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siting futurity
it” (Ludewig 2014, 389). As Ludewig notes, since 1988 there has
been a film festival held annually in Freistadt, Austria, dedicated
to “Der neue Heimatfilm” [the new Heimatfilm], which includes
films from around the world “in a variety of contexts, genres,
and styles” and conceptualizes Heimat as “a lifelong personal
quest that unites people from all parts of the globe” (Ludewig
2014, 389). There can be no mistaking Weingart ner’s answer to
the question of “where one feels at home with oneself and the
world” (ibid., 436). His distain of affective attachments to prop-
erty rather than people radiates from the image of the pyrami-
dal furniture construction that one of the families the edukators
have visited returns home to find, which contrasts with the sim-
ple construction the protagonist of Die Summe meiner einzelnen
Teile erects for himself and his young friend in the woods and
with the campervan the pair share in 303. Weingart ner has made
clear in interviews how highly he values the ability to share any
kind of space:
Man hat den Individualismus als Folge auf zwei Schocks ge-
predigt. Das Kooperative hat in den letzten 70 Jahren durch
den Nationalsozialismus, der ja eine Art Massenbewegung
des Bösen war, einen schlechten Ruf bekommen — und
dann noch einmal durch den Kommunismus, der auch völ-
lig ausgeartet ist. Jetzt kommen wir langsam drauf, dass eine
Menschheit aus acht Milliarden Individualisten nicht funk-
tioniert. Der Nummer-eins-Glücksfaktor, wie man aus der
Forschung weiß, ist soziale Nähe. Happiness is only real,
when shared. Das ist ein Satz aus dem Film “Into the Wild”,
der einer meiner Vorbilder für meinen Film war.
[One began preaching individualism as a consequence of
two shocks. Cooperation got a bad rap in the last 70 years
through national socialism, which was a kind of mass move-
ment of evil, and then again through communism, which
also got completely out of hand. Now we’re slowly starting
to realize that a human society consisting of eight billion in-
dividualists doesn’t work. As one knows from research, 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