Antichrist – Chaos Reigns: Voldens begivenhed og det haptiske billede i Lars von Triers film

I Lars von Triers værk, Antichrist (2009), er t'et i den allerførste titelsekvens erstattet af et kvindetegn. Dette åbenlyse symbol vil være det første tolkningsspor i det følgende. Dette især, fordi Trier har udtalt. at han med denne film har lavet det, som han altid har hadet allermest, nemlig en symbolsk film

Melancholia – verdens dionysiske undergrund

Denne analyse af Lars von Triers Melancholia (2011) tager stilistisk og filosofisk afsæt i Schopenhauers og Nietzsches forskellige fortolkninger af henholdsvis melankolikerens og tragediens ’stemme’ i filosofien. Triers bidrag reaktualiserer Wagners opera for den dissonantiske skabelse, Tristan og Isolde, idet den tragiske affekt remedieres på filmisk grund

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Kyle Nicholas og Jørgen Riber Christensen (red.): Open Windows. Remediation Strategies in Global Film Adaptations, Aalborg (Aalborg Universitetsforlag)

Affektiv samstemning i katastrofens felt: Samtale med Erin Manning og Brian Massumi, Montreal, d. 12. Juli, 2011

Jonas Fritsch og Bodil Marie Stavning Thomsen samtaler med Brian Massumi og Erin Manning om blandt andet affektbegrebet anskuet i forhold til risikiosamfundets nye medier og globalisering. Interviewet her er et uddrag, og den fulde version kan læses på Peripetis hjemmesid

Signaletic, haptic and real-time material

This introductory article to the following “cluster of articles” proposes to apply the term “signal” as a theoretical and analytical category for a new approach to the bearings of electronic and new media in particular. As the term “sign” was formerly developed from linguistics, the term signal was developed from Norbert Wiener's writings on mathematics and cybernetics. The electronic signal is a technological fact dating back to the telegraph that in a substantial way set the agenda for contemporary (popular) culture (electronic music, youth, and performance culture) and further facilitated the digital code and the Internet. In this article, as well as in the following articles, the term signal is above all applied in its broader sense to explore possible signaletic modes and characteristics in contemporary art and new media culture. It is thus a key point that technological implications could never be causal to aesthetic variations and cultural modes. Departing from this, this article explores artistic and cultural manifestations from the 1960s and onward in the light of the signal in order to analytically grasp the changes or supplements to the sign that in a contemporary culture is bringing new forms of events and affects to the fore