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siting futurity
her customers are suddenly able to pay off, and not just down,
their debts. Her goons first attempt intimidation, leading to an-
other burial, that of Sammy and his friends’ cat. It is the collec-
tive neighborhood response that is of interest. When Frau Jahn’s
goons come to inflict on Sammy and his trusty sidekick, Ticket,
the same type of treatment that had been inflicted on the poor
cat, the goons prove no match for the locals, who appear like a
cavalry in a local show of force. The film ends with Valerie back
in Germany, detailing to her class the benefits of local alterna-
tive currencies and announcing that she will be returning to
Vienna to help run Planet Ottakring, an establishment special-
izing in “Coffee and Credit,” as is advertised in English on the
sign above the door.
Not only does Riebl’s film depict how a small-scale alternative
currency works in practice, but the press kit that accompanied
the film and was referenced in reviews also explicitly mentions
the historical and contemporary models on which the “Kommu-
nisten” in his film are based. Indeed, the press-kit offers a verita-
ble history lesson in the workings of alternative currencies. So as
not to create the impression that they are a thing of the past, Rie-
bl mentions the Sardinian Sardex. As he details, “[d]ie Sardinier
haben den ‘Sardex’ erfunden, eine Internetwährung, die genau
auf dem gleichen Prinzip basiert. Kredite waren viel zu teuer,
also haben sie sich eine Währung erfunden, mit der sie sich ihre
Leistungen bezahlen” [“The Sardinians invented the ‘Sardex,’ an
internet currency based on exactly the same principle. Loans
were too expensive, so they came up with a currency with which
they could pay for their activities”] (“Presseheft” 2015). Interest-
ingly, far from being economists, these Sardinians were a small
group of “[a]rts and humanities graduates with little financial
experience” (Posnett 2015) but superior research skills. By 2009
the core team of Gabriele Littera, Piero Sanna, Carlo Mancuso,
Giuseppe Littera, and Franco Contu had become convinced
that, as Giuseppe Littera states,
something “had to be done” as no existing institution was
ready to tackle the economic depression that was on its way.
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book Siting Futurity - The “Feel Good” Tactical Radicalism of Contemporary Culture in and around Vienna"
Siting Futurity
The “Feel Good” Tactical Radicalism of Contemporary Culture in and around Vienna
- Title
- Siting Futurity
- Subtitle
- The “Feel Good” Tactical Radicalism of Contemporary Culture in and around Vienna
- Author
- Susan Ingram
- Publisher
- punctumbooks
- Location
- New York
- Date
- 2021
- Language
- English
- License
- CC BY-NC-SA 4.0
- ISBN
- 978-1-953035-48-6
- Size
- 12.6 x 20.2 cm
- Pages
- 224
- Keywords
- activism, Austria, contemporary art, contemporary theater, protest culture, radicalism, social protest, Vienna
- Category
- Geographie, Land und Leute
Table of contents
- Preface 11
- Introduction 19
- 1. (Re)Forming Vienna’s Culture of Resistance: The Proletenpassions @ #Arena 39
- 2. Converting Kebab and Currency into Community on Planet #Ottakring 57
- 3. Lazarus’s Necropolitical Afterlife at Vienna’s #Volkstheater 81
- 4. Hardly Homemad(e): #Schlingensief’s Container 101
- 5. From Grand Hotels to Tiny Treasures: Wes Anderson and the Ruin Porn Worlds of Yesterday 119
- 6. Capitalism, Schizophrenia, and #Vanlife: The Alpine Edukation of Hans Weingarter 143
- 7. #Hallstatt: Welcome to Jurassic World 161
- Bibliography 189
- Filmography 215