher Clémentine Deliss, Cabinet Magazine editor-in-chief Sina Najafi and Armen Avanessian join the author Tom McCarthy for a discussion.
> Armen Avanessian & Enemies #17: Recuperate This!
With Monira Al Qadiri & Raed Yassin
Living in times of global uncertainty and shifting realities, the project aims to create an accompaniment to the age of shared melancholia. Sifting through the relationship of sadness and the city, destruction and nomadism, Monira Al Qadiri and Raed Yassin create a performance in which ancient lamentation hymns are transmitted through a Karaoke machine. Darkness, ominous voices, jolts of pain and screams, and a general sense of morose: it promises to be a cathartic evening.
For the gods have abandoned us
Like migrating birds they have gone
Ur is destroyed, bitter is its lament
The country's blood now fills its holes like hot bronze in a mould
Bodies dissolve like fat in the sun. Our temple is destroyed
Smoke lies on our city like a shroud.
Blood flows as the river does
The lamenting of men and women
Sadness abounds
Ur is no more
Lament for Ur, c. 2000 BC (Mesopotamia)
Monira Al Qadiri is a Kuwaiti visual artist born in Dakar, Senegal and educated in Japan. In 2010, she received a Ph.D. in inter-media art from Tokyo University of the Arts, where her research was focused on the aesthetics of sadness in the Middle-East stemming from poetry, music, art and religious practices. Her work explores unconventional gender identities, petro-cultures and their possible futures, as well as the legacies of corruption. She is also part of the artist collective GCC.
Raed Yassin (born 1979, Beirut) lives and works in Beirut. He graduated from the Theatre Department of the Institute of Fine Arts in Beirut in 2003, and in 2015 he was awarded a research fellowship at the Akademie der Künste der Welt in Cologne. An artist and musician, Yassin's work often originates from an examination of his personal narratives and their position within a collective history, through the lens of consumer culture and mass production. One of the organisers of Irtijal Festival - Beirut's experimental contemporary music festival - Yassin has released several music albums and founded the production company Annihaya in 2009. He is also a founding member of Atfal Ahdath, a Beirut-based art collective.
With Monira Al Qadiri & Raed Yassin
The Holy Template is a multi-media lecture performance by Monira Al Qadiri accompanied by a live intervention by Raed Yassin. The Roter Salon will be suddenly transformed into a digital cathedral, where religion via the web will be displayed and heard. The audience plays the role of the devotees, contemplating what it means to consume faith through the Internet.
The composition of religious dogma has changed dramatically since the advent of the Internet. Where once religious fervor was rooted in far-away sacred places, cryptic sacred books, magnanimous sacred personalities – ie. physical experiences tied to the metaphysical – the dispersal of spiritual doctrines online has demystified certain parts of religious discourse, but simultaneously augmented other more micro or fringe beliefs, and thrust those extremities to the central tenets of devotion. The fast paced ever-changing quotidian norms of virtual life displace and randomize the traditional hierarchy of faith, adding infinite layers of newly 'imagined' rules and phenomena. The esoteric has become exoteric: the mysteries of the Divine have now shifted to the everyday behavior of the devotees.
Islam is a case in point. The shift in popular culture has changed how we consume religion within the Islamic universe. In the days of television until the mid-90s, Islamic programs were focused on directing viewers to look at the world around them to find God, mainly through the miracles of nature. In the present day, this image has been all if not completely overturned. In the world of Islam.net, one sees the wide circulation of peculiar multi-colored jpeg templates that point to the microscopic ins and outs of the religious imagination.
Monira Al Qadiri is a Kuwaiti visual artist born in Dakar, Senegal and educated in Japan. In 2010, she received a Ph.D. in inter-media art from Tokyo University of the Arts, where her research was focused on the aesthetics of sadness in the Middle-East stemming from poetry, music, art and religious practices. Her work explores unconventional gender identities, petro-cultures and their possible futures, as well as the legacies of corruption. She is also part of the artist collective GCC.
Raed Yassin (born 1979, Beirut) lives and works in Beirut. He graduated from the Theatre Department of the Institute of Fine Arts in Beirut in 2003, and in 2015 he was awarded a research fellowship at the Akademie der Künste der Welt in Cologne. An artist and musician, Yassin's work often originates from an examination of his personal narratives and their position within a collective history, through the lens of consumer culture and mass production. One of the organisers of Irtijal Festival - Beirut's experimental contemporary music festival - Yassin has released several music albums and founded the production company Annihaya in 2009. He is also a founding member of Atfal Ahdath, a Beirut-based art collective.
With: Britta Thie + Guest: Dan Bodan
Watching all these American TV shows, I feel like, when I speak English, I'm just copy-pasting dialogue. It's like the Mimikry of the latest HBO-slang, the lines of my favourite streaming-starlet become mine, the voice over of my life.
I call that the "Netflix-ication of Life" – or the Soap-ification of the Self.
#TBT: Back in the day in the German small town we were listening to Millencolin and had crushes on boys wearing brown Lagwagon shirts which they bought ONLINE for heavy Deutsch Mark.
The Euro came a few years later, the coins were crisp and the modems still loud.
The Misseducation of Lauren Hill pushed our self esteem.
ICQ, Miss Sixty, és skate shoes, Helly Hansen, VIVA 2, Lara Croft, Flat Eric.
'97: GMX –> '02: Digital Puberty –> '05: Myspace –> '08: Gmail –> '16: Coinbase
Conversation and performance with Britta Thie & Dan Bodan
Hyper-informed or algorithmically manipulated? How do we make decisions in the 'smart' age - while shopping, before elections, about life partners? In order to investigate the question of self-determination in our increasingly algorithmically managed society over a glass of chai, surprising and provocative reactions are brought together for this data bazaar.
A film by Manu Luksch, Martin Reinhart & Thomas Tode
Narrated by Tilda Swinton
Narrated by hollywood star Tilda Swinton, and including cinematic gems and a prize-winning soundtrack, "Dreams Rewired" bridges the gap from silent film to the present, stunningly portraying the journey from the industrial to the digital revolution. It discusses the dreams and visions as well as the fear of its consequences.
-BR, FilmTonArt
"Dreams rewired" engages with the desires and concerns of today's connected world, going back 100 years to the beginnings of the telephone, film and television. Equivalent to today's social media, they too incited utopic expectations of limitless communication, democratisation of knowledge and even world peace through an improved sense of mutual understanding. Yet, similarly, this transcending of time and distance also created fears about privacy, security and morality.
Featuring an abundance of passionately researched unseen archive footage taken from around 200 films, this compilation shows a dazzling mosaic, navigating timeless hopes and anxieties. It also casually and rightfully shines a light on the role of women within the history of modern communication. This history of modern mass communication is a guide to better understanding our current, connected world.
After their successful launch at the beginning of the Roter Salon's event series, the hybrid word-and-deed-collective Disrupt Democracy's second political workshop addresses another current topic for discussion: How does resistance work in the early 21st century? What's legal? What's illegal? What parliamentary and extra-parliamentary alliances exist?
Populism is threatening the rule of law, according to Harvard University political scientist Yasha Mounk's latest book, The People vs. Democracy: Why Our Freedom Is in Danger and How to Save It (German edition title: Der Zerfall der Demokratie). In a conversation with Georg Diez, he explains why liberal democracies – ranging from Germany to the United States – find themselves in existential danger today, and points out what we can all do to curb this alarming development.
With Karin Pettersson and Georg Diez. Guest: Carlo Strenger; Special Guest: Igor Levit
What new ideas could shape democracy in the 21st century? What are the possibilities for freedom and solidarity in the time of digital capitalism? Who will tame the power of the internet giants? These are some of the questions that Karin Pettersson (Aftonbladet) and Georg Diez (Der Spiegel) are addressing in their Start Worrying, Details to Follow podcast. Recorded live in Berlin for the first time.
Love me, love me, say that you love me.
Fool me, fool me, go on and fool me.
Love me, love me, say that you love me.
Fool me, fool me, go on and fool me.
THE AGENCY invites you to a rendezvous in the Roter Salon: For this one evening only, there will be perfect romantic moments: meaningful glances, a casual touch from time to time, sizzling encounters at the bar or even dinner by candlelight ... Spectators can sign themselves up for scripts of romantic love, forget their traditional partnership profile, and just enjoy the fake.
THE AGENCY deals with the production of emotions with scripts, images and narratives - and now it's romance's turn. It's gonna be perversion.
The future of cultural infrastructures is the critical site of intervention, shaping not only the future of culturalproduction but also the manner in which culture is to interweave with and affect other societal processes.
In English with Antonia Alampi, Victoria Ivanova, Harm van den Dorpel, Mathew Dryhurst, Emer Grant u.a.
We're used to separating knowledge from experience. In the academic sphere in particular, there's a tendency to believe that knowledge is generated by deduction from (pre-existing) knowledge. But it's more complicated than that. An experience implies not only gaining but also losing knowledge. Only those who are willing to give up knowledge, in favour of gaining other bits of wisdom and forms of knowing, can truly have an experience in the emphatic sense. From this kind of experience, according to Michel Foucault, we emerge changed. In theatre, in art, but also in academia, there are opportunities to open up unknown forms of philosophical knowledge production. Philosophy is not limited to universities.
What do we include (and what do we leave out) when we discuss the importance and historical significance of specific years and celebrate anniversaries? Which years have shaped our present day? An evening about 1948, 1957, 1967, 1969, 1973, 1979, 1980, 1981, 1989, 2007, among others, for all those who want to arm themselves – just in time – for the coming celebrations of the 50th anniversary of 1968. Spontaneous contributions from the audience are more than encouraged.
An evening with Armen Avanessian as well as Bernd Scherer, Anke Hennig, Ludwig Engel, Joanna Kamm, Georg Diez, Christopher Roth et al
Quentin Meillassoux and Armen Avanessian discuss ontology, metaphysics as well as speculative poetics and materialism.
100 companies are responsible for 71% of industrial greenhouse gas emissions. Can these companies be reformed? Or are other, harsher measures required? And what would they be?
These questions are at the heart of this political-participatory workshop: How can we execute, with these companies, the radical switch from labour productivity to resource efficiency across the entire economy? How can we change business models, redirect flows of goods and energy, and use them holistically? Or is there no time left for a reformist approach?
In this workshop, experts will pose the following questions and then discuss them in small groups: How can the largest greenhouse gas emitters be made legally responsible for their effects, how can financial pressure be exerted? How can pressure from consumers and shareholders be organised? But this is just the beginning. It's all about agency, about reclaiming the ability to act. During this evening and in general.
When we look into the future, a central question arises: How will we find new forms for intervention? We take a look at climate activists' radical and unconventional approaches, as well as NGOs' conventional and reformist approaches, which have sought an exit from fossil fuel economic cycles by collaborating with corporations. At the end of the evening, one document, a common plan, will be issued. Alternatives to the current energy regime must be found. And for each individual, the question still remains: reform or resist?
Disrupt Democracy is a 21st-century hybrid knowledge organisation, decentralised, digital, activist, academic, curious, open, political, participatory, a network of people searching after ideas for a good life, a just life, for all.
With (among others):
Roda Verheyen, lawyer, represented Peruvian farmer Saúl Luciano Lliuya against the German energy corporation RWE. For over 20 years she has worked on the question of how companies can be made legally responsible for their complicity in climate change.
What happens when the global systems that we once thought permanent break down? And what does it mean for cultural production in the 21st Century? Paul Mason, author of Postcapitalism: A Guide to Our Future (2015), presents a simulation of global system failure and invites participants to consider the consequences. To discuss what global system failure will mean for artists, theatremakers, and the art forms that are likely to emerge, Paul will be joined by Sam Williams and Armen Avanessian. The evening will conclude with an open platform for the free exchange of ideas.
In English

subset: commoncrawl


text:
by Michelle Safdieh
- 1 stick butter melted
- 4 – 5 Tblspoons flour
- 2 cups milk
- 1-1/2 C grated cheese (can mix if you like (muenster,cheddar)
- Salt and white pepper
- Boil 1 lb pasta ( I like large shells).
- Put in 3 qt pyrex (spray w/ pam). Top with slices of tomato, sprinkle panko bread crumbs on top.
- Bake covered 350 for 40 min uncover for 10-15 min more.
Mac n Cheese Recipe#2
by Vicki Hoffstein
2 cups dried elbow macaroni
1/2 C of grated cheddar
1/2 C of grated mozzerella
1/2 C of grated muenster cheese
1/2 cup of sour cream
4 Ttbsp.butter cut into pieces
3 eggs
1/2 tsp salt
1/2 tsp pepper
1 C of milk
1/2 C of bread crumbs
1/2 C of Cornflake crumbs
cook macaroni until aldente-about 8 to 10 min. drain pasta and put in large bowl, add cheeses while pasta is hot. in a separate bowl, using a whisk, combine sour cream, butter,eggs, salt and pepper. Add to macaroni mixture. Spray oven proof baking dish with pam, pour mixture in and top with combined bread and cornflake crumbs. Bake at 350 for 30-45 min. Enjoy!
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(CNN) -- A stuffy, overcrowded cell. At times, two or three men to a single bunk. Lockdown for 23 out of 24 hours.
Is this what awaits South Africa's Oscar Pistorius if he is not released on bail while he awaits trial for the murder of his girlfriend?
Some of South Africa's prisons are better than others.
But whichever one might house Pistorius, there's no question that conditions would be a far cry from those in his $560,000 home in the luxury Silverwoods Estate, on the outskirts of Pretoria.
South African prisons are frequently overcrowded, putting a strain on sanitation, ventilation and medical care, according to Nooshin Erfani-Ghadimi, project coordinator for the Johannesburg-based Wits Justice Project , a civil society group.
The overcrowding means three men may share a single cell, or communal cells for 40 people are jammed with double the number they were intended to hold, with men sleeping in double or triple bunks, she said.
"We heard of one person who for the first year in remand detention slept on the floor and then 'graduated' to a bunk," she said. Remand is the term used for pretrial custody.
Many inmates are kept locked up for 23 hours a day, with only an hour outside their cell. Some prisons go into lockdown as early as 3 or 4 p.m., leaving prisoners cooped up for 12 hours or more at a stretch.
"It's not a pretty picture," Erfani-Ghadimi said.
Overcrowding is a particular problem in remand prisons, where it runs at just over 200%, she said, citing figures from the Department of Correctional Services. Overall, overcrowding in prisons stands at about 133%.
And Pretoria Central Prison, perhaps the most likely destination for Pistorius if he doesn't get bail, "doesn't have a very good reputation," Erfani-Ghadimi said.
Special treatment?
The track star's high-profile case is likely to thrust South Africa's criminal justice system under the spotlight.
Questions have already been asked about why Pistorius, a gold medal-winning Paralympian, is being detained in a holding cell at the Brooklyn Police Station -- and not at Central Prison or Newlock, where other defendants awaiting trial are kept.
"If there is some special circumstance that permits this, authorities must share this with the public as they are setting a bad precedent," the women's branch of South Africa's ruling party said in a prepared statement. "All should be treated equally before the law no matter your standing in society."
Pistorius is getting special treatment, the African National Congress Women's League said, adding that his family can visit him outside visiting hours -- unlike relatives of other inmates.
"If Pistorius is denied bail, he must be moved to a proper prison facility with others accused of similar crimes," the statement said. "A strong message must be sent out that wealth and celebrity cannot give you an advantage over the law."
The 26-year-old has rejected the murder allegation "in the strongest terms," his agent said in a statement.
Pistorius' lawyers requested Brooklyn last week so that they could have access to their client over the weekend, following his arrest Thursday. The state did not object.
The case of Shrien Dewani, a British man accused of hiring hitmen to kill his wife on their South African honeymoon, cast the country's criminal justice system in an unflattering light. His lawyers argued last year that his extradition would breach his human rights under European law because he risked being attacked by other inmates in South African prisons.
While British High Court judges dismissed that part of Dewani's argument, concerns about potential torture and abuse in detention are warranted, Erfani-Ghadimi said.
South Africa is a signatory to the U.N. Convention on Torture, but it has yet to ratify it, so such abuses have not been criminalized.
"A legacy of apartheid is that prison cells are still unfortunately a place where prisoners can be abused," Erfani-Ghadimi said.
Amnesty International's Annual Report 2012, which looked at human rights around the world, also said that a draft law to make torture a criminal offense had not been presented in South Africa's parliament by the end of the year.
Human dignity
Nevertheless, said Erfani-Ghadimi, the problem doesn't lie in South Africa's laws so much as in the ability of the justice system to cope with the number of inmates in the system.
South Africa's constitution and its bill of rights, with regard to prisoners' rights, are among the best in the world, she said. "Unfortunately, that doesn't necessarily translate into practice."
She says she thinks conditions are improving, however, thanks in part to the strength of those constitutional rights and the work of civil society organizations campaigning for change.
And Pistorius, if he ends up spending time on remand or is eventually convicted and jailed, should find that his particular medical needs as a double amputee are taken into account, she said.
This could mean that he is sent to a prison with better medical facilities or wheelchair access, she suggested.
According to the bill of rights, prisoners are entitled to "be detained in conditions that are consistent with human dignity, including at least exercise and the provision, at state expense, of adequate accommodation, nutrition, medical treatment."
Correctional Services Department spokesman Koos Gerber said South Africa's detention facilities, whether for remand prisoners or those serving prison terms, "can accommodate people with any disabilities."
"We have a general problem of overcrowding but we have learned to live with it," said Gerber, adding that extra bunks have been added to make sure all remand prisoners have a bed. Hospital facilities are also available at all times, he said.
According to official figures for 2011 to 2012, there were 158,790 prison inmates in South Africa, a nation of nearly 52 million, of whom about 30% were on remand awaiting trial.
This compares with about 2.2 million people in prisons or jails in the United States at the end of 2011, according to U.S. Department of Justice figures. Crowding in U.S. prisons stood at 39% over capacity in 2011, according to a Government Accountability Office report.
Long wait for trial
Erfani-Ghadimi blames systemic problems for South Africa's overcrowding. One issue is that police are quick to arrest people, she said, and they have only 48 hours from arrest to bring charges.
After they are charged, many suspects cannot afford to make bail or hire a lawyer and so are forced to spend months or even years behind bars awaiting trial, she said.
Investigations are often poorly run and courtrooms can be overcrowded, adding to the hurdles faced by those on remand, she said.
"Because the system is cumbersome and slow, there's a lot of people stuck waiting -- and that means the conditions are not by any means ideal," she added.
A "statement of agreed factual findings" filed in a Constitutional Court ruling in December, in favor of a man who contracted tuberculosis while imprisoned, gives insight into what could lie ahead for Pistorius.
The statement describes the conditions Dudley Lee endured in Cape Town's Pollsmoor Maximum Security Prison -- where Nelson Mandela was once held -- before he was eventually acquitted and freed.
Prisoners going to court appearances were "stuffed into vans like sardines," it said. Holding cells at court were also "jam-packed." Meanwhile, conditions back at the prison were far from pleasant -- though ideal for the spread of disease.
Packed, smoky cells
The air inside the communal cells, locked down without cross-ventilation for up to 15 hours a day, was thick with cigarette smoke, the statement said. Even after Lee was diagnosed with TB, he was kept in a cell with other prisoners. He "begged, bullied and bribed" to get the medication he needed.
As a world-famous athlete, Pistorius has money to pay for good defense attorneys, unlike many in the South African justice system. He stated his annual income was 5.6 million rand ($631,000) at his bail hearing this week.
Nonetheless, his lawyers face an uphill battle on the bail issue, with South African law requiring evidence of "exceptional circumstances" to justify the release of defendants accused of premeditated murder.
If they fail, Pistorius could face several months on remand before his case goes to trial. And if convicted of premeditated murder, he would face 25 years in prison before being eligible for parole.
His lawyers will be trying to make sure that doesn't happen.


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2015 McLaren 650S Review
McLaren is releasing new models at an astonishing rate. In 2011, the brand entered the sports car fray with the remarkably competent but visually bland MP4 12C. One year later, the even more dynamic 12C Spider was added. In 2013, the P1 supercar debuted to high acclaim and was an immediate sellout. For 2014, the news is the 650S, which replaces the MP4 12C. Now, already, we have a replacement for the 12C. Compared to its predecessor, the 650S looks funkier, boasts a torquier and more powerful engine, is better equipped, and it's even more fun to drive.
All McLarens share the same basic DNA. Among the key common components are the carbon-fiber chassis and cabin tub, a double-wishbone suspension, a twin-turbo 3.8-liter V-8, a seven-speed dual-clutch transmission, and the unique cockpit layout featuring a narrow center stack and A/C controls located on the door panels. For the 650S, the engine output increased from 616 hp at 7500 rpm to 641 hp at 7250 rpm. At the same time, maximum torque climbed from 443 lb-ft at 7000 rpm to 500 lb-ft at 6000 rpm. While other manufacturers attempt to keep the peak twist action constant over several thousand rpm, McLaren prefers a progressively rising torque curve for enhanced emotion. To prepare the M838T engine for the extra load, it received new pistons, cylinder heads, cam profiles, and exhaust valves. The exhaust system was redesigned for reduced backpressure and a more aggressive soundtrack. Part-throttle upshifts are now accompanied by a brief cylinder cut out for that magic blat-blat noise.
There are very few sports cars at any price that can match the 650S for acceleration and top speed. Both models—the coupe listed at $265,500 and the $280,225 Spider—will accelerate in 2.9 seconds from 0 to 60 mph. The hardtop version takes a mere 5.7 seconds to beam itself from a standing start to 100 mph, and it will hit the 300 kph mark (188 mph) after only 25.4 seconds. The top speed is a claimed 207 mph. The 2868-pound (dry weight) two-seater compresses space and time in a manner reminiscent of the hybrid P1, which responds to full-throttle orders with a mighty e-boost urge. Up to 125 mph, nothing this side of a Bugatti Veyron (and the P1/LaFerrari/918 Spyder threesome) can match or beat the 650S, at least not when official performance figures are the yardstick to go by.
Predictably, the dynamic virtues of the new McLaren are not restricted to the more powerful engine. Improvements were also made in the chassis department, where the front springs are now 22 percent stiffer and the rears have been firmed up by 37 percent. At the same time, the damper setting in Normal mode is now a little softer so that the ride comfort remains reasonably compliant. But since the dampers cannot be decoupled, Ferrari-style, the setup automatically goes from hard to harsh as you twist the DNA selector knob to Sport and then to Track. On the circuit, this is perfectly okay. But on undulating two-lane roads, you have your hands full making recurrent small corrections at the wheel because the directional stability is frequently dented by lateral deflections. That's the bad news. The good news concerns the even stronger grip, which makes turn-in at the limit so much more confidence inspiring. The steering, too, feels now more responsive, more progressive, more alive. Although the handling balance can be easily tweaked by adjusting the torque flow, roadholding remains tenacious all the way to the breakaway zone, where steering, throttle, and tires modulate the flight path.
Pirelli developed a special rubber compound for the P Zero Corsa tires fitted to the 650S. The stuff sticks like licorice on dry tarmac, but in the wet the shaved tread pattern is bound to be at odds with puddles and aquaplaning grooves. Through the second-gear corners of the Ascari circuit, there was always enough oomph on tap to kick the car's rear end into screeching smoke mode. With increasing enthusiasm, we flicked our way through the three distinctly different dynamic settings. Normal is comfort-oriented, safe and stable, but you can still push the 650S relatively close to its limit, be it mild understeer or beginning oversteer. Sport ups the ante, calls for quicker reflexes and more attention, occasionally requiring a flick at the wheel or brief lift off. Then there is Track, which permits unexpectedly adventurous cornering attitudes—after all, stability control is still active, although only just. Which is why Track will send you into a veritably panoramic spin if you're not on the case throughout the bend, from entry to apex to exit.
It's a cool car, the new 650S, but patience and composure are not its prime strengths. Instead, the McLaren cultivates a more extroverted stance, a more urgent delivery of power and torque, a more intense sequence of input and response, a more involving interaction between man and machine. Take, for instance, the gearbox, which blends rapid-fire downshifts which very physical kick-in-the-butt upshifts. Brace yourself for the brake response that grabs the carbon-ceramic discs with the vigor of a hungry snapping turtle. Relish the ground-effects chassis, which increases downforce by 24 percent at 150 mph, making the car carve through angst-inducing high-speed curves with breathless poise and awesome precision. Finally, check out the adaptive aerodynamics. On the motorway, the rear spoiler will fold flat at speed, providing the same DRS effect as Woking's F1 racer. When driving fast over a crest, the tail rudder will momentarily rise to generate more downforce. Under full deceleration, the blade turns into an almost vertical aero brake.
About 25 percent of the parts in the 650S are modified or redesigned. The most obvious visual changes concern the P1-inspired front end, the more neatly integrated side blades, and the more purposeful rear end treatment. The wheels, the rocker panels, and the optional carbon-fiber kits (exterior and interior) are also new. With the exception of the more readable in-dash monitor and the extra-cost lightweight race buckets, the cockpit remains virtually unchanged. That means owners must continue to live with the extra-wide sills that impair entry and exit, the tight cabin dimensions, and with the mediocre ergonomics. Driver assistance systems are still conspicuous by their absence, as is a head-up display, and a single driving mode selector like the manettino fitted to every Ferrari. On the credit side, we note the additional standard equipment, which now includes carbon-ceramic brakes, LED headlights, full Alcantara or leather trim, navigation, and satellite radio. Options include racing seats, a backup camera, a power-adjustable steering column, and carbon-fiber interior trim.
The 650S costs about ten percent more than the MC12. It now falls about halfway between a Ferrari 458 and the F12, it is notably more expensive than a fully loaded 911 Turbo S, and it ranks about on par with the new Lamborghini Huracan. Furthermore, the McLaren engine doesn't sound as sexy as the Lambo V-10, it lacks the Porsche's all-wheel drive foul-weather talent, and it can't match the Italia for space efficiency and ergonomic finesse. But the face-lifted Brit does outperform the big name competition with surprising ease, its handling could not be more beautifully balanced, and the entertainment value deserves ten out of ten points on our let's-do-it-again scale.
2015 McLaren 650S
- On sale Now
- Base price $265,500/$280,225 (coupe, Spider)
- Engine 3.8-liter V-8 twin turbo
- Power 641 hp @ 7250 rpm
- Torque 500 lb-ft @ 6000 rpm
- Transmission 7-speed dual-clutch automatic
- Drive Rear-wheel
- Weight 2868 lbs (coupe, dry weight)
- Wheels 19 x 8.5 in front, 20 x 11 in rear
- Tires 235/35R19 front, 305/30R20 rear Pirelli P Zero Corsa
- 0-60 mph 2.9 seconds
- 0-100 mph 5.7 seconds
- ¼ mile 10.5 seconds


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Due to COVID restrictions and wildfire recovery, please call wineries to confirm tastings before visiting.
Contemporary. Innovative. Out of the Ordinary.
Since being founded in 1994, Paraduxx has earned acclaim as the only winery solely devoted to stylish Napa Valley blends. Artfully crafted to appeal to the modern palate, the visionary blends of the Paraduxx portfolio have established a reputation for their bold, expressive character and their food-friendly sophistication.
All of the wines in the Paraduxx portfolio are made in a state-of-the art winery that was unveiled in 2005. The centerpiece of the Paraduxx winery is a unique 10-sided fermentation building inspired by traditional round barns. Flanking the fermentation building are two symmetrical barrel cellars, partially set below grade to allow gravity flow of the fermented wine to oak barrels for aging. The luxuriously appointed Paraduxx Vineyard House welcomes guests for an array of intimate sit-down tasting experiences.
You may make a tasting appointment at www.paraduxx.com
Plan a trip to Paraduxx on our interactive winery map:
Paraduxx winery is located in the center of the Napa Valley along the less traveled Silverado Trail. The architectural innovation of the estate is a unique ten-sided fermentation building, which houses a contemporary winemaking facility.
We are pleased to welcome guests to the Paraduxx Vineyard House for by-appointment daily tastings. Our enticing tasting options include our Enhanced Tasting ($30), which allows guests to explore some of our most sought-after library and limited-production bottlings. These tastings are offered in a contemporary setting, and feature tableside service, modern stemless Riedel 'O' glassware, and cheese complements-an ideal way to experience Paraduxx's rich, food-friendly blends.
Wine clubs are a great way to stay connected to your favorite wineries.
To join the wine club, visit www.paraduxx.com or call 707-945-0890.
Paraduxx Limited members receive automatic shipment of our flagship, limited production and vineyard designate wines four times per year.
•Preferred access to our world-class current release, library and large format wines.
•Use of our private members-only areas including gardens and barrel rooms.
•Access to winery properties to host a private wine-focused event once per year, at special pricing, for up to 12 guests.
•Invitations and special pricing for exclusive events and elevated tasting experiences at the winery.
•Discounts on re-orders and expedited shipping included.
•With prior appointment, complimentary tastings for up to four guests, with member present.
The offer listed below is valid for all Napa Valley residents age 21 and over.
15% off pickup wine purchases November 23 to December 31, 2020. 2 for 1 tasting, up to 4 guests. Reservations required.
Once a year the rarest new Napa Valley wines become available under one roof at Premiere Napa Valley. Wineries throughout the Napa Valley are given one task to participate: create a one-of-a-kind wine for this event to be purchased by one lucky bidder. This event is only open to select members of the wine trade and the successful bidder is the sole owner of this unique wine.
Cases: 10
Varietal: Red Wine
Vintage: 2018
Release Date: January - 2021
Appellation: Napa Valley
To purchase this wine or check on availability contact:
Liquor Barn
Louisville KY


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Export 4 results:
Filtres: Author is Boyer, Richard [Enlever les filtres]
Twelve-month prevalence and correlates of subthreshold and threshold anxiety in community-dwelling older adults with cardiovascular diseases. J Affect Disord. 2012;136(3):724-32.
The epidemiology of specific phobia and subthreshold fear subtypes in a community-based sample of older adults. Depress Anxiety. 2011;28(6):456-63.
The impact of DSM-IV symptom and clinical significance criteria on the prevalence estimates of subthreshold and threshold anxiety in the older adult population. Am J Geriatr Psychiatry. 2011;19(4):316-26.
One-year incidence of psychiatric disorders in Quebec's older adult population. Can J Psychiatry. 2010;55(7):449-57.