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siting futurity
about Hut in the Woods and whether his politics had changed
since The Edukators, he replied, “Es scheint so. Der Kapitalis-
mus ist ein Zug, der auf den Abgrund zurast. Ich glaube nicht
mehr so recht daran, dass man ihn aufhalten kann, indem man
sich auf die Schienen setzt. Vielleicht ist es sinnvoller, runter-
zuspringen“ [“It would seem so. Capitalism is a train speeding
towards the abyss. I no longer believe in the same way that we
can stop it by sitting on the tracks. Maybe it makes more sense
to jump off”] (Weingart ner 2012). However, it is not that the
protagonists in 303 are any less rebellious or critical than his
earlier ones. As one critic noted, his protagonists always react
against a capitalist society they experience as repressive and in
which those who either do not want to or cannot participate in
the hunt for money, a career or power sink; they all rebel in their
own way against the system (Taylor 2018).
Important in this observation is that his characters are de-
picted as not only experiencing but recognizing the world they
live in as repressive. That one can experience repression without
recognizing it is the point of Lauren Berlant’s work on cruel op-
timism, something Vegso and Abel refer to in their biopolitical
reading of The Edukators, in which they identify that:
[t]he pressing political problem, in other words, is neither
that people somehow “want” to be repressed nor that they
are tricked by ideological lure into passive submission to
power. Rather, as Daniel W. Smith argues, the problem is
that people invest serious stakes in social systems (such as
neoliberal capitalism) — despite the fact that these systems
thwart their interests — because our desires (drives, affects),
far from being owned by us as subjects, are part of the capi-
talist infrastructure itself. (Vegso and Abel 2016, 5)
Weingart ner’s contribution is to show that such a fate is not in-
evitable and that it is possible to make alternate forms of invest-
ment that claw back one’s desires from the capitalist infrastruc-
ture by taking one’s life into one’s own hands, whether in the
Siting Futurity
The “Feel Good” Tactical Radicalism of Contemporary Culture in and around Vienna
- Titel
- Siting Futurity
- Untertitel
- The “Feel Good” Tactical Radicalism of Contemporary Culture in and around Vienna
- Autor
- Susan Ingram
- Verlag
- punctumbooks
- Ort
- New York
- Datum
- 2021
- Sprache
- englisch
- Lizenz
- CC BY-NC-SA 4.0
- ISBN
- 978-1-953035-48-6
- Abmessungen
- 12.6 x 20.2 cm
- Seiten
- 224
- Schlagwörter
- activism, Austria, contemporary art, contemporary theater, protest culture, radicalism, social protest, Vienna
- Kategorie
- Geographie, Land und Leute
Inhaltsverzeichnis
- 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