Seite - 166 - in Siting Futurity - The “Feel Good” Tactical Radicalism of Contemporary Culture in and around Vienna

166 siting futurity on the other side of the lake and connected by a ferry service, whose approach to the village Raidel takes us on.5 These opening long takes and cuts prime viewers to be at- tentive to the specificity of both Hallstatts. In Deleuze’s typol- ogy of movement images, the long shot is associated with the perception image, while the close-up and medium shot are as- sociated with the affection image and the action image. Had Raidel opened with a series of close-ups, she would have been encouraging viewers to focus on the expression of emotions and to read these places as “any space whatevers.” As Ackbar Abbas has helpfully outlined, [t]his concept helps not only to underline the important re- lation between affectivity and space but also to differentiate between space and place, affectivity and emotion, along the following lines: as “space” refers us to places we do not yet understand, or no longer understand, so affect refers us to emotions we do not yet have, or no longer have a name for. In both cases, some kind of shift has occurred. As Deleuze explains it, any-space-whatever is the polar opposite of an actualized “state of things,” which is always framed in terms of spatiotemporal-psychic coordinates that we tacitly under- stand. By contrast, any-space-whatever involves a series of deframings. (Abbas 2008, 244–45; italics in original) By constantly emphasizing framing, Raidel’s documentary works to compensate for the way the construction of Hallstatt, China, has implicitly deframed Hallstatt, Austria. It feels weird to walk around a place one knows has been copied, and this feel- ing is intensified by the strong presence of Asian tourists, which has risen from fewer than 50 in 2005 to the point that, a decade 5 When a road to Hallstatt was finally built in 1890, it needed to tunnel through the surrounding mountains, and citizens have vociferously resist- ed the construction of a highway through the village ever since (“Exklusiv- Talk Mit Bürgermeister Alexander Scheutz (Hallstatt) — Newletter” 2014). In anticipation of the coming discussion of duplication, I note the tunnel’s atypical construction in having two separate entries and not just one.